text:
Venting and seepage systems associated with mud volcanoes and mud diapirs in the southern Tyrrhenian Sea
High resolution swath bathymetry and backscatter data, seismic CHIRP profiles, multibeam water column acoustic measurements and sediment samples were collected on a cold seep province in the southeastern Tyrrhenian Sea, at a water depth of 500-1000. m. The mud volcanoes, characterized by a high backscatter signature, are the site of gas venting at the seafloor that formed a 630-m-high plume in the water column. The mud volcanoes feature a precipitation of iron-oxy-hydroxide crusts and pyritized and Sulfur burrows in the sub-surface and authigenic siderites, also cementing burrows, further down, showing a sharp transition from the oxic zone toward the sulfate-methanogenic zone.The mud flows are characterized by an intermediate backscatter seafloor and by the presence of gas in the sediment only 2. m below the seafloor. The mud flows consist of 1-m-thick drapes of water-rich mud extending downslope from the mud volcanoes. They act as sealing layers that prevent large fluxes of gas venting at the seafloor (low venting) and favor oxic conditions close to the sediment-water interface and the abundant precipitation of post-oxic siderites a few meters below the seafloor.The mud diapirs are characterized by a low backscatter seafloor and large fields of pockmarks. In coincidence with the normal faults, organogenic carbonate crusts form at or very close to the seafloor and are associated with chemosymbiontic bivalves (lucinids). The youngest shells are AMS radiocarbon dated 640-440. BP, suggesting that the seepage activity may have been clogged by the carbonates, only very recently.Similarities between the normal faults in the study area and the tectonic setting of the inland Calabrian Arc show that normal faults can control the location of fluid pathways and, probably, also the rising of the mud diapirs
Titolo: Venting and seepage systems associated with mud volcanoes and mud diapirs in the southern Tyrrhenian Sea
Marzia Rovere
Fabiano Gamberi
Alessandra Mercorella
Heba Rashed
Andrea Gallerani
Elisa Leidi
Michael Marani
Valerio Funari
PINI, GIAN ANDREA
Abstract: High resolution swath bathymetry and backscatter data, seismic CHIRP profiles, multibeam water column acoustic measurements and sediment samples were collected on a cold seep province in the southeastern Tyrrhenian Sea, at a water depth of 500-1000. m. The mud volcanoes, characterized by a high backscatter signature, are the site of gas venting at the seafloor that formed a 630-m-high plume in the water column. The mud volcanoes feature a precipitation of iron-oxy-hydroxide crusts and pyritized and Sulfur burrows in the sub-surface and authigenic siderites, also cementing burrows, further down, showing a sharp transition from the oxic zone toward the sulfate-methanogenic zone.The mud flows are characterized by an intermediate backscatter seafloor and by the presence of gas in the sediment only 2. m below the seafloor. The mud flows consist of 1-m-thick drapes of water-rich mud extending downslope from the mud volcanoes. They act as sealing layers that prevent large fluxes of gas venting at the seafloor (low venting) and favor oxic conditions close to the sediment-water interface and the abundant precipitation of post-oxic siderites a few meters below the seafloor.The mud diapirs are characterized by a low backscatter seafloor and large fields of pockmarks. In coincidence with the normal faults, organogenic carbonate crusts form at or very close to the seafloor and are associated with chemosymbiontic bivalves (lucinids). The youngest shells are AMS radiocarbon dated 640-440. BP, suggesting that the seepage activity may have been clogged by the carbonates, only very recently.Similarities between the normal faults in the study area and the tectonic setting of the inland Calabrian Arc show that normal faults can control the location of fluid pathways and, probably, also the rising of the mud diapirs
Digital Object Identifier (DOI): http://dx.doi.org/10.1016/j.margeo.2013.11.013


-Good morning! I hope it was not too much yesterday!
A kind message it's always a good way to thank someone after an interview. However, this time it's the interviewee, not the interviewer, showing a professional courtesy which is out of the ordinary. The interviewee is Markus Reuter, whom I had the pleasure to chat with the day before. I expected an intense, insightful, articulated chat. And my expectations were more than exceeded. So I truthfully answered him that I was still digesting our conversation and I highly appreciated it. While I was transcribing it, I realized how much the dialogue just started from a reflection about his latest work, the first string quartet he composed, entitled Heartland, and then moved very soon much farer, like branches in a mind map, discussing about the vision behind the music itself. Paving multiple roads at once, indicating a myriad of directions, the conversation hinted at a multiple layered picture, with many fertile and meaningful ramifications appearing at each statement. While sentences discussed the music at a surface level, developing an analysis of how it was written and interpreted, nevertheless each concept unveiled an elaborate vision behind the music. This is the kind of thing to expect from a conversation with Markus Reuter. Maybe that's one of the reasons I am still digesting it: an architecture of meanings interconnected over multiple floors, like the infinite library pictured by Jorge Louis Borges in The Library of Babel, through a multitude of semantic layers. The method Reuter used to write Heartland plays in a similar manner, like an endless disclosing of layers over new layers.
At the start of our chat, Reuter says: I just remembered that when I started composing last summer, a friend asked what kind of techniques I am using. I tried to explain. I remembered a game child play: there's this technique where you take this white piece of paper, you use colored wax and then you put thick black wax on top. Then you take something like a knife, you cut away the black and you see underneath the color. Stencil, it's the word. It's like a moving part on a world, like you have a complex music composition here on the bottom, but on top there's a shape moving, which allows to see only some things. This is actually how Heartland was composed. It's like a shape with holes that moved on top of a colored surface.
I remember that, immediately before our chat, Markus Reuter was moving out from a lesson with a student. I mentally prepared our conversation like a learning experience, similarly to what the student experienced before me. I asked him about what was the content of the lesson, which, of course, included an overview of the instrument Reuter is mainly known, the Touch Guitar. This was just the starting point for moving deeper not only into the techniques of playing the instrument, but also into composing. When we are talking about Touch guitar technique, or about music in general, we need to know how to start a note and how to end the note –Markus Reuter says, elaborating what he discussed with his student. Then we can develop everything else, simply from this basic idea. All my music making started from this basic understanding. I want to be able to pull a beautiful note, to compose that single beautiful note and this to become the cell, from which you create a bigger structure.
The indication on the top of the score in Zauberberg, the longest of the string quartet pieces executed by Matangi Quartet with its ten minutes, says 'interlocking, active meditation'. Indeed a tour de force of subconscious explorations in a fugal form, made of rhythmically moving patterns of almost all quavers, Markus Reuter understandably defined it as an 'hocketing nightmare'. A tour de force from both execution and listening point of view. No apparent tonal or thematic coherence is allowed here, while an unending melody constantly switches through all four instruments creating a swirling fractal made of sound. Neither the music is going in atonal territories, nor it is lacking coherency from thematic point of view, but nevertheless can't be labeled as 'tonal' or 'thematic'. The repetition of patterns is barely matching minimalism techniques: it's merely the focus on the listening act that shares something with many minimalistic works.
The initial bars, with its descending theme bouncing from violins to viola and then cello, sets the pattern for everything that happens further in the piece. The attention will focus more on the subtle variations covered under the surface, than on the melodic movement itself. Around the 29th bar the starting motif seems to resurface. An unexpected unison in the otherwise uniform development of a single melody at bar 64 is demanding a sudden attention. A variation of this motif seems to go back few measures later, at bar 76, until, at bar 83, the initial pattern of the piece reappears again, like a marker, to ignite again the perpetual movement of the work. There's a change of point of view, like a camera rolling during a movie, from bar 100 to 115: the instruments move to the mid-register and the attention focuses on intervals leaps less than before. Cello suddenly stops playing from bars 171 to 176: a spinning wheel, made by violins and viola alone now, which is like gravitating in front of the listener. It's a magic trick revealed. The constantly enlarging and narrowing rhythmic structures are now visible, each with a different pace. Everything that barely caught the attention becomes slowly clearer. The funny thing is that there are some cadenzas that are just happening automatically -Reuter says, pondering on the generative approach used for composing this piece. If you pay close attention, it's basically a theme variation. At the beginning there is this theme, which appears a lot of times, but it's always in a variation. During these variations the [composing] grid remains almost the same and the spacing of the notes at rhythmic level is the same. Everything becomes elastic, so a theme and the intervals can be multiplied by a 1.2 ratio or whatever. It keeps the same shape, but it gets scaled to a wider range. Everything is always elastic. The prolonged descending chromatic pattern from bar 191 to 197 played by all four instruments reloads the charge and prepares for the initial phrases to come back again a couple of times, before the end of Zauberberg.
While the focus is never on the marker at level of music structure and everything develops in an horizontal and ceaseless sense of time, it's the listener the one who plays the music. Him/herself is setting the pace. What happens in the piece, what is written on the score, results being a device to create an illusion. Markus Reuter crafts this 'illusion' on purpose, indicating what triggered it: I believe that the magic is to look at progressions of melody, harmony and rhythm that are very long phrases […] with Zauberberg I did an experiment: it is going through the phrase twice. So, basically, it's repeating in the middle, but it's very hard to realize it does that. The strings shadow themselves almost always in mid-register, the listener is forced out of his comfort zone in a place of meditative exploration, surrendering to any single movement of the notes. This illusion is, however, not a trick: it's like reverting the focus on listening act itself. At the foundation of his writing approach there's a conception of the melody that plays a primary role, even over counterpoint and traditional harmony. Where we think in terms of themes and progressions, of chords creating a tonal center in a vertical manner, Reuter, instead, looks at music from an 'horizontal' standpoint: my harmonic language is the result of the melodic progression. Everything is melodic, in a certain way. We can see it with this quartet: in most of the cases there are four melodies that move. These melodies create the harmony. I never start from the idea of taking an harmony and then writing a part, but it's always the individual parts that create the harmony.
The German composer first built himself a reputation of a virtuoso instrumentalist: he is mainly known for playing the previously mentioned Touch Guitar, which he developed both from a crafting and playing point of view. This is a further evolution of Stick and Warr Guitars, which King Crimsoners Tony Levin and Trey Gunn brought to the attention of the world in 80s and 90s, consisting in a guitar with eight strings, which are not plucked or strummed, but are instead to be tapped. In the expansive 44-pages booklet accompanying the physical release, Tobias Fischer not only recounts the story behind the quartet, but also gives a comprehensive summary of Reuter's career. This started when attending Robert Fripp's classes at Guitar Craft in the early 90s. He then started developing a distinctive language made of ambient soundscapes and rock progressive influences. Mostly known to prog fans for his work with Crimson ProjeKCt, for a ten years career with Stick Men, along with Tony Levin and Pat Mastelotto, for the duo Totem again with Mastelotto, for the ambient collaborations with electronic musicians like Ian Boddy, Robert Rich, Bernhard Wöstheinrich, he started cultivating an interest in writing for classical ensembles much earlier then the moment he actually started. It's not until 2013 that he decided to embark in writing and orchestrating a demanding nearly one hour long piece for a lager ensemble. Todmorden-513 claims again the usage of the word 'tour de force', with its five hundred and thirteen chords moving one to the other at a fixed timing. This is the very first piece indicating the direction the German composer was heading to, through an investigation into how to apply algorithms to music writing at a new level. Sun Trance, a piece written for a mixed ensemble of electric and acoustic instruments, and a piano piece were two intermediate steps for reaching the next level of the research. Heartland, in a certain sense, is the testament of that exploration. Reuter mentions composing it required a special 'charge' applied to his writing process. He further contextualizes what the word 'research' means to him in relationship with this special charge: in research there's no aim to have, when I am doing a research I am not expecting results. But when I am making a decision to compose pieces of music, it has a different character. It may be in principle the same technique, the same process on the surface, but the difference is that when I started to write Heartland I knew it was gonna get released in April this year. It's a difference. For me it's different. Just saying it because the way I am using this word 'to charge', it's like charging batteries. Charging the process of making Heartland, it required a very specific kind of charge. It would have been very different than a pure research project.
In October 2017 a series of articles on the subject of generative composition practices, published on an authoritative source like NewMusic USA, caught my attention. Those were written by an author I was looking after, Joseph Branciforte, who is a composer, recording engineer, label owner and multi-instrumentalist based in New York. Incidentally, he was the mind behind a band linked with avant progressive rock, named Cellar and the Point. (Another unexpected connection with prog here). Branciforte, who is currently exploring how to apply algorithms to live notation tools, gave an interesting overview of the current status of generative composing. While the power of the tools at composer's disposal is infinitely higher today than those of previous generations, still generative approach is not any news: while composers prior to the 20th century were unlikely to have thought of their work in explicitly algorithmic terms, it is nonetheless possible to view aspects of their practice in precisely this way. From species counterpoint to 14th-century isorhythm, from fugue to serialization, Western music has made use of rule-based compositional techniques for centuries argues Branciforte. It's important to keep spearated music writing using computational tools and music writing through generative methods , which is often pictured like something that arose with invention of the computer after 1945. To clarify, while computer aided composing it's something that has been linked with the technology development, integrating generative practices in writing started much earlier. Iannis Xenakis was one of the first to explore the computational capabilities, notably in another string quartet, ST4-1,080262 (1955-1962). Musicologist Paul Griffiths points at how the technology shift impacted not only the writing process, but also the listening practices: where traditional tonal music had offered time lines hospitable to the the listener -lines along which musical processes could be followed- Xenakis was presenting states and unpredictable changes of state. He was not alone: Stockhausen's moment form was explicitly a venture in the same direction. Indeed, the movement towards a new kind of time -a time without reasons and purposes- is the most general and perhaps the most fundamental feature of music since 1945. […] Like the ideals of composing, the ideals of listening were, in the mid-1960s, becoming objective and combinatorial. [Paul Griffiths, Modern Music and After, Oxford Press]. Linking generative composing and listening act, like Paul Griffiths does, induces re-thinking a different dimension of the relationship between the piece and the listener. Composing means shaping a dimension of listening and, even if Reuter might not be looking at Xenakis and Stockhausen like models for his music, he is charging his music with a distinctive listening dimension like the masters did. Heartland creates a very specific environment in which the listening act is closer to the meditative states of mind.
Setting an algorithm to create music is a different thing than a composer surrendering his role as creative mind behind the work. Again Branciforte made a very declarative statement about it in his series of articles: there's an argument that outsourcing these decisions to the computer is an abdication of the fundamental responsibility of being a composer, the subjective process of selection. But I've begun to see algorithm design as a meta-compositional process: uncovering the principles that underlie my subjective preferences and then embedding them into the algorithmic architecture itself. During my conversation with Markus Reuter, he wanted to elaborate how his writing methods affected his attitude to communicate as a composer: the question of the subjectivity versus objectivity is really complex. I wrote this score, the pitches and the rhythms. But there's going to be a translation process, which will happen by and from the performers […] I didn't allow them to play any different notes. They had to play the notes and the rhythms in the way they were written: still they were responsible for making it music. That's why the question of objectivity in a certain way it's kind of difficult. Saying that the composer 'delegates', or even 'surrenders', part of his subjectivity to the players or the generative tools is incorrect. Still, in his role, Reuter incorporates this constraint into the composing itself. Making the point even clearer, generative writing in Reuter's vision of music allows him to charge the music with his subjectivity, while never letting down any of his responsibilities: it's a process of things broken up into different parts. Basically I am taking three or four things that I can't control. As example, we have the two levels mentioned, the colored palette on the bottom and the thing moving upfront. Both are not composed, but generated through a mathematical process. My artistic responsibility is to charge the process in such a way, that we get a result that is inspiring.
Even if it's marked as an eight movements piece, the tracks are meant to be separate from each one and to be performed independently. Still they keep a red thread and there's a vibe resonating through all the recording. The initial movement, Boon, starts from a baroque fugato-style built around a rhythmic pattern that is variated through all the piece. Like fragments of cadenzas from Bach or Vivaldi, the melody descends without any tonal rest. Each chordal and melodic changed is abruptly placed on an accent the listener would not expect. Those perpetually overlapping patterns elicit the generative practices, that led Reuter composing the piece, and create a sense of movement, that plays in a similar fashion to Zauberberg. A never-ending sense of changing the point of view. In a passage of our chat Reuter elaborated it in the following way: I had this realization when I was in school and I realized that everybody was sitting on same chair. When I sat on different chair, I was seeing from a completely different situation, completely different room. Even the characters changed, the light changed, the colors changed. Everything changed. Then I started experimenting with this kind of change of perspective. When I made this big step, to see things from a different perspective, I started realizing the role these small changes played in the process. This metaphor has become more and more important for me as I started traveling so much. With the touring it's like to be able to take so many different perspectives, to see so many different culture. It's important being aware that, if you stay in one place all the time, you see just one perspective. Heartland is a very good example of this game with perspective. I never thought like that before, but it's basically like a world. What I am doing is I am traveling through this country and what people hear is actually like following my perspective.
The insightful booklet included in the release tells candidly the challenges and the discomfort Reuter faced while writing Heartland. He ran through bleak moments, logistic challenges; there was lot of doubts and of questioning himself about whether he was capable or not to complete the task. While writing the scores the summer before he needed the support of a coach, found in Markus Popp, who was a prominent musician in the 90s. So, when listening the pieces for the first time recorded on October 17th and 18th 2018, it was like a relief, an epiphany for something that could actually work. With Heartland it was very hard -Reuter remembers. It was incredibly hard. Maybe the hardest composition I've ever made. Because I was always unhappy, never satisfied. Always thinking it was not good. I was even meeting with the creative coach, Markus Popp. It was interesting because, considering all the meetings we had, one meeting to the other my concept changed completely, really completely. It was for me the biggest struggle this project, also because of the format 'string quartet', and because what it means to release something like that, to put myself out there as a composer. This shade of doubt is clear in the work, and it plays like a building block of Heartland, creating the vibe it holds: deep inside I've no doubt that I can do that -the composer says, but, if I put myself out there in front of people, it's for me still very uncomfortable. I think that this uncomfortableness or this not being sure, has kind of become a really big part of the emotion. Maria-Paula Majoor, first violin of the Matangi Quartet, echoes that feeling from the performer's and listener's perspectives: I think it's nice to feel there's a doubt. That also gives the space for interpretation and also for the listener to create his own interpretation.
Possibly the richest piece from textural and dynamics point of view, X has taken a shine to you has been inspired by writer Scarlett Thomas's Our Tragic Universe, which gave also a title to the companion movement number 5 in Heartland. With its prolonged, medidative pitches and almost no thematic movement, this is also the best example for the creative vibe before mentioned. Even if the piece insinuates that potential melodies might finally arise, at the end the listener almost surrenders contemplating a scenario where nothing is happening, and there's no real need for happening. Listener's attention is anesthetized through a prolonged stasis around legato semibreve and barely perceptible pianissimo bars. Moving from the conscious to the unconscious states of the mind -not only from composer's perspective- is something at the core of Reuter's vision of music. You want to use the metaphor of a door –the composer says elaborating his vision, like you had the door between conscious and subconscious. I am interested in these doors, in opening them, in making sure that the information transfer can happen between conscious and unconscious and that there's a process going that is kind of circular, that there is something that comes from the unconscious to conscious and can also go back to the unconscious. If you want to visualize it, it's almost like zooming out and then zooming in on a picture.
Writing a string quartet means confronting with a music form that is at the core of western music. A daunting task for any, it meant accepting an even bigger challenge for a non-academic composer like Markus Reuter, who candidly sympathizes more for unsung heroes like Mike Oldfield and Klaus Schulze than contemporary composers. While Beethoven's late quartets played an influence on him, he didn't get exposed to many other quartet works during Heartland's writing. Tobias Fischer in the liner notes higlights that Messiaen's Mode de valeurs et d'intensités is, instead, a valid comparison to his work, being one the most important contemporary 'grids' of composing patterns that influenced so many in the post war 20th century. While french composer's influence comes back and forth in the generative patterns -and sometime even in the misty and shimmering chord combinations, still Reuter plays like a maverick in the contemporary composition world with an unique hybrid style. The shifting rhythmic patterns in the baroque-like Netcong 63 move like barges in the open sea, undulating and drifting away over a wicked atmosphere. The process comes first and foremost. So the rigorous and almost steady half-note tapestry of The Magic Universe is a riddle, almost unconceivable.
While Markus Reuter puts the 'process' of composing on top of the list, still his music is deeply emotional. Emotion is something that is uncovered in the process -he explains. In that sense, the emotion is the result of research. It's not correct that, when I start writing, I have no idea about emotion, about how it will sound or about what emotion it will give to the listener or to me later. I don't really know about what is the final result of the piece, but I have an idea about what the process itself feels like to me. And that's not the same thing. Along with his career as a professional musician, Reuter holds a PhD in Psychology. Better said, music and psychology look like two sides of the same coin. While his music is deeply informed by a generative approach, Gestalt theories resonate deeply in his vision. All the scientific studies I made –he explains, it includes psychology, which I studied in the 90s. When it comes to shapes, like Gestalt theory and stuff, it's really something that is just so natural for me to think in those terms. I think Gestalt theory is extremely important in music and composers of music, even music listeners, they don't realize that they basically do this all the time. Composer Fred Lerdahl and linguist Ray Jackendoff in their A Generative Theory of Tonal Music elaborated Gestalt theories in the realm of a linguistic-based theory of music, and it's interesting to see the word 'generative' linked again with the perception theories. Explaining the bridge that connects perception and form, Gestalt theorists created a list of principles that shed light on how why we create segments in our perception, and since what is at the basis of meaning of reality. This chunking of elements that becomes a bigger shape is something that explains what music is. I work with those elements [Gestalt theories] a lot, but mostly subconsciously or even consciously. When I worked on Heartland, I was listening and creating these initial cells of melodies. I listened to these for hours. I had one generated sequence, that sometimes could be very long. It was something that maybe didn't repeat for three days. Then I put them on and I let them run for whole day, while I was working and doing things. I just left it running, to kind of get into insight and to really understand what was this about. Was there a Gestalt in there that I want to bring out? That was also difficult to say, because in this process of writing these basic materials, I could get stuck on one thing, because I was listening to something and I couldn't't turn it off. Sometimes, when you discover something that becomes so fascinating, it's very hard to make a decision where to start or where to stop. This is what I said before, the most important in music is where to start and where to stop.
Music like a journey of discovery; this is something fascinating leaking by the words of Markus Reuter. For example, when I discovered the structure of the piece Heartland Bleeds, I realized it sounded like a sequence of pieces from the 70s. With its frequent starts and stops, the nervous and joyous explorations of the technical capabilities of overtones and harmonics of each instruments and the wider jumps of registers, Heartland Bleeds is like a spectrally-arranged single note melody -quoting the liner notes. Reuter further contextualized it in our interview: I am very much German composer, or let's say Central European composer. I've grown up in the 70s, which means I listened also to the Berlin school music and this kind of stuff. I am really a fan of Klaus Schulze's music, because of the mood that the music creates. The mood is something that I can find now in things I do. Even if they are much more complicated, still they can have the same freshness. It's like listening to Kratwerk for the first time, which in the 70s it was like a totally unique mood. That's what I am trying to do with my music.
I am interested in these doors, I am interested in opening these and making sure that the information transfer can happen between conscious and unconscious.
People always wonder 'Markus, how can you be so productive?'. This is actually true, Markus Reuter is incontrovertibly an over-productive musician. While we are speaking, he contributed to Stephan Thelen's Fractal Guitar released earlier this year, he is set to appear at least in another couple of MoonJune recordings in subsequent months, is going to release a three discs album of ambient recordings for his Bandcamp VIP members and is working at some songs with Trey Gunn. Not to mention that he will be joining fellow MoonJune players to record new albums live in Barcelona, at La Casa Murada, later in May and will be touring with Stick Men in Summer and Fall. So, yes, the question behind his over-productivity still remains open. It's really strange to say -he admits. For me, I understand everything. I mean it in a strange way. I don't mean like everything is obvious for me. When I meet a person I feel the feelings of the other person. I know what the other person is thinking. I am just exaggerating ok, but what I mean it's I have like a connection to a spiritual world where things are just kind of always in a way clear. There's a lot of clarity in my way of experiencing the world. Which also means that it gets too much very quickly. It's almost no filter. What I am trying to do with my work is to basically create a filter that gives me something back from the world that I find that inspires me.
Heartland is a work about processing, about creating a grid for a structure of notes to erupt. Still it is an intense travel in a unknown land, made of flowing moments. Psychologist Mihaly Csikszentmihalyi made a widespread theory of how the most creative and intense experiences, as creative artists and listeners, take place. In his description, the 'flow' is a condition where concentration is so intense that there is no attention left over to think about anything irrelevant, or to worry about problems. Self-consciousness disappears, and the sense of time becomes distorted. An activity that produces such experiences is so gratifying that people are willing to do it for its own sake, with little concern for what they will get out of it, even when it is difficult, or dangerous. But how do such experiences happen? (Mihaly Csikszentmihalyi , Flow, HarperCollins). Csikszentmihalyi answers his question indicating that flow takes place in a balance between two conditions, anxiety and boredom. Within the narrow window that separates the anxiety about the performance and the boredom for not taking a sufficient level of challenge, flow operates like a creative trigger for the experiences of playing, no matter it's an athlete or a creative artist or even a listener experiencing it. Interestingly -but not surprisingly, given his studies-, when Reuter discusses his creativity, he recognizes the value of boredom in the creative act. He echoed that in these words: I am really interested in what is human, what makes an human 'human'. Even in something like boredom is interesting, if you think about it. Animals that are not domesticated, like wild animals, are they ever bored? (I then argued cats were animals which often experience boredom). But they are also domesticated, they don't live in the wild anymore! -he replies. So what I am interested is the reason why we are here on this planet and we think we exist. I am interested in what makes this existence special. Boredom is one of these things! In a certain way, it's like a motivation, it's an aspect that makes people create.
So what is next after Heartland? For me Heartland it's the end, for now. Not the end like forever, but it's kind of I can start from zero, if I want to. Are you going to be bored -I argue? You know, when I am bored I practice guitar. Practicing guitar is more like a research mode. When there's no apparent result, there's no recordings, it's just like feeding my body with new movements. Not new ideas, but new movements. Heartland is Markus Reuter's vision at his best. Creating bridges between conscious and subconscious, between his vision and single notes, between the listener and the performer, it's a work of depth, challenges, meditation and shimmering beauty.


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« Expat life: the end | Main | From French follies to the hard times of old England (1) »
Salut!'s election jottings
Observing, for the sake of election day propriety, a rare neutrality, Salut! will say only that, as the splendid Oysterband once put it, it'll vote a certain way (they said which way), but it won't inhale.
Back in the UK for a short time, I watched the last of the Brown-Cameron-Clegg debates and was appalled by one of the three, left cold by another and, well, left cold but unrepelled by a third.
I also went to see the play Enron and wondered mischievously how long it would be before British clones of its anti-heroes were appointed to high office.
Otherwise my general election can be summed up in a series of bullet points:
the Tories have learnt from Nicolas Sarkozy. Foreign correspondents in London said they were left in no doubt that they didn't count, and would get no top-level access or even, on occasions, the right to ask questions at press conferences. When Sarko's people refused the Beeb an interview in 2007, the decision was rationalised by an aide's shriek of "you've got no votes".
I felt like turning the sound up for my younger daughter's benefit each time the post-election menace to tax credits (she's a single mum) was mentioned.
Two cheers for my local paper in France, Nice-Matin (my ediiton is called Var-Matin) for twice in the same article referring to the prime minister as George Brown. An apology crept in a couple of days later.
my apologies to Aminur Rahman, one of a small group of supporters of Kabir Mahmud, an independent candidate I met in Poplar and Limehouse, but whose views and photograph in the event could not be included in my report. Aminur - pictured (right) with Mr Mahmud - is a Bangladeshi minicab driver in a constituency where an estimated 35 per cent of the electorate comes from his part of the world. "I used to be labour," he told me, "but it is time to give someone else a chance. They couldn't be worse. I support Kabir because he wants to help ordinary people in this area."
The Tores sounded confident about winning the seat, even though that old Glaswegian maverick socialist, George Galloway, standing as another dissident leftwinger (how many splits can the Labour vote there take?), assured me nothing of the sort had happened "since the days they were still stuffing children up chimneys".
writing a piece about the fringe candidates, I could not resist reflecting on the first such character of whom I was ever aware, Screaming Lord Sutch, though I struggled to remember any of his tunes.
It has been a tight campaign - or seemed one - but not an especially invigorating one. How can it be when only the fringe candidates, some of them - unlike poor, harmless Sutch - really quite obnoxious or representing obnoxious philosophies, are really saying much that sounds so very different. The three main parties witter on about their policy nuances, but are all terrified of offending the Middle England electorate.
And if Britain really does want change, and gets it, will it turn into France and quickly rebel against that change once anyone actually tries to implement it?
Now, off to school to cast my vote(s).
Update: civic duty done (in parliamentary and borough council elections) - and I had to brave a lunatic Espace driver, and traffic wardens (no change on me, nowhere legal and free to park), in order to perform it.
May 06, 2010 in Salut! Politics | Permalink


Lou Ford is the deputy sheriff of a small town in Texas. The worst thing most people can say against him is that he's a little slow and a little boring. But, then, most people don't know about the sickness--the sickness that almost got Lou put away when he was younger. The sickness that is about to surface again.
An underground classic since its publication in 1952, The Killer Inside Me is the book that made Jim Thompson's name synonymous with the roman noir.


Thanks for looking into Humanities classes at ACC!
We believe that education is not the same thing as "job training." Our core mission is an unqualified commitment to the preservation, enrichment and expansion of the tradition of humanistic study which transcends any one profession, yet applies to all of them.
Our courses cover various disciplines of liberal arts including literature, philosophy, music, religion, film, theatre and art history. We seek to impart wisdom for personal, cultural and professional renewal through the pursuit of an integrated, interdisciplinary approach to human questions. Some of today's most highly respected business, political, and cultural leaders hold degrees in a humanities discipline. By gaining a broad-based knowledge of humanistic thought, refined analytic skills and an increased understanding of cultures across the globe, you will be prepared to create a successful life in whatever direction you choose.
Humanities 103, Introduction to Film: Introduces students to the basics of film production and how the cinema has influenced our personal and national identities. It is an ideal class for would-be screenwriters and filmmakers.
Humanities 115, World Mythology: Starts with the understanding that myths are the building blocks of culture. The class introduces a variety of Western and Eastern myths that attempt to explain fundamental human questions common to all cultures at all times.
Humanities 121, Early Civilizations: Covers the development of the ancient civilizations from around the globe and the beginnings of all of the world's major religions.
Humanities 122, Medieval to Modern: Introduces the art, literature, drama, music, philosophy and religion of the European Middle Ages to the Enlightenment, as well as cultural developments in Africa and Asia.
Humanities 123, The Modern World: Delves into the cultural, artistic and philosophical developments that have influenced, and continue to shape, our world today.
Humanities 220, The Cultural History of Rock and Roll: This class looks at social and cultural history through the study of popular music. It also covers how popular and critical tastes are reflections of artistic, cultural, sexual, economic and ideological sensibilities at the time of its production.
A vibrant and accessible faculty of scholars and writers dedicated to sharing their knowledge of and lifelong enthusiasm for literature.
Almost all courses are guaranteed to transfer to both in-state and out-of-state colleges and universities.
The interdisciplinary nature of these courses will help you put other courses into greater context.
Flexible scheduling that accommodates your busy schedule.
Small class sizes which assure lively class interaction and personal attention.
Many courses offered as Great Books sections to satisfy the completion of ACC's Great Book Achievement Award.


One celebrated rocking a century, while the other was the belle of her 75th ball.
Scroll to the bottom of the page to see a gallery of photos.
Rachel Brian and Ruth Tanquary celebrated landmark birthdays in Kilgore, Texas, and Shreveport.
Ruth Tanquary turned 100 and celebrated at The Montclair, while, Rachel Brian, 75, kicked up her heels at the upscale Clower's Barn, Kilgore, Texas.
Ruth Tanquary. She partied to "Ruth Rocks a Century" at the party hosted by her daughter, 2018 Justinian Queen Tracey Cox, and hubby John, and received accolades befitting a gal born in the last century: Greetings from President Donald Trump and First Lady Melania, U.S. Sen. Bill Cassidy, Gov. John Bel Edwards. Shreveport Mayor Ollie Tyler proclaimed Aug. 11 "Ruth McEnery Tanquary Day" in Shreveport. Among kith and kin there: Erin Nealy Cox, Trey Cox, Vivian Cox, Dr. Stephen Cox, Cate Cox, Amelia Cox, Trevor Cox and Carter Cox.
Rachel Brian. Former Krewe Gemini Queen Rachel, was, as always, the belle of the ball at her gala gathering Aug. 25 at Carl and Coleen Clower's Barn. Other hosts: Ben and Melissa Allums, Still Collum, Lon and Brenda Ford, Bob and Maryanne Harris, Rocco and Dimi DeSantis, Mark and Tammy Greene, Laura McKethan, Danny and Cathy Seymour, Bill and Janie Terrell, Jan Wylie. Brian fans feasted on heavy — and heavenly — hors d'oeuvres, plus fried chicken, potato casserole, biscuits, coleslaw. The hit of the day was Carl's bread pudding topped with a dollop of whipped cream, served off the kitchen stove.
Among locals in the crowd: Blake and Tiffany DeBlieux, Meghan Johnston, John and Carrie Leblanc, Janet Stinson, Dr. Tobin Grigsby, Cathy Seymour, Steve and Jan Moran, Gerry and Tommie Sue Brooks.
Let's hear it for the red, white and blue! And Krewe Elders did Aug. 24 at "Star Spangled Nights Coronation XXI." Guests wore red, white and blue to the do at Veterans of Foreign Wars, Post 4588, Bossier City.
The festivities included: barbecue dinner and music by The Eric Craig Band. The royal court: King XXI Doug Rivet and Queen Connie Rivet; Dukes and Duchesses: Wisdom Troy McGee and Patsy McGee, Longevity Luke Stetson and Amy Stetson, Prosperity, Bill Wisby and Lana Cross. Also: Captain Wanda Cunningham and Co-Captain Julia Collins.
Special memories: The krewe raised its glasses and paid tribute to the memory of member musician A.J. Cascio who died last year with his widow Cathey Cascio in the crowd ... "All Hail to the Chief" played as Captain Wanda Cunningham was introduced ... 2018 King Michael Brown in a floppy blonde wig, channeled President Donald Trump - "Fake News" and all - to introduce the 2019 krewe contingent ... Duke/Duchess Wisdom Troy and Patsy McGee throwing out Cracker Jacks to "Yankee Doodle Dandy."
"Give My Regards to Broadway"
If have put off buying tickets to the Sept. 6 "Give My Regards to Broadway" Shreveport Symphony benefit, you are too late. "It is all sold out," said proud chairwoman Anne Wilson. But, if you want to help in other ways, here are just a few suggestions from Wilson: Become a corporate partner and sponsor something, such as a concert; usher at concerts or help with mailings; provide refreshments for the musician or a reception; support the Annual Fund; make the symphony part of your estate plans.
Maggie Martin is a Times reporter/columnist. She can be reached by calling 820-7404. Email: mmartin@shreveporttimes.com.


Lorraine I. Petrongelli nee Wojcik, age 89. Lifelong Chicago Heights resident. Longtime San Rocco parishioner. Member of St. Kieran Women's Club. Wife for 55 years of the late Joseph Frank Petrongelli. Mother of Sally (Michael) McDonnell, Jane (late Dennis) DeBondt, Alice (Richard) Wolff and the late Master Gunnery Sgt. James J. (Annette) Petrongelli USMC. Grandmother of Jonathan (Jillian), Megan (Frank Quinn) McDonnell, Allison (Ryan) Zarlengo, Samantha (Grant) Shreve, Jack DeBondt, Alexander (Goeun Choi) and Kellianne Wolff, Dr. Alyssa DVM (Andrew) Carr, Stephanie, Angela Rose, James Jr., and Joseph Petrongelli. Great grandmother of Owen and Jack McDonnell. Sister of Geraldine (Leonard) Roszak, Phyllis (Mickey) Mangum and the late Patricia (late Joseph) Ciarlo and the late Joseph Jr. (Dorene) Wojcik. Aunt to many nieces and nephews. Resting at Panozzo Bros. Funeral Home, 530 W. 14th St., (U.S. Rt. 30, 3 blks E. of Western Ave.), Chicago Heights on Wednesday August 15th from 3:00 PM to 8:00 PM. Funeral Thursday 10:15 AM to San Rocco Oratory, 315 E. 22nd St., Chicago Heights. Mass 11:00 AM. Interment Calvary Cemetery, Steger. (708) 481-9230 or panozzobros.com.


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Dromaeosaurinae
Dromaeosaurinae is a subfamily of Dromaeosauridae. Most dromaeosaurines lived in what is now the United States and Canada, as well as Mongolia, and possibly Denmark as well. Isolated teeth that may belong to African dromaeosaurines have also been discovered in Ethiopia. These teeth date to the Tithonian stage, of the Late Jurassic Period.[1]
Temporal range: Early-Late Cretaceous
~130–66 Ma
Likely Tithonian record and Ghost lineage from Kimmeridgian
Artist's restoration of Utahraptor ostrommaysorum
Clade: Dinosauria
Order: Saurischia
Suborder: Theropoda
Family: †Dromaeosauridae
Clade: †Eudromaeosauria
Subfamily: †Dromaeosaurinae
Matthew & Brown 1922
Dromaeosaurus albertensis
†Achillobator
†Dakotaraptor
†Deinonychus
†Dromaeosauroides?
†Dromaeosaurus
†Itemirus
†Utahraptor
†Yurgovuchia
†Zapsalis
All North American and Asian dromaeosaurine dinosaurs from the Late Cretaceous were generally small, no more than 1.8 metres (5.9 ft) long, in Dromaeosaurus and Adasaurus. However, among the dromaeosaurines were the largest dromaeosaurs ever; Dakotaraptor was ~5.5 metres (18 ft) long, Achillobator 6 metres (20 ft), and Utahraptor up to ~7 metres (23 ft).
Classification and phylogenyEdit
Dromaeosaurines are distinguished from other dromaeosaurids in having stouter, box-shaped skulls, as opposed to the other subfamilies, which generally have narrower snouts. Also, dromaeosaurines are generally more heavily built, than the other members of their family, with thick, heavy-set legs, which were designed more for strength, rather than for speed.
Also, dromaeosaurines are distinguished from velociraptorines, in having a low DSDI ratio; i.e., their teeth have equal-sized serrations, on both the posterior and on the anterior edges. By contrast, velociraptorines often have larger serrations on the posterior side of the tooth, than the anterior, or no serrations on the anterior side at all.
Most dromaeosaurines lived during the Cretaceous period, from the Barremian to the Maastrichtian stages. However, as stated previously, at least one taxon must have lived much earlier, during the Jurassic Period.
The cladogram below follows a 2015 analysis by paleontologists Robert DePalma, David Burnham, Larry Martin, Peter Larson, and Robert Bakker, using updated data from the Theropod Working Group.[2]
Eudromaeosauria
Saurornitholestes
Atrociraptor
Achillobator
Dakotaraptor
Cretaceous portal
Dinosaurs portal
Paleontology portal
Timeline of dromaeosaurid research
^ Goodwin, Clemens, Hutchinson, Wood, Zavada, Kemp, Duffin and Schaff (1999). "Mesozoic continental vertebrates with associated palynostratigraphic dates from the northwestern Ethiopian Plateau." Journal of Vertebrate Paleontology, 19(4): 728-741.
^ DePalma, Robert A.; Burnham, David A.; Martin, Larry D.; Larson, Peter L.; Bakker, Robert T. (2015). "The First Giant Raptor (Theropoda: Dromaeosauridae) from the Hell Creek Formation". Paleontological Contributions (14).
Wikispecies has information related to Dromaeosaurinae
Dromaeosaurinae in the Paleobiology Database
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dromaeosaurinae&oldid=896785662"


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BeatBreaker
BeatBreaker not only plays the music you want to hear in the club, he is often the one who creates the very mixes that get the crowd in a frenzy. Based out of New York City, BeatBreaker has established himself as one of the most in-demand DJs in the world – with club residencies all over the world, and celebrities that call upon him regularly. Armed with an encyclopedic knowledge of music, his high energy sets are what set him apart from all the other DJs. Lately he's shared the stage and DJ'd for Paris Hilton, Desiigner, Tyga, and T-Pain. His music and edits are supported by some of the biggest DJS in the world – Tiesto, Diplo, Marshmello to name a few.
Virtually almost every DJ in the world has a BeatBreaker edit/remix in there music crates; you cannot step foot into a nightclub or turn on the radio without hearing the characteristics of the BeatBreaker sound.
Inspired by his early travels, BeatBreaker has developed the ability to adapt his sound to virtually any crowd put in front of him. From listening to top charts and adjusting his signature sounds when he travels all over the world, there is no denying why he's held residencies in Hong Kong, Tokyo, Canada, and even Morocco. He's made his household name explode into the international scene at a young age and has kept his name in demand, which is difficult to do today.
Aside from traveling the world on a consistent basis, BeatBreaker holds an impressive list of residencies across the US at the top venues in the country: TAO (Las Vegas), AURA (Houston), PRYSM (Chicago), and HAVEN (Atlantic City), as well as consistently performing in Asia and everywhere in between.
BeatBreaker's music can be found on every platform from which DJs download their music today. His music is also supported by highly respected celebrity DJs such as Paris Hilton, Pauly D, and Brody Jenner.
He keeps his signature sound fresh and innovative by remixing and playing music from all genres. He has the ability to make any song better. BeatBreaker can be heard playing anything from trap, hip hop, and house, to even some Latin. Expect to join him on a journey around the world when he steps into the DJ booth.
BeatBreaker's skill in the nightclub can be attributed to his method of picturing himself on the dance floor. He's mastered stepping into any room and knowing exactly what the partygoers want to hear.
"No greater feeling than seeing the crowd enjoy themselves," he says. "No matter where I travel to, it's all about hard work and having fun…. Dreams don't work unless you do."
Previous ReleaseDiamondbackNext ReleaseInquisitive


Spam, Scum or SCAM? There is only one rule in a decentralized world: Never trust, verify.
Let's explore the basic ways to protect yourself against scammers in the crypto industry.
Let's consider each case individually.
You can find the Atomic team on social media by searching "@atomicwallet". That is the only login we use. If you see something else, be sure — that's not us, that's not our post, and this is a scam. In addition, we don't make ETH giveaways and never did. Remember it, and you won't fall prey for a scam on social media.
When surfing the web or Play Market, pay attention to the developer name. You must see "Atomic Wallet", not any other names. On the screen below, you can see a completely other "Atomic Wallet", which is not related to us in any way. It's someone else's app.
The address of the email must content the "O" letter, not a zero "0", without upper letters, like "AT0MICWALLET.IO", etc. The only one email domain of Atomic Wallet is valid for communications: atomicwallet.io. This is the domain where you can download the original Atomic Wallet application and the domain you receive emails from us.
Check a pinned message in our Telegram chat and be sure you are in contact with one of our official admins listed in the message. If it's someone else, then it's a scam!
In order to protect yourself from scammers, you must bear in mind some things that you never will do, whatever the circumstances.
NEVER send Private keys or a Mnemonic Seed!
We never ask for your private keys or mnemonic phrase. Your keys are stored in an encrypted manner only on your device and we never need them for any purpose. Your backup phrase is the most important part of funds safety. Remember that any request for private keys or backup phrase is a scam.
NEVER send anyone a deposit!
We never ask your funds to fix some issues! Your assets are safely stored on the Blockchain, even if it doesn't displayed in your wallet for some reason.
Atomic Wallet is a decentralized App, we don't store any data of yours, so your money is entirely under your control.
Bear that in mind, and you'll be invulnerable to scammer attacks.
We are sure you will be attentive and careful i order to keep your money safe! Download our wallet at AtomicWallet.io 👈 and enjoy your cryptos being safely managed!


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« Avenging Adelita by Nick Iuppa and John P. Mendoza
Clouds by Joy M. Lilley »
The Promise Of The Gateway by Nick Iuppa and John Pesqueira
By Book Marketing Global Network | January 25, 2023 - 3:00 am | January 25, 2023 ##Book Marketing Global Network, ##Book Review 5-Star Awards (Listed By Author), ##Endorsed Books (Adults Readers), ##Endorsed Books (Young Readers), #Books (A): Fiction, #Books (C): Fiction (Teen and Young Adults)
THANK YOU FOR YOUR SUPPORT-READERS TO DATE: 26
The Promise Of The Gateway by Nick Iuppa and John Pesqueira.
Deep in the drop behind Green Mountain High, Emily Perkins finds a gateway to the past where she's no longer a nerd, and the school's superstar quarterback is in love with her. He hasn't yet suffered the crippling injuries that will ruin his future, and Emily thinks she can use the gateway to save him. But there'll be a price to pay. Dangerous distractions wait on the other side. Visions of social injustice haunt everyone who returns. And then Emily learns that the gateway can't be trusted.
5 Stars: Coming Of Age Time Travel Spectacular!
Emily Perkins, the brainy class nerd at Green Mountain High, is the loneliest girl in the school. She eats alone, spends her break time alone, and is shunned by most of her classmates. She's also secretly in love with the school's former super-star quarterback, Jake Kane… even though his life has degenerated into total failure.
Eight years earlier Jake was clearly destined for a career as a superstar quarterback in the National Football League. He had amazing talent, and real motivation because his family was deep in debt due to his father's high tech business failures. After rewarding discussions with recruiters from several major universities, everything seems so promising for Jake. He could work it all out, he thought, save his family, and live out his dream. But less than two hours later, his life and dreams were shattered by a tragic career-ending injury.
As the years pass, Jake's life crumbled even further, from sorrow to uncertainty to bitter withdrawal. His mother convinced him to take a job as the high school janitor. At least he would still be around the school, still remembered and honored by the school's football players though he felt less and less deserving and more and more bitter the more he saw them.
And then that nerdy girl, Emily Perkins, dared to come into his life. Somehow, she said, she stumbled on a green shimmery phenomenon in the ravine behind the school, and she learned that it was vortex… and a gateway to the past. She'd already traveled through it and thought that it may just allow Jake to go back to the day of his injury, relive it, and undo the tragic event. Jake was skeptical, of course, but Emily insisted that they go exploring… together.
From that moment on, the novel deals with both the past and the future, as Jake makes repeated attempts to return to his former life and undo his fate. He soon finds he can't do it alone. He needs help… and not just help from Emil who is more than eager. He also needs the participation of players on the school's current team and help from an amazing teacher whose lectures are so powerful that they too are a gateway to the past.
The story's characters are tied together by Jake's tragedy, by family bonds, friendship, the teacher's amazing lectures on social injustice, and their own psychological needs. With them, we face the age-old question of 'what If?'
What if the Vortex is all Jake needed to go back in time, replay one botched football down, sidestep his injury, and go on to the career that was promised to him?
What if he needs more… to find someone to be injured in his place, perhaps? Would Jake be willing to sacrifice one of his friends to achieve his dream?
And, what sacrifices would you make if you were Jake, or—just as importantly—if you were Emily and suddenly realizing the dangerous consequences of trying to save someone you love.
I invite you to read The Promise of the Gateway… a Coming-of-Age Fantasy that raises important ethical questions for teens and grown-ups alike, and… It's one heck of a good story.
Hardcover: 390 Pages
Publisher: Independently Published (May 19, 2021)
Fiction (Time Travel)
Fiction (Coming Of Age)
Fiction Teen and Young Adult
Amazon Hardcover Print:
https://www.amazon.com/Promise-Gateway-Nick-Iuppa/dp/B095GRT76S/ref=tmm_hrd_swatch_0?_encoding=UTF8&qid=1633809043&sr=8-1
Amazon Soft-Cover Print:
https://www.amazon.com/Promise-Gateway-Nick-Iuppa/dp/B08KHGGXTS/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1633809043&sr=8-1
https://www.amazon.com/Promise-Gateway-Nick-Iuppa-ebook/dp/B08KFTLF7P/ref=tmm_kin_swatch_0?_encoding=UTF8&qid=1633809043&sr=8-1
Nick Iuppa began his career as an apprentice writer with famed Bugs Bunny/Road Runner animator Chuck Jones and children's author Dr. Seuss. He later became a staff writer for the Wonderful World of Disney. As VP Creative Director for Paramount Pictures, Nick did experimental work in interactive television and story-based simulations. He is the author of seven novels, Management by Guilt (Fawcett Books 1984—a Fortune Book Club selection) and eight technical books on interactive media. He lives in Northern California with his wife, Ginny.
John Pesqueira studies at the University of Arizona, Columbia, and Stanford prepared him for an impressive career in media design and development. His passion for the visual arts and popular culture continue to inform his creative efforts and still inspire his writing and photography. John grew up in the Sonoran Desert and his love of the history, legends, and people of the American Southwest and Mexico remain a major focus of his work. John lives with his wife in Northern California.
Novels by Nick Iuppa and John Pesqueira:
Alicia Bewitched
Alicia's Sin
Alicia's Ghost: The Alicia Trilogy Book 1
Alien Inquisition (The Peacemaker Book 2)
Alien Mission (The Peacemaker Book 1)
Avenging Adelita
Esteban Meets Alicia
Esteban's Quest
The Battle For The Alamo Taqueria
The Promise Of The Gateway
Novels by Nick Iuppa:
Bloody Bess And The Doomsday Games
Taken By Witches
The Sitcom Murders 1: Sexy Sixties Sitcom by Nicholas Victor (aka Nick Iuppa)
The Witch Within Her
Contact Us: We love hearing from our readers and learning what they like or don't like about our stories. We'd be very grateful if you would send us a quick e-mail and tell us what you think of Alien Mission. We promise we'll answer personally and directly.Please contact us at the link below to tell us what you think and let us thank you for reading our books.Contact Nick & John at dosmilagrospress@Gmail.com
Author Nick Iuppa's Websites:
http://www.nickiuppawrites.com/
https://www.nickiuppa.com
http://aliciasghost.com/Welcome.html
https://www.facebook.com/NickVIuppa
http://www.amazon.com/Nick-Iuppa/e/B0032Z5IEI/ref=sr_ntt_srch_lnk_6?qid=1440776251&sr=1-6
Author Nick Iuppa's Blog:
http://www.nickiuppawrites.com/nickiuppawrites/Nicks_Blogs/Nicks_Blogs.html
https://bookmarketingglobalnetwork.com/authors/nick-iuppas-books/
Tagged Author Nick Iuppa, Book Marketing Global Network, Nick Iuppa, The Promise Of The Gateway by Nick Iuppa and John Pesqueira. Bookmark the permalink.


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Monaco Swan One Design: the Nations Trophy Mediterranean League 2019 opener
The second edition of the Monaco Swan One Design kicks off today with 14 Swan One Design yachts representing seven nations taking part. Hosted by the incomparable Yacht Club de Monaco (YCM), the opening event in The Nations Trophy Mediterranean League 2019 is the first rung on a season-long ladder that ends in October, in Mallorca, with The Nations Trophy itself.
A showcase for spirited one-design competition and all that makes the Swan world so exceptional, the next four days will be filled with fiercely contested racing on the water, with national pride and individual reputation at stake, and convivial gatherings ashore.
"It is wonderful to be here and to start The Nations Trophy Mediterranean League 2019 with the fantastic backdrop of Monaco,"
declared Giovanni Pomati, Nautor's Swan Group CEO, continuing:
"Seeing the ClubSwan family back together with its passion for camaraderie, sailing and the sea is inspirational. The circuit continues to grow with new teams and new partners joining us. We are really pleased to be introducing a new project this year that addresses sustainability. And, looking ahead as I suspect everyone knows, we are thrilled to be unveiling a new ClubSwan model, the innovative 36, in Scarlino."
At the Opening Ceremony, Bernard d'Alessandri, General Secretary of the YCM, expressed the club's pleasure at hosting the Monaco Swan One Design again, while welcoming the crews: "I would like to thank all the owners and teams for being here, we are really proud to have the Swans for a second year. I hope that you have a good time with wonderful racing!"
The headline act this week is the ClubSwan 50 fleet with eight entries. The class was introduced in 2017 and has grown steadily in the intervening period. Two of the latest builds feature: Ross Warburton's Perhonen (United Kingdom) and Andrea Bianchedi's Drifter Sail (Italy). Both these newcomers will need to acquire their game-face quickly in this division, noted for close competition between technically-adept crews.
The pedigree on show is high level. Stefan Heidenreich's OneGroup (Germany) is the defending ClubSwan 50 World Champion and finished third overall in The Nations Trophy Mediterranean League. Cuordileone (Italy) won the 2018 Monaco Swan One Design, finished second in the World Championship losing out by one point and came second in the Mediterranean League by virtue of countback. Morten Kielland's Mathilde (Switzerland) started the 2018 season strongly taking second place at the first two League events, before eventually finishing fourth. A strong performance at the World Championship took her to third, four points off the lead.
"This is a dream come true for me," explains Andy Bianchedi.
"I had stopped sailing some years ago and then I was reading a yachting magazine, came across the ClubSwan 50 and fell in love with the design."
Bianchedi took part in the Rolex Giraglia and the Rolex Swan Cup last year in an effort to find his feet, and feels 2019 to be his true start in the class:
"This is the beginning for me and it is great to be involved in such a perfectly organised series of events. I have been made to feel part of the family straightway and received great support. The ambition for this event is to have fun. We are very new, but we will learn a lot this week with so many great sailors".
The ClubSwan 50 division will get tighter and tighter as the season continues. Eleven entries are on the cards for Scarlino (30 April – 4 May), with 15 at both the Rolex Giraglia (9 – 11 June) and Copa del Rey (27 July - 3 August) and, then, at The Nations Trophy (8 – 12 October) some 19 are anticipated, quite probably the largest-ever gathering of one design yachts of this size. A massive endorsement of the decision by Nautor's Swan to commit to this project.
The Swan 45 fleet features all three contestants from the 2018 Monaco Swan One Design. Luis Senis' Porron IX (Spain) comes with the highest commendation – back-to-back world championships, first-place in the 2018 Mediterranean League and winner here last season. Valter Pizzoli, owner of Ange Transparent (Switzerland), has lived in Monaco for a number of years and will hope to turn around the result of 2018 when he and his crew finished second. Piermarco Babanco and Checkmate (Italy) will do their level best to be in the mix too.
"Last year was an excellent year, but we lost at the Copa del Rey," said a circumspect Senis.
"Our target this year is to repeat what we did well last year, but to be better and win the Copa del Rey as well." Asked where the secret to success lies, Senis is refreshingly honest: "We did everything so fast. We had planned to take some years, but reached our goal very quickly. Being so successful has made us very happy, and this is a key to doing well". On a more practical level, the crew of Porron IX has spent time over the winter preparing the boat. Armed with the same crew, Senis cuts an understandably happy figure. "We enjoy being part of the Swan One Design world," he adds, concluding, "The venues are beautiful; the owners, crew and organization are a special group and to be a part of it is wonderful."
Lorenzo Mondo's ClubSwan 42 Far Star (Italy) had limited exposure to Swan One Design racing in 2018, but was the victor in Monaco after a convincing performance that gave the opposition little room to challenge. This year, the Italian crew faces new competition in the form of Bernard Marchant's Andante IV (Belgium) and Christopher Wargny's Zappy S (France).
"Last year, here, was a great success for us. We had a great week, with great wind and we cross our fingers to get the same conditions again this year," explained Mondo. "The crew is a little stronger than last year. We have done some good training sessions this winter and are optimistic, but it is impossible to be certain. Our enthusiasm is the same. We really like the Swan One Design programme and plan to do all the events this season."
As the opening event of the Mediterranean League, the Monaco Swan One Design is the launch pad for a number of fresh initiatives and partnerships this year. The hot topic in sailing at present is sustainability, as those passionate about the environment and the sea, in particular, take steps to address the issues facing the oceans. This year, Nautor's Swan is engaging with two new partners: clothing manufacturer SEASE, an eco-friendly line of menswear, and Marevivo, an organisation committed to the protection and enhancement of marine environments.
Combining sophistication, innovation, technology and traditional fabrics, updated and employed in modern designs, SEASE has a contemporary attitude to sustainability. SEASE is committed to the environment in terms of materials, supply chain and processes encouraging responsible consumption.
Marevivo is an alliance to protect the sea, and Nautor's Swan is proud to be a part. All of the activities Marevivo carries out – in terms of biodiversity conservation, sustainable development, enhancement and promotion of marine protected areas, environmental education, combating pollution and illegal fishing - aim to press for commitment while increasing the attention and involvement of public opinion and media towards the preservation of the sea.
Racing at the 2019 Monaco Swan One Design commences on Wednesday, 10 April and concludes on Saturday,13 April.
For more information about the 2019 Monaco Swan One Design, visit:
https://www.yacht-club-monaco.mc/en/regattas-events/20-19/monaco-swan-one-design/
The Nations Trophy


I have a beautiful red convertible that has a broken block. It seems sad to scrap it. The wheels and tires are amazing and so is the top.
Is anyone interested in this car.
You could sell it as a parts car on Craigslist perhaps. You might get more for it there. Not much of a market for a '99 Chrysler, so I'd say just take what you can get and move on.
Thank you for your input. I've posted it on Craigslist many days. Pick and Pull offered me $85. Call 916-844-7302 or email [email protected] with your ideas or offers.


Joan of Arc Presented to the King, . From Joan of Arc, or France Liberated (La Pucelle ou La France delivrée). Engraving on laid paper. Plate: 260 x 182 mm (10.2 x 7.2 in.). Sheet: 318 x 216 mm (12.5 x 8.5 in.). DAC accession number 1979.18.8.2. Friends of the Davison Art Center funds, 1979. Open Access Image from the Davison Art Center, Wesleyan University (photo: M. Johnston).
http://dac-collection.wesleyan.edu/obj2868 is a persistent link to this page with no user-session information.


A team of researchers modeled the health and economic effects of healthy food prescriptions in Medicare and Medicaid. The study, published today in PLOS Medicine, finds that health insurance coverage to offset the cost of healthy food for Medicare and/or Medicaid participants would be highly cost-effective after five years and improve health outcomes.
"We found that encouraging people to eat healthy foods in Medicare and Medicaid - healthy food prescriptions - could be as or more cost-effective as other common interventions, such as preventative drug treatments for hypertension or high cholesterol," said co-first author Yujin Lee, Ph.D., postdoctoral fellow at the Friedman School of Nutrition Science and Policy at Tufts.
A validated micro-simulation model (CVD Predict) generated samples representative of the Medicare, Medicaid, and dual-eligible populations. The model utilized national data from the three most recent National Health and Nutrition Examination Surveys (NHANES 2009-2014), as well as data from published sources and meta-analyses, which included demographics, dietary intakes, policy effects, diet-disease effects, policy costs, and healthcare costs. The two intervention scenarios were applied to each of the three samples and assessed the impact at 5, 10, and 20-year horizons and at a simulated lifetime horizon.


With the school year fast approaching a new film by Paramount Pictures is ready for release on September 24. Waiting for Superman examines the current state and continuing crisis of our public education system through the stories of several students. The film's Director Davis Guggenheim states in the film's press release; "I made this film for and about kids and their parents, struggling to get a quality education in the United States, and it is inspiring to see the momentum pick up as people really begin to rally behind it". Guggenheim hopes to inspire and mobilize students, teachers, parents, and administrators into not only take a hard look at or current education system, but to rally them to be advocates and the voice of change to fix the public school system.
In an effort to publicize the upcoming release of the documentary the film's producers have partnered with DonorsChoose.org to offer the public $5 gift cards to every person who pledges to see the film by September 15th when the "Take the Pledge" campaign reaches 30,000 people pledged to see the movie. In addition OfficeMax(R) aligning their "A Day Made Better" program will boost their annual awards program to include an additional 40 U.S teachers when the movie viewing pledge reaches 40,000. The "A Day Made Better" program helps defray the out-of-pocket expenditures on school supplies by dedicated teachers by awarding 1,000 outstanding teachers with $1,000 in school supplies.
Funding and grants related to not only improving our academic system, but students recess time are important tools for teachers and administrators in reforming our current education system. "Principals overwhelmingly believe recess has a positive impact not only on the development of students' social skills, but also on achievement and learning in the classroom." (Robert Wood Johnson Foundation).
Waiting for Superman opens in theaters September 24th, and the viewing pledge to view the film and receive the gift cards and additional teacher awards ends September 15th.


"... This paper presents lottery scheduling, a novel randomized resource allocation mechanism. Lottery scheduling provides efficient, responsive control over the relative execution rates of computations. Such control is beyond the capabilities of conventional schedulers, and is desirable in systems that ..."


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On February 5, 1991 owner Art Modell of the Cleveland Browns introduced Bill Belichick at a press conference as the eighth head coach in franchise history (not counting interims). He received a five-year contract and, two months shy of his 39th birthday, was the youngest head coach in the NFL at the time.
Belichick had most recently been defensive coordinator of the New York Giants, who had edged Buffalo in the Super Bowl less than two weeks previously. He beat out Mike White, the quarterback coach of the Los Angeles Raiders, to succeed to the job that Bud Carson was forced to vacate after nine games of his second season at the helm (Jim Shofner was the interim coach for the last seven contests).
The son of Steve Belichick, who played for one season in the NFL as a fullback for the Detroit Lions in 1941 and went on to become a highly regarded college scout, Belichick was a graduate of Wesleyan University in Connecticut. His first NFL assistant coaching job was with the Baltimore Colts in 1975 at age 23 as a low-paid special assistant, essentially studying game film and running errands. He moved on to more significant positions with the Lions and Broncos before joining the Giants in 1979. In New York, he started out coaching special teams under Head Coach Ray Perkins, added linebackers to his responsibilities, and, retained by Bill Parcells, moved up to defensive coordinator in 1985. The Giants won two Super Bowls during Belichick's tenure and the defense was a key to the team's success.
Belichick already had a reputation as a hard worker with strong organizational skills, who was also intense and a highly knowledgeable student of the game. He inherited a team that was coming off of a dismal 3-13 record in 1990 after five straight playoff seasons. In selecting his staff, Belichick retained one holdover assistant, offensive line coach Hal Hunter, and included Nick Saban as defensive coordinator and Gary Tranquill, a career college assistant, to coach the quarterbacks.
The Browns improved to 6-10 in '91 and were noticeably more competitive. Veteran QB Bernie Kosar, who had taken a beating in recent seasons, was sacked 41 times but also passed for 3487 yards and 18 touchdowns while giving up nine interceptions. The big-back combination of FB Kevin Mack and RB Leroy Hoard was effective and the receivers, led by WR Webster Slaughter, were capable. DT Michael Dean Perry initially held out but came back to make the Pro Bowl for the third straight year while providing leadership to a young defensive line. 36-year-old LB Clay Matthews was utilized primarily for his skill as a pass rusher and did well although injuries decimated the defensive backfield, where SS Eric Turner, the team's first draft choice, missed the first half of the season due to a stress fracture in his foot but came on strong when he finally took the field.
The record was slightly better at 7-9 in 1992, although the Browns were at 7-6 before losing their last three contests. Kosar was limited to seven games due to a broken ankle, and with backup QB Todd Philcox also going down, journeyman Mike Tomczak accumulated eight starts. Rookie FB Tommy Vardell joined the corps of power running backs while HB Eric Metcalf was outstanding as a third-down back and punt returner. There was retooling among the receivers, where WR Michael Jackson had a breakout season and ex-Giants TE Mark Bavaro was steady. On defense, Perry got off to a slow start and complained about his role but came on stronger as the season progressed. Matthews appeared to be ageless and he and DE Rob Burnett led the club with nine sacks apiece. Age and injuries were still an issue in the backfield.
The 1993 season was highlighted by the dramatic, and controversial, decision to jettison Kosar from the team after seven games. The move was all the more stunning because Vinny Testaverde, the veteran obtained from the Buccaneers to back up Kosar, was injured and the team had to go with Philcox. The club lost four straight games, but Testaverde performed well when he took over the starting job and the Browns duplicated their '92 record at 7-9. Vardell led the team in rushing and Metcalf was an All-Pro in his all-purpose role. WR Mark Carrier, another ex-Buc, teamed well with Jackson and the line, built around center Steve Everitt, was much improved. The defense was strongest on the line and in the backfield, but the linebackers were showing their age and lack of speed.
The pressure was on Belichick to show greater results in 1994, and the Browns responded by going 11-5 and reaching the playoffs. Testaverde's performance was uneven but the play of other personnel on offense helped. When Vardell went down with a season-ending knee injury, Hoard ably stepped in and was named to the Pro Bowl along with Metcalf. Four starters on defense also made the Pro Bowl, including Perry, Burnett, Turner (who was also a first-team All-Pro by AP and the Pro Football Writers), and ex-Giants LB Pepper Johnson. Both of the team's first-round draft picks, CB Antonio Langham and WR Derrick Alexander, contributed significantly. Having finished second in the AFC Central, the Browns defeated New England in the Wild Card playoff round before losing to the division-rival Steelers at the Divisional level. It was a solid year and expectations were high for 1995.
Those high expectations failed to materialize. Cleveland got off to a 3-1 start, lost three straight, and was at 4-4 before the bottom fell out. Modell announced that the franchise would be moved to Baltimore in 1996 and the distracted club finished up at 1-7 for an overall record of 5-11. Testaverde was benched for four games and WR Andre Rison, who was brought in as a free agent from Atlanta at high cost to upgrade the receiving corps, proved a poor fit and became a negative presence in the locker room. The defense also slipped badly, and Turner was injured for half the season.
After five years, Belichick's tenure with the Browns came to an end. His overall regular season record was 36-44 and 1-1 in the postseason. He took over a team in dire need of rebuilding and had steadily done so, making the greatest progress on the offensive line and the defense. The team had drafted well and, except in the notorious case of Rison, made good veteran pickups to fill holes. Belichick had drawn criticism for his dour demeanor, which alienated the media and fans, and his intensity wore thin, not least with Modell, who initially had given the coach a vote of confidence to go with the team to Baltimore in '96, only to dismiss him instead (Belichick was succeeded by one of his mentors, Ted Marchibroda, under whom he had served in his first assistant coaching job).
Belichick rejoined Bill Parcells, now head coach of the Patriots, in '96 and went with him to the Jets the following year, acting as assistant head coach. He was set to replace Parcells with the Jets in 2000 but backed out to instead become head coach in New England. A year later, the Patriots won their first of six AFC titles and four Super Bowls (to date) under Belichick's direction.


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text:
#ifndef GRPC_CORE_LIB_IOMGR_SOCKET_UTILS_H
#define GRPC_CORE_LIB_IOMGR_SOCKET_UTILS_H

#include <stddef.h>

/* A wrapper for inet_ntop on POSIX systems and InetNtop on Windows systems */
const char* grpc_inet_ntop(int af, const void* src, char* dst, size_t size);

#endif /* GRPC_CORE_LIB_IOMGR_SOCKET_UTILS_H */

redpajama_set_name: RedPajamaGithub


Emily Berry's first book of poems is Dear Boy, which won the Forward Prize for Best First Collection and the Hawthornden Prize. She is a contributor to The Breakfast Bible and editor of Best British Poetry 2015. A selection of her work appears in Penguin Modern Poets 1: If I'm Scared We Can't Win. She has recently been appointed editor of The Poetry Review.


text:
Макопсе́ — курортный микрорайон в Лазаревском районе муниципального образования «город-курорт Сочи» в Краснодарском крае.

География
Находится у побережья Чёрного моря, в устье одноимённой реки Макопсе. Расположен в 8 км к северо-западу от районного центра — Лазаревское, в 65 км от Центрального Сочи и в 133 км к югу от города Краснодар (по прямой).

Через Макопсе проходит федеральная автотрасса  «Джубга-Адлер» и железнодорожная ветка Северо-Кавказской железной дороги. В пределах района расположена железнодорожная платформа Макопсе.

Граничит с землями населённых пунктов: Вишнёвка на северо-западе, Калиновка на севере, Наджиго на северо-востоке и Совет-Квадже на юго-востоке.

Макопсе расположен в узкой низменной долине, в предгорной зоне Черноморского побережья. Рельеф преимущественно холмисто-гористый. Средние высоты на территории посёлка составляют 48 метров над уровнем моря. Абсолютные высоты в окрестностях достигают 500 метров над уровнем моря. В северо-восточной окраине посёлка расположена гора — Тамурдере (518 м).

Гидрографическая сеть представлена в основном реками Макопсе и Водопадная, а также малыми родниковыми ручьями несущими свои воды прямо в Чёрное море.

Климат в посёлке — влажный субтропический (Cfa согласно классификации климата Кёппена).  Среднегодовая температура воздуха составляет около +13,5°С, со средними температурами июля около +24,0°С, и средними температурами января около +6,0°С. Среднегодовое количество осадков составляет около 1400 мм. Основная часть осадков выпадает в зимний период.

Этимология
Посёлок получил своё название от реки Макопсе, в устье которой он и расположен. Макопсе () в переводе с адыгейского языка означает — «сенная река», где «мэкъу» — сено и «псы» — река.

История
Первые поселения на территории современного Макопсе были основаны ещё в эпоху каменного века.

С древних времён в устье реки Макопсе проживали племена зихов, и их потомки адыги и убыхи.

После завершения Кавказской войны и окончательного присоединения Черкесии к Российской империи, практически всё местное население было депортировано в Османскую империю в ходе масштабного мухаджирства.

В 1870-х годах греческому подданному Анастасу Апостолову, русским императором было вручено в дар земли в низовье реки Макопсе. Тогда же сюда начали переселяться понтийские греки, бежавшие из Малой Азии.

Село Макопсе впервые зарегистрировано по ревизии от 26 апреля 1923 года, в составе Вельяминовской волости Туапсинского района Черноморского округа Кубано-Черноморской области.

21 мая 1935 года село Макопсе было избрано административным центром Макопсинского сельского Совета и в связи с упразднением Туапсинского района, передано в состав Шапсугского района Азово-Черноморского края. В 1945 году Шапсугский район был реорганизован и переименован в Лазаревский.

С 26 декабря 1962 года по 12 января 1965 года село числилось в составе Туапсинского сельского района Краснодарского края.

13 января 1965 года село Макопсе было включено в состав города-курорта Сочи, с присвоением населённому пункту статуса внутригородского микрорайона.

Население
Население микрорайона составляет около 2000 человек. В основном это русские, греки, армяне и адыги.

Достопримечательности
Туристической достопримечательностью в селе является — источник Святого Георгия

Образование
МКОУ Средняя общеобразовательная школа № 79 — ул. Свободы, 30.

Кладбища

На улице Макопсинской расположено интернациональное кладбище северной зоны Лазаревского района города Сочи.

Экономика
Основными отраслями экономики в посёлке является туризм. В посёлке расположены несколько оздоровительных комплексов. Развиты сети гостиниц, ресторанов и кафе.

Пляжная зона в пределах микрорайона тянется на 6 километров в длину. В основном вся она покрыта галькой, с небольшими песчаными островами в местах наноса горными реками.

Районы
Посёлок Макопсе исторически разделён на три района — собственно Макопсе (северная часть посёлка с улицами Свободы, Сусанина и Пляжная), Верхнее Макопсе (центральная часть посёлка с улицей Греческая) и Нижнее Макопсе (южная часть посёлка с улицами Майская, Кольцова и Сибирская).

Улицы
Главной улицей микрорайона является улица Макопсинская, по которой проходит федеральная автотрасса .

Примечания

Микрорайоны Лазаревского района
Населённые пункты по алфавиту
населённые пункты, упразднённые в 1965 году
населённые пункты, вошедшие в состав Сочи

redpajama_set_name: RedPajamaWikipedia


text:
Small Business Grants with January Deadlines
The start of a new year is the perfect time to evaluate your business goals and determine how much funding you may need to achieve them. Small business grant programs may help you achieve various goals in 2023. And there are lots of opportunities currently open. If you want to start the new year off with an influx of funding, these small business grants have deadlines in January.
Norcross American Rescue Plan Act Small Business Grant Program
Norcross, Georgia is partnering with Access to Capital for Entrepreneurs to support local small businesses through the American Rescue Plan Act Small Business Grant Program. The program includes $600,000 in ARPA funds to help local businesses that were negatively impacted by the pandemic. The application period closes January 3.
Dulles Regional Minority Small Business Grant
The Dulles Regional Chamber of Commerce in Northampton, Massachusetts launched The Minority Small Business Grant earlier this year. The Chamber's Equity and Inclusion Committee facilitates the program to assist minority owned and operated businesses and foster an inclusive community. The program is accepting applications through January 6.
Ahoskie Façade Grant Program
Ahoskie, North Carolina recently approved a second round of grant funding to help its Main Street small businesses. The Façade Grant Program provides matching funds up to $2,000 to eligible businesses. Applicants must be businesses or commercial property owners on Main Street and submit an application by January 13.
New London WBDC Grants
New London, Connecticut and The Women's Business Development Council are partnering to support local businesses through funding and education. Eligible businesses may receive grants between $2,500 and $10,000. To qualify, businesses must be for-profit, owned by a Connecticut resident, have at least two years in business, and have annual sales between $25,000 and $2,000,000. Businesses do not have to be women-owned to qualify. The next review deadline is January 15. After that, applications will be reviewed on a monthly basis until funding is exhausted.
Pleasanton Business Ventures Grant Program
Pleasanton, Texas recently extended the deadline for its Pleasanton Business Ventures Grant Program. Five local businesses will receive grants of up to $10,000 to support growth and development projects. To qualify, Pleasanton businesses must be registered with both the IRS and Texas Secretary of State. The city is making technical assistance available to qualified businesses through the application period, which ends on January 15.
Staten Island Small Business Grants
The Staten Island Economic Development Corporation is partnering with the Staten Island Chamber of Commerce to run a new grant program. The fund, which is supported by the $10 million New York State Downtown Revitalization Initiative, will provide grants of $5,000 each. Eligible businesses can use the funds to complete small projects like storefront improvements. To qualify, businesses must be located in the St. George, Tompkinsville and Stapleton areas and submit an application by January 15.
Las Vegas Food Programs Grant
Las Vegas is offering grants to local businesses that want to provide food to people in need. The program includes $3.8 million in federal funds, which will help eligible businesses create and operate food programs in underserved communities. Since the program is funded through the American Rescue Plan Act, applicants must meet federal requirements. The application deadline is January 17.
Town of Hopkinton Economic Recovery Support Grant
The Town of Hopkinton Economic Recovery Support Grant in Massachusetts is providing $100,000 to support local businesses. Eligible businesses can apply for grants of up to $5,000 to cover various operating expenses, including rent, inventory, or COVID-19-related supplies. Applications must be submitted to town offices by January 19.
City of Boise Small Business Grant
The City of Boise Small Business Grant program is currently accepting applications from local businesses that were negatively impacted by the pandemic. The city is partnering with United Way of Treasure Valley to facilitate the program. Eligible businesses can apply for mini-grants of $4,000. To qualify, businesses must have fewer than 20 employees and under $1 million in annual sales. The application period closes January 31.
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