This paper examines the evolution of the municipal public park in Manchester from the Victorian people's park to the Edwardian (and later) citizen's park. The linguistic shift from the people to the citizen is mirrored in the change of emphasis from recreation (directed, purposeful, top-down, paternalistic) to leisure (less directed, more individual, utilitarian) in the early decades of the twentieth century. Manchester's first municipal parks were opened in 1846 but it was the acquisition of the 650 acre Heaton Park in 1901 that initiated the gradual move away from the Victorian park and the reorientation of leisure towards a more socially independent model. The paper examines the key facets of this transition: the impact of the provision of diverse sporting amenities, the development of leisure and non-leisure uses of municipal parks (a new reservoir was built at Heaton Park, for example) and the park as a contested space where different visions of the civic order were enacted. The role of various local commentators, newspaper reports and influential philanthropists and businessmen will also be examined to determine their relationship to the significant decision-makers on parks and leisure within Manchester City Council. From these often-conflicting views, a new definition of the municipal public park emerged. The Edwardian park did not seek to unify all social classes but often unwittingly reinforced the differences of class and gender. Its spatial and temporal zoning and emphasis on paid-for sporting amenities prompted a new kind of leisure based on ideas about self-help and social responsibility, corner stones of citizenship in the early twentieth century. The concepts of physical fitness and citizenship were closely interlinked in ideas about health, national efficiency and the future of the British Empire. Newer social movements such as scouting also emphasised these elements, drawing leisure into new debates about education, child rearing and the common good. This paper will argue that the Edwardian park provides the ideal opportunity to study the emergence of a new definition of leisure and a world where leisure was a right and not a privilege.


"Eco design is not a fad, it's a necessity."
The Dutch designer Piet Hein Eek has made a living working with scraps. Scraps of wood, to be exact, which he's ingeniously turned into a visual device while drawing attention to the issue of consumer and manufacturing waste.
Eek, a graduate of the Academy of Design in Eindhoven, began gaining attention for his hand made furniture—crafted from discarded pieces of wood—long before his first Scrapwood wallpaper collection debuted on the trade circuit in 2010, wowing with tapestries of hyper-realistic scanned images of distressed wood compositions, and launching an esthetic of imperfection that continues to define his work both literally and metaphorically. His Waste Material Projects, dating back to the 1990's, transformed mismatched leftover wood pieces into painstakingly hand-crafted furniture—each item as much a statement about wasteful practices as about re-contextualizing material traditionally regarded as ugly and useless.
And his 2014 Waste Waste collection took the exercise a step further by leveraging leftover material from his scrap wood furniture projects—waste materials from waste materials, in other words—in service of another suite of one-off furniture pieces. "The material is the most important element of every project", he explains, "If you treat it well, in some way it will reciprocate your affection."


The actor: Eric Ladin has a filmography that discerning TV fans can't help but admire, having appeared either in one-off or recurring roles on Veronica Mars, Mad Men, Big Love, Justified, Dexter, and Boardwalk Empire, and was also a series regular on HBO's Generation Kill and AMC's The Killing. Although his film career got a recent boost through a high-profile role in American Sniper, Ladin is currently back on HBO as part of the ensemble cast of The Brink.
Eric Ladin: I can confidently say that I'm having more fun than I've had doing anything in a very long time. [Laughs.] I had a blast. Not only because of the people involved and the material, but also the character. I received an audition for a character in the show called Glenn that was going to be a recurring guest star, or he might recur or he might not. They weren't really sure what they wanted to do with it. And I went in and met Jay Roach, Roberto Benabib, and Kim Benabib, and I took a stab at a character that wasn't necessarily totally on the page but something that I had in mind that I thought would work. And then I met with Pablo Schreiber and did a little chemistry read with him, and then they basically offered me a series-regular role based on what I'd come in and done. They thought that it was a character who could not just recur but live in their series all the time.
So it turned out to be great for me, and I've literally been having the time of my life on the show. Pablo and I, I feel like he and I really share a lot of the same qualities in term of work ethic, and we have a really great chemistry. And the writing staff has just been beyond phenomenal in terms of giving me the opportunity to make this guy my own and really explore the depths of this guy Jammer. So I've had a big part in helping build this character, as opposed to coming in and having it already been built out for me. So it's been really great, both creatively and everything else.
The A.V. Club: So who is this Jammer guy?
EL: Jammer's a guy who is a phenomenal fighter pilot. He's a guy who I think maybe wasn't necessarily the most popular guy in school, but also probably isn't the smartest guy in the world, but there's one thing he knows and there's one thing he's good at, and that's flying planes. And he's found a perfect compatriot in Zeke, his counterpart, played by Pablo. And these two guys together somehow managed to get themselves into trouble but also find their way out of trouble and compromising situations in the most entertaining of ways.
AVC: You've got a number of military-related projects in your back catalog, but to look at you, you wouldn't necessarily scream "military man" to the average person. Do you think you owe that to Generation Kill?
EL: I owe it to being able to kill somebody with my bare hands.
AVC: Well, sure, that helps.
EL: [Laughs.] You know, it's funny. I'm from Texas, I've got a little bit of a Southern dialect in my tone, in my voice, and I think I have a look that kind of fills that all-American look: a guy who's not necessarily the best-looking guy on the block but looks like someone you see in the military, and, I guess, a face that relates to that world. You know, most guys, you think "military" and you think Navy SEALs or recon Marines, both of which I've played, and I think a lot of people think that's a guy who's got a huge build. But typically those guys aren't that. They have a body type that's similar to mine. And they're mentally tough, and—it probably goes without saying—physically tough as well, but they're not always the biggest guys in the room. So I don't know, I guess I just tend to fit the mold, but you're right, I do play a lot of them since Generation Kill. That was kind of my first big project, and it's definitely a role that I feel changed my career path.
AVC: So how did you get that role? Not that you hadn't already been a working actor by that point, but as you say, it was definitely a game-changer for your career.
EL: Yeah, I'd been in the industry a little bit and guesting on a lot of shows, I'd booked pilots, but none of them went, but I'd never been on a series as a regular. Generation Kill did that for me. It also was my first job with HBO, where I've now done six or seven projects. And it came at a time in my life when I think I just needed it the most and it was the most beneficial. I was in my late 20s, and I was working with 32 or 33 other great actors who were all kind of in a similar position as I was, and we spent seven months in Africa doing some amazing work. The experience itself is one that I'm not sure will ever be matched in terms of the life experience that it brought with it. And I got to work six days a week, usually 13 or 14 hours a day, and you become a better actor. Even though you may not know it while you're doing it, you can't help but become a better actor when you're working six-day weeks, 14-hour days, for seven months. And I think that that allowed me to have that opportunity and kind of get back here with the confidence that I needed to take the next step.
AVC: Was there a training process before you started filming?
EL: There was, yeah. We went to Africa about two weeks earlier, in Namibia, and we trained with some recon Marines who stayed with us as technical advisors, and some acted in the show. We did everything from classroom stuff, learning the vernacular and just the way of life of a recon Marine and what it is that they're trained to do. And then we got on our feet, and we cleared houses and handled weapons and basically did mock missions, if you will. We had objectives that we had to do, and we actually remained in character, so structurally speaking the guys who played lieutenants acted as lieutenants, and we took the Humvees in the middle of the night and tried to capture a prisoner in a village that they had built, and we had technical advisors played the adversaries who were fighting against us. So in those two weeks, we got a lot of work done, we spoke to each other as we would speak to each other in character, and we had a lot of bonding over those two weeks that I think helped build the chemistry and the world and atmosphere which you see on-screen.
AVC: You'd only worked on network series up to that point. When you did Generation Kill, did you have the sensation of, "Oh, my God, so this is what TV can be"?
EL: I did. When you work for a company like HBO and you see the detail and the specificity that they put into their projects, the caliber of people across the board that are working on those projects, and the time they spend… so much of it is about them allowing the artist in whatever capacity—whether it be an actor, director, writer, cinematographer, camera operator, or set designer—the time, the opportunity, and the resources they need to make the best product available. And I realized that one that job. You know, we shot seven hour-long episodes over seven months, so when you put that into perspective that we were working six days a week, that's one month per episode. Now, granted, there was a lot of big stuff that we needed to do, production-wise. But that just doesn't happen. That's not something that happens normally in television. So it opened my eyes to it, and it made me want more of it, and it's what drawn me to work for them as much as I possibly can, because I know their model is something that I am drawn to. It's the TV I'm drawn to.
AVC: If IMDB can be trusted, it looks like your first on-camera role—excluding commercials—was on an episode of Boston Public.
EL: [Laughs.] That's it! Right there! Man, I was so excited for that day. They came to USC. I was a student, and I had gotten my Screen Actors Guild card because I had started to do commercials at the time. But they did a cattle call, an open casting call, at USC because they needed high schools kids, so they were starting to look at colleges in the area to try and get kids. So I went and I read, and then I got a callback, which meant that I had to drive to Manhattan Beach to David E. Kelley Studios and read for producers, which at the time was—I mean, I had two lines, and I must've said them five trillion times on my way over there. But I got there and I said them and I left, and it was just so invigorating… and then I got the job!
I remember calling my mom and my dad and telling them, and I had made it! Really, truly, I had made it! This was it! And I did the job, I had a blast, and then fast-forward to a few months later, and… it was cut! [Laughs.] The lines were just not even there. So it was a sad process, but it was a great process, because in one job it taught me how exciting it could be and also how heartbreaking it can be in this industry. But I was assured by a director who I happened to be family friends with and who knew the showrunner and had gotten the tape so I at least had it for my reel, that it was for time and not for performance. But whatever the case, it was not on the air. So it was a quick lesson for me to not get too excited about something until you actually see it.
AVC: What's funny is that, in looking through the cast of that particular episode, it's also the one episode of Boston Public that Brent Sexton did.
EL: You're kidding! Wow, I didn't know that. That's fantastic! You know, Brent Sexton and I also—before The Killing—worked together on the pilot for a NBC series called Surface, in which myself and he and an actor named Jay Ferguson—I played Jay Ferguson's brother, and he played Jay Ferguson's best friend, and we all went fishing together in the pilot, and I had an unfortunate event take place: I was eaten by a sea monster. [Laughs.] And that kicked off that crazy intense series about a sea monster, much like the Loch Ness monster, except in Louisiana. So, yeah, I worked with Brett Sexton there, too. Wow, that's funny, though: I had no idea that he was involved in that episode of Boston Public.
AVC: IMDB lists you as being in four episodes of Surface, but you're technically uncredited in three of them, which make sense if you got eaten in the pilot. Is it listed like that because they continued to show the clip of you being eaten in the "previously on Surface" montage?
EL: No, you know, what happened is… [Starts to laugh.] It's really funny, because when you start out in Hollywood, there's kind of an ongoing joke among old actors when they hear young actors say, "I got this job, and it's amazing, and I die at the end, but the producers were really nice, and they said I might come back in flashbacks!" When you're a young actor, you get so excited about the idea of coming back in flashbacks, which—as we all know—never happens. Except in this instance, when it did!
AVC: It's weird, because the credit is on IMDB. It's just that next to the credit it says "uncredited." So you may not be credited on the episode, but someone knew you were in it, so they listed you on IMDB anyway.
EL: Dude, that was really fun. And what's funny is that I happened to go through a photo album the other day, and I saw a photo from Cursed: it was myself, Jesse Eisenberg, and Milo Ventimiglia, guys I worked with on that job and haven't seen in forever but are doing great. It was just kind of a thing where you look at it and you go, "Wow, I've been doing this for awhile." You kind of forget.
Cursed was great. I modeled Louie after a character in one of my favorite movies: one of the Cobra Kais in The Karate Kid. [Laughs.] Because he was this clichéd henchman to Milo's character. Milo played the lead bully, and I was just always behind him, wearing an instigating smirk. And when we get to the wrestling match, like the Cobra Kais and their karate match, I wrestle Jesse Eisenberg, and he starts to gain his werewolf powers while he wrestles me, beats me, and tosses me across the gym? I feel like that's how it went. But, yeah, it was fun. And it was my first big movie, and it was Wes Craven, obviously a maven in the horror genre, so it was very cool to work with him early in my career. And Cursed makes me laugh. It's funny.
AVC: So were you at all involved in the infamous restructuring of the film? Because the only person I've talked to from the cast is Scott Baio, and he just seemed completely confused as to what had gone on with that film.
EL: Yeah, all I know is that about a year after I shot the movie, I got a call saying that they were going to reshoot something and "you're gonna need to come back." And I'd just shaved my head for another part, so I'm like, "I don't have hair!" And they said, "We'll put a wig on you." It was just so weird. Nobody really knew what was happening, and then you go to the premiere, and I honestly never even knew what was reshot, what was rewritten. I have no idea. I think in the end, after everything was said and done, it turned into an $80 million or $90 million movie that was supposed to only be about $40 million. It was bad.
EL: Yeah, so, there you go. I really do believe that was the case. I have no idea what those numbers were, obviously. That's way out of my pay grade. But that sounds about right.
AVC: Now, you mentioned that Cursed was your first big movie. Again, this is based on IMDB, but does that mean that you don't rate Toolbox Murders as a "big movie"?
EL: You know what? I was actually shooting those at the same time, which was really interesting. But, yeah, Toolbox Murders wasn't as big of a budget a movie. You know, looking back, it's so interesting, because I shot these two horror films essentially at the same time—I don't remember the timeline exactly, it's been a little bit—but you're working with Tobe Hooper, who directed Toolbox Murders and who's iconic in that world, and you're then working with Wes Craven, who's also iconic in that world, doing this huge budget movie.
I so vividly remember walking after working on Cursed, and how budget of a budget it was, with craft services, and we shut down Hollywood Boulevard and shot at Madame Tussauds Wax Museum, and the effects that they had with cables and pyrotechnics and yadda yadda yadda. And then I remember walking on set to Toolbox Murders, and this budget was next to nothing, and they had this catheter that they were putting in this face mask, and they were just going to physically be under the camera with a little pump, pumping blood out of the nose or neck of somebody. It was literally like a student film versus a Hollywood blockbuster, but it was really interesting because I'd never worked in those two realms to see the differences so close together. Craft services was a folding table with some Nilla Wafers versus an omelet bar. [Laughs.] So I was quickly learning the differences in budgets, where the money goes, and how it's spent.
I waited for 45 minutes or an hour, and then of course I went in and met Matt Weiner and had a great time with him, and I ended up getting the show. And I thank my stars that I didn't become an idiot and walk out because it was taking too long and I was too hot in my wool suit. [Laughs.] But it was such a fun role. I mean, to be able to be part of a show that I consider one of the most influential television shows in the history of television… I really feel that Mad Men broke the mold and paved the way for cable television drama. And where we are right now, in what people like to consider the golden age of TV, I look back and point to Mad Men at AMC. AMC, who was known for playing old movies, decided to take a leap and go into scripted television. And now, however many years later, we've got all these cable networks who are doing the same thing. And it's because of Mad Men!
They took a chance and let them tell this story in a way that never would've lasted on network television, and they did it beautifully, and they did it people who weren't stars, with actors who were great talents. It's really phenomenal. I'm thrilled that I was able to play a part in it, and William was a lofty little punk. But I had a great time with Jon, a great time with January, and with Matt Weiner. My only wish is that I wish I would've gotten to do more, because I love that period. I loved wearing the clothes, I loved everything about it.
AVC: I'm not going to tell you that I necessarily see a sibling resemblance between you and January Jones.
EL: [Mock huffiness.] So I'm not as beautiful as January Jones? Is that what you're saying?
AVC: I'm just saying that the resemblance eludes me.
EL: Just the creepiest doctor there ever was. [Laughs.] But really a ton of fun. And I don't mean to sound repetitive here, but I really do feel so lucky to have worked on the shows that I've gotten to work on and play the characters that I've gotten to play. So when I say this stands out as one of my favorites, I really, truly mean it, even though it sounds like I'm saying it about every role. But Big Love was great. Working with Chloë [Sevigny] was great, and to play a doctor as creepy and lascivious as Roquet but not play it on the nose was really a fun thing for me to do.
I remember one story that kind of stands out to me, and that's when I had a scene in which I had just loads and loads and loads of medical jargon and terms that I had to remember. While I was doing it, I was putting on my rubber gloves and grabbing a needle and administering a shot to Chloë's upper thigh. But the key was that when I drew the fluid from the little vial, it was a real needle and a real syringe, but then I had to set it on a table and make sure I picked up the stage fake needle to puncture her thigh with. And I was so nervous that I was going to pick up the wrong needle, all the while trying to say this dialogue. I think we did 25 takes, because I couldn't get it right. I kept messing up the words.
I've never felt as nervous on a job as I did on that one scene on that one day, where I just couldn't get it right. And I remember Chloe was so nice, and she was, like, "Take your time. Don't worry. If you stick me, you stick me. It's no big deal." I'm, like, "Yeah, but my hand is literally on the top of your thigh with a real needle." [Laughs.] And I'm trying to say the jargon and all the while trying to act at least somewhat decent. So I always remember that story, and whenever I see guest actors or somebody who's in a similar situation, I always try to go out of my way to make them feel comfortable, because I've been there.
AVC: Did the AMC connection from your stint on Mad Men have anything to do with you getting into the mix for The Killing?
EL: You know, I don't think it can hurt. People have asked me that before, and if the network knows you and they like your work and they know your work ethic, I'd like to think it played a part and it helped. But it was a completely different production team. I think that, more than that, the casting played a part, because at the time I was about to sign on to do another show that I had an offer for, and my manager sent me the script for The Killing, I just said, "I've got to do this show! I love it, I love it, I love it!" And I was the first person to read. Like, they weren't even reading my character yet. I was literally the first human to read for the show, because I had to see if I could get in there and read and get an offer before I signed on to do this other show. And they called, and they said, "Well, yeah, we love him, but we're not planning on casting that role yet." It was that early in the process. So I really attribute it a lot to the casting directors, because they were the ones who reached out to me and said, "I think you're right for this role. Read the script, tell us what you think, and if you do like it, get in here ASAP before you sign on to do another show if you really think this is right for you." So I think it was predominantly them, but I sure don't think my relationship with AMC hurt. But, yeah, I loved it. That was a great experience for me.
AVC: So were you shocked when everyone threw a conniption fit about the lack of closure at the end of season one?
I do think that there were things that AMC could've handled differently publicity-wise to not mislead people and not make people think that they were going to find out. But at the same time, I watch Homeland and all of these other shows that leave you hanging, and people don't freak out about those. So I still maintain that they did the right thing by not revealing it. I think one of the things that they could've done in hindsight—which, of course, is 20/20—is that they could've called it season 1A and season 1B, or they could've just said, "This is still season one, we're just taking a hiatus, and then we're going to pick back up." Then it wouldn't have been a big deal. But because it was the season finale, people just couldn't handle it.
But I also think it was at a time when these serialized shows were still relatively new for current audiences. Now there's a lot of shows like that, but at the time, The Killing was really and truly one of a kind, so people were still used to having things wrapped up in a bow. Okay, maybe not at the end of every episode, like on a typical procedural, but surely at the end of the season. And they weren't ready to say, "Well, we'll just go on this ride for another season, and we'll pick it up again in six months!" They weren't ready for that. But, I mean, Game Of Thrones, for God's sake, they don't give you anything! [Laughs.] Yeah, they usually kill somebody in the penultimate episode, but other than that, they're not wrapping everything up in a bow!
AVC: Did you have a favorite Jamie plotline?
EL: I loved the second season. I loved all the stuff that got to happen in season two and, obviously, the final couple of episodes, when at the time I knew—but no other actors or crew people knew—that I was involved. Oh, sorry: spoiler alert if you haven't watched it! [Laughs.] But, yeah, those last three episodes were really, really fun and really challenging. And Patty Jenkins, who had shot the pilot, which I think is one of the best pilots ever made, came back and shot that season finale. I love working with her. She's such an actor's director and really took the time to map out the arc of how we were going to do it. That'd probably stand out as one of the most fun parts.
AVC: So how did you feel about Jamie's ultimate fate?
EL: I felt it was fitting. You know, I felt that it explained a lot about him, and what you came to realize was that Jamie wasn't an evil person, but there are times when… I think he looked at Darren Richmond as somebody he would literally do anything for, and he would do anything to keep his job and maintain his job and try to get Richmond elected. And he didn't mean to kill her—and I guess he didn't, technically—but he got so wrapped up in the moment that he lost himself and did something that he'd probably regret forever… or would've, if he hadn't died. [Laughs.] But that was that.
AVC: Well, let's just presume that he at least regretted it right up until that point.
EL: Well, he essentially committed suicide, so it wasn't as if he didn't know that what he did was wrong. By grabbing the gun and pointing it, he knew he was going to get shot and killed, so I think that says a lot about who he was.
EL: Yeah, man! You know, Justified is such a cool show, so when that came along and that offer came through, I just said, "Yeah!" Again, it was a case where just having the opportunity to work on the show was so cool, but working with the people I worked with on the show was great, too. I got to play a meth head, which I hadn't gotten to do before, and I got to wield guns, which I do often, as you know. [Laughs.] But I got to do it in a way where I wasn't playing military. I was playing a meth head, so it was someone who didn't really know how to use a gun but had a gun anyway, and he was tweaking out a little bit, so it was awesome, man. You know, something I'm really anxious about—and I actually just talked to my team about this—is that I'd really love to do a Western. So doing something that's even leaning into that world, that's good by me.
AVC: You've obviously done a number of one-off episodes, but I'd be remiss if I didn't ask you about the fact that you're in the final episode of Dexter.
AVC: Had you been a fan of the series?
EL: I had. I'd been a fan of the series, and I'd watched probably the first four seasons, maybe through the fifth season. Up through the John Lithgow season, but I can't remember which one that was. But because of work and being out of the country, life kind of took over, so I'd missed out on a couple of seasons, but I really loved the show. It was one of my favorites. I was in New York doing Boardwalk Empire at the time, and they called me and said, "Hey, we've got a part on Dexter, and it's on the series finale. We can't tell you anything about it, but we're not auditioning, we'd just love for you to play a part. Will you do it?" I was, like, "Um, can you at least tell me a little bit about it?" [Laughs.] And they said, "Welllllll, we can tell you that you're going to play a veterinarian. And you're going to lose your tongue." And, of course, I said, "Well, that sounds too fun to say 'no' to." I mean, I get to lose my tongue? That's cool, right? So I said, "Yes," and it was great. It was loads of fun. I would've loved to have worked with Michael [C. Hall], but I'm sure that opportunity will come some other time. But to be a part of that show, even for just a split second or a cup of coffee, as they say, was really cool.
AVC: Did you get to keep your tongue?
EL: I didn't! I never even got a prosthetic tongue for them to cut out. It was kind a bummer. All I got was a mouth full of blood.
AVC: Ah, well. You get what you get.
EL: [Laughs.] Exactly. But it was good: I went from playing J. Edgar Hoover in New York to get my tongue cut off.
AVC: In playing Hoover, did you feel obliged to study up on him, or did you just stick to the portrayal as written in the script?
EL: No, I studied a lot. That was one of the most scary jobs I'd taken, just because I knew how he's such an iconic figure, and people know so much about him and have these ideas of him, and on a show like Boardwalk, where you know it's going to be written well and done properly. I was extremely nervous. So I did a lot of research on him and his early life, and also his later life, but I kind of focused mostly on the time period I was playing, as well as his childhood and what got him to the point where he was at the time where I was going to play him. And then I had a dialect coach to help me in that regard, and I guess my theory or process when you play somebody like that is that you have to research, research, research, and then once you start going, you've just got to have the confidence and trust that the work is going to be there, and that's it going to be good enough, and then you kind of let go of it. I mean, I didn't want to impersonate J. Edgar Hoover. It was just kind of my take on him at that time.
But it was really one of… [Starts to laugh.] Here I go again! But it really was one of my favorite jobs, because it was so challenging. The dialogue was challenging. But to get to have the scenes that I had with the actors that I got to work with, like Brian Geraghty, was great. The creators of that show, Terence Winter and Howard Korder, all of those guys are so good, and they're so giving, and they allow so much time. Again, HBO, you can have as much time as you want on that show to make sure that you're happy with your work. So it was phenomenal. Absolutely phenomenal.
EL: [Laughs.] I mean, best day ever, right? So I had a lot of fun doing that. That's really about all I took away from it, but I'm not sure that I needed to take any more from it. That's about as good as it gets!
EL: I had auditioned for another role, and Clint [Eastwood] had responded, but he responded to say that he thought I'd be well suited for this role. I loved it, man. I mean, it's an opportunity to work with Clint Eastwood! Even though it seems like those might be numbered now because of its age, he's as spry as can be, so who knows? Maybe they're not as numbered as they seem. But to work with an icon like him, that's just something that you can't turn down. You can't do it.
And to work with Bradley [Cooper], who—I'm not sure there's an actor right now who's more on top of his game than Bradley, and he's as professional as they come. He was so wonderful to work with, and he's somebody who I have a relationship with now. He's really a phenomenal, phenomenal dude. So those two guys alone made the process worthwhile. So I had a good time, and I got to play a Navy SEAL. I've obviously done similar roles, but never a Navy SEAL, so that was a lot of fun. I just had a good time. The time in Morocco was fun, and I met some cool guys along the way. But I think what I'll take most from it is working with Clint and working with Bradley, and hopefully I'll get a chance to work with both of them again soon.
AVC: Meanwhile, what I'm taking from this is that you've played guys named Gopher and Squirrel… and, better yet, I just asked you about them back to back by complete coincidence.
EL: [Bursts out laughing.] What does that even mean? What's next for me? Playing a guy named Beaver? I don't know which one of them is my spirit animal. Maybe if we could put them together. If we could have a Navy SEAL that was ripping bongs in a robe and a Speedo, then that's my guy.


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Congratulations to Mihai Duduta
Congratulations to Mihai Duduta, who will join the faculty at the University of Toronto as an Assistant Professor of Mechanical Engineering!
Congratulations to Noah Jafferis
Congratulations to Noah Jafferis, who will join the faculty at the University of Massachusetts as an Assistant Professor of Electrical...
Congratulations to Elizabeth Farrell Helbling
Congratulations to E. Farrell Helbling, who will join the faculty at Cornell University as an Assistant Professor of Electrical and...
Congratulations to Andy Cohen
Congratulations to Andy Cohen for winning a 2019 National Defense Science and Engineering Graduate (NDSEG) Fellowship!
Congratulations to Jennifer Shum
Congratulations to Jennifer Shum for winning a 2019 National Defense Science and Engineering Graduate (NDSEG) Fellowship!
Congratulations to Nina Sinatra
Congratulations to Nina Sinatra who will join the Advanced Technology and Project Groups at Google!
"Increasing the dimensionality of soft microstructures through injection-induced self-folding" is the cover of Advanced Materials....
Congratulations to Hongqiang Wang
Congratulations to Hongqiang Wang who will join the faculty at the Southern University of Science and Technology as an Assistant...
Congratulations to Ryan Orszulik
Congratulations to Ryan Orszulik who will join the faculty at Yorke University as an Assistant Professor of Mechanical Engineering
Congratulations Huichan Zhao
Congratulations to Huichan Zhao who will join the faculty at Tsinghua University as an Assistant Professor of Mechanical Engineering.
"Rotary-actuated folding polyhedrons for midwater investigation of delicate marine life" appears in Science Robotics...
Congratulations to Zeynep Temel
Congratulations to Zeynep Temel who will join the faculty at Carnegie Mellon University as an Assistant Professor in the Robotics Institute.
Congratulations to Brennan Phillips
Congratulations to Brennan Phillips who will join the faculty at the University of Rhode Island as an Assistant Professor of Ocean...
"Controllable water surface to underwater transition through electrowetting in a hybrid terrestrial-aquatic microrobot" appears in Nature...
Congratulations to Tommaso Ranzani
Congratulations to Tommaso Ranzani who will join the faculty at Boston University as an Assistant Professor of Mechanical Engineering
Congratulations to Sheila Russo
Congratulations to Sheila Russo who will join the faculty at Boston University as an Assistant Professor of Mechanical Engineering
"The Principles of Cascading Power..." appears in Science
"The Principles of Cascading Power Limits in Small, Fast Biological and Engineered Systems" appears in Science....
Congratulations to Rebecca Steinmeyer
Congratulations to Rebecca Steinmeyer who is the recipient of a National Science Foundation Graduate Research Fellowship
Congratulations to Zachary Manchester
Congratulations to Zachary Manchester who will join the faculty at Stanford University as an Assistant Professor of Aeronautical and...
Congratulations to Jesung Koh
Congratulations to Jesung Koh who will join the faculty at Ajou University as an Assistant Professor of Mechanical Engineering.

redpajama_set_name: RedPajamaCommonCrawl


When living in London I got exposed to the notion of wearing shorts in the wintertime within a multi-layered outfit scenario. Once upon a nostalgic afternoon in New York City, I decided to bring my woolen winter shorts down from the shelves and back to existence. It was happening. They make their way, accompanied with a color-blocked sweater worn over a silky printed grey blouse. The ensemble combo encompassed a rich, playful wintery color pallet with elements of color blocking and prints. The silk blouse projected a structure sharp collar, which I really appreciated. I completed the look with a dab of purple lipstick and my trademark purple scarf.
On the very same day I came across a cute little vintage store on 9th street by the name of "Glasgow Vintage Co" where I encountered a beautifully structured Scottish Male military Jacket in a size small. Legendary. The olive structured affiliate enhanced the look and created the precise finishing touch – an attire resembling a vintage school boy uniform.
Photography by Kornelija Slunjski and ArtMosen.
Boots: Gray by Saks Fifth Avenue.


This morning I got a message from someone who wanna start blogging or creating a website. You can look on Google, and you will find many tips. When I do a fast search on 'how to create a website' Google says 'About 1.400.000.000 results.' Oh god, that is much! You can start in many different ways, and the result will be the same you will have a website or blog. But not all the ways you can follow are the smartest, cheapest, most efficient or best ways.
The first thing you need to know is why you want to have a website. Do you want to start a blog about your pets, hobbies or things you like? Do you want to have a simple business website to promote your business? Do you want to start a webshop? Or do you need something custom like an online business service? All these types of websites have their platforms.
It all starts with your experience, well this isn't always correct. It all starts with what you want to learn. Everyone can make their own website, but not everyone will make it even beautiful or even fast. If you have no experience, and you know you don't have the courage to learn a lot quickly, you can start with some easy free website building tools like wix.com or webs.com. Those tools are very easy to use but not that professional. If you need a business website? Do not use one of this! If you have a little bit more courage and willpower, and you want to start a blog or business website, I suggest you start with WordPress, Joomla or Drupal. Those tools are free to use, basic but very deep customizable, well documented and there are tons of information and people online who wanna help you. When you want to start a small or medium web shop, I suggest you start with WordPress in combination with WooCommerce (WordPress will be your blogging and website part, WooCommerce will handle your webshop). If you want to start a gigantic web shop? I would say start with Magento or some similar tools. If all these tools aren't good enough for your needs? Then make something custom and use some framework like Laravel, Phalcon, Symfony 2, Yii Framework, Codeigniter, CakePHP or Zend.
With the tools, mentioned in the previous paragraph you can start building your website for free, you can find some cool paid are free plugins and templates. But if you need something good? Something like a business website? I think it's better to search a local web developer or designer. They know what they are doing and, you don't have all the problems that come with it. Maybe it looks not cheap, but you will get it back sooner or later. You really can find someone who can make a small business website for less than € 500 – 1,000. If you work at 30€/h, you can spend 15-30h building your website. When it's the first time you create a website, I think you will spend more than a bubble of that to have slightly the same result.
Another big part of a website is the power, speed, and accessibility. You can find many cheap hosting companies al over the world. But don't think to big, when you have a business in Europe? Search a good web hosting in Europa or your country, don't search some cheap hosting provider over the sea. It can be possible that it isn't cheap, but it's a lot better for accessibility and support. You don't want to see that your website is down, and you need to wait some hours to the support team of your hosting due the time difference.
Creating and make sure that your website is online is one part. Now comes the maintenance. When you looked at the world five years ago or now, you will see that it's very different. Certain digital, daily the tools you use will have updates. It's very important that you keep you website and services up to date. You don't want to use a tool that is more than one year old without an update, and it's very dangerous. Your website can be hacked in minutes maybe seconds. When you use WordPress or Joomla or any other CMS system, it's very easy to keep your website up to date. But it cost time. You can do this all by yourself, and I suggest to do that if you want to reduce some costs. But what if you just updated a plugin and your website isn't working as before? If you have a budget, you can maybe search someone who can help you and do all the necessary updates for you. When you website is created by a web developer or designer ask him more information about this, maybe he can do this for you, or he knows people who can do the maintenance.
Time is money, building and maintaining your website will take time, but it is worth it. Your website is mostly the first thing new customers see about you, and it need to be interested, contain a lot of information and need to be always accessible. It's better to spend 1, 10 or 100 euro more to a website and knowing everything is working as it should do then don't spend money on it and miss potential customers.
If you need more help or tips about starting your website, you can always contact me! Are you looking for a good and cheap web developer, Webhosting or domain name? Contact me! I will help you searching the people you need! I know the best places where you can find the best quality for the best price.
You can contact me at tjebbe.lievens@tpweb.org or comment below!


text:
Buhari Vs Bakare: Time To Touch The "Anointed"
By William Nana Beeko
"Let me tell you the truth by the spirit of God, neither (President Olusegun Obasanjo), OBJ, Atiku (Abubakar), IBB and this tall one, (Muhammadu) Buhari are part of the new. They are part of the old that is decaying. That old one is passing away. The new is emerging and these ones are not part of that new."
- Pastor Tunde Bakare, the Serving Overseer of The Latter Rain Assembly, Lagos and the Vice Presidential Candidate to Retired General Muhamadu Buhari, on the platform of the CPC in 2011 Elections, in the PUNCH of October 2, 2006
It is an open secret in the media that Pastor Tunde Bakare is a very close friend of this administration. This ought not to be a surprise to observers of our contemporary political trajectory. This is because Pastor Tunde Bakare has been a close friend of President Mohammadu Buhari for some time now. He was even President Buhari's running mate on the platform of the Congress for Progressive Change (CPC) in the 2011 Presidential Elections.
I have no doubt that President Buhari has a yeoman's task in his hands. I am very sure that he needs a lot of prayers for him to succeed, if he is able to overcome his own incompetence and idiosyncrasies. I know that Pastor Tunde Bakare would be praying for President Buhari's success because it is very certain that he would not want his friend to fail.
Also with Vice President (Pastor) Yemi Osinbajo, coming in tow with his retinue of RCCG pastors (even his Spokeperson is a Pastor of RCCG), President Buhari would have more than enough prayers to be successful in his tasks to cleanse Nigeria of corruption. If President Buhari fails in his task to turn Nigeria around, it would not be because of lack of enough prayers, it would be as a result of other variables that would be clearer to Nigerians as the days, weeks, months and years go by.
Mohammadu Buhari is the President of Nigeria today. And Nigerians apparently have a lot to do with this, either wittingly or unwittingly. Yet we were once told through prophesy by Pastor Tunde Bakare that Buhari was "part of the old" that was "decaying." Pastor Bakare told Nigerians in 2006 that Buhari was part of the "old ones" that were "passing away." He posited stubbornly "The new is emerging and these ones are not part of that new" as he piled up the names of Olusegun Obasanjo-Onyejekwe, Ibrahim Babangida and Abubakar Atiku on the same list.
In a report for PUNCH newspaper by Ademola Oni on October 2, 2006, Pastor Bakare's vision was detailed as follows:
"The Serving Overseer of The Latter Rain Assembly, Lagos, Pastor Tunde Bakare, on Sunday said the dream of a former military President, Gen. Ibrahim Babangida, to rule the nation in 2007 would fail.
Bakare, who spoke at a special programme of the church titled, 'If the truth must be told" in Lagos, said the script to install Babangida was already being acted out.
He said, "As it is right now, only God can stop IBB from becoming the president of this nation again. You are likely to disagree but the strategy to bring him back has been perfected and the script is being acted out. "But there is good news there because God has shown me how to stop him."
The cleric, who did not tell his audience the strategy to stop the Minna-based General from becoming the president in 2007, added that none of the presidential front runners would make Aso Rock.
Bakare said, "Let me tell you the truth by the spirit of God, neither (President Olusegun Obasanjo), OBJ, Atiku (Abubakar), IBB and this tall one, (Muhammadu) Buhari are part of the new. They are part of the old that is decaying. That old one is passing away. The new is emerging and these ones are not part of that new.'
Now that "this tall one," Buhari, has become the President, what has Pastor Bakare got to say to Nigerians? Now that Abubakar Atiku is a kingmaker behind the scenes and a trusted "man Friday" for President Buhari, what has Pastor Bakare got to tell Nigerians? Even Olusegun Obasanjo-Onyejekwe whom Pastor Bakare told us was not "part of the new" had some Ministers in this Buhari's Cabinet where the supposed kingmaker Ahmed Bola Tinubu could not even point to one!
What explanation has Pastor Bakare got to offer to Nigerians and those who attend his church? Is he a fake prophet making fake prophecies? Was Pastor Bakare lying against Eledumare, God the Almighty? Obviously, with the turn of events, his prophecies have not been true and could not have been from Eledumare, because He, Eledumare does not make mistakes. Even someone like me with my agnostic flirtations, know that Eledumare does not make mistakes. God does not lie.
The Christian Holy Book called the Bible even told us in the book of Deuteronomy Chapter 18, verses 21 to 22 as follows:
"And if thou say in thine heart, 'How shall we know the word which the Lord hath not spoken?' When a prophet speaketh in the Name of the Lord, if the thing follow not, nor come to pass, that is the thing which the Lord hath not spoken, but the prophet hath spoken it presumptuously"
For Christians, there could not be any higher authority than the Bible. It is the beginning and the completion of the basis of the faith. It legitimizes or delegitimizes any Christian philosophy and or principle or practice. If the Bible contends as it does in the quote above from the book of Deuteronomy that if it did not happen, it did not come from God, then Pastor Bakare has some explanations to make to Nigerians.
It is still befuddling that despite the fact that Pastor Bakare is yet to tell the truth about his previous prophesy that the then General Mohammadu Buhari would never become the civilian President of Nigeria, he has been able to exude blatant temerity, flagrant effrontery and obstreperous audacity to gallivant up and down the length and breadth of Nigeria calling himself an Overseer of a Christian Ministry.
Well, this could only happen in Nigeria where anything is possible. It is only in Nigeria that a man like Tunde Bakare could commit such an egregious sin against God and Nigerians and still have some followers. It is only in Nigeria that a Pastor like Bakare would engage in this kind of spiritual chicanery and remain relevant without apologizing to Nigerians. It is only in Nigeria that someone could engage in this kind of pastoral charlatanism and still be paid any kind of respect whatsoever.
Yes, what do you expect from a Nigeria in which a Pastor Enoch Adeboye would consistently manifest the most obnoxious form of insensitivity and exudation of utmost cruelty and wickedness to his followers and still rake in billions every blessed Sunday and quote the Bible to justify such. What do you expect from a Nigeria in which a Reverend David Oyedepo would be worth about $150million (Wikipedia) without any major business enterprise other than the tithes of his human sheep in his ministry.
These are Pastors, so-called representatives of Jesus Christ who himself is the champion of the poor. These pastors, against the teaching of Christ whom they claim to follow, continue to further pulverize the poor, making them more miserable, milking them without mercy, asking them to work harder to be able to have a place in heaven, while they are busy creating empires for themselves on God's Earth.
Instead of feeding the multitude of the poor like Christ did, these pastors deprive the poor of the little they have by blackmailing them into paying tithes. Instead of alleviating the suffering of their poor followers as Christ did for Peter during the storm at sea and feeding all the disciples at the Last Supper, these pastors further compound the woes of their own followers by forcing the poor followers to pay through their noses for the education of their children. They offer fake prophesies. Give false hopes. Hoodwink the vulnerable and defraud the unwary.
These Pastors consciously and conscientiously undermine the collective survival and viability of society in general. They collaborate with the corrupt political class. They get billions of waivers and avoid paying taxes for the development of the polity. They collect tithes and fight tooth and nail not to pay taxes on them. They encourage their members to loot our commonwealth and pray for them as long as they get their own shares via tithes. They validate and justify obnoxious behaviors of the political dealers.
They prayed for President Goodluck Ebele Jonathan, put their hands on him and made him believe that he was the "anointed of God." President Jonathan's handlers knew how depraved our society was and still is in terms of blind, sheepish faith in the so-called pastors. Hence they circulated a picture of Jonathan, kneeling down and being prayed for by Pastor Adeboye. But everyone should sit back and look at where Nigeria is today. They are already encircling President Buhari, oozing like deleterious bees, waiting to pounce and suck the life out of him.
Now, we are being made to believe that Buhari is God-sent when many of us know this is not the case. They are already singing their duplicitous songs again as they did during the Jonathan era. Their fake prophesies handy, they hope to further milk Nigeria, as they have been milking their hapless sheep in their Christian Ministries to enrich themselves the more and exacerbate the misery of the people.
It is time for the people to stand up against these spiritual wolves in the garb of evangelical shepherds. It is time for the faithful in the Christendom to fight to actualize the Will of Christ in their lives and set themselves free. Nigerians should open their eyes and emancipate themselves from mental slavery as Bob Marley advised. Do not be hoodwinked by the spurious phrase: "Touch not the anointed." Do not buy into any preachment that would further encumber your freedom. Hearken to the voice of Christ on this. Shake off the yoke of deleterious pastors.
Christ did not preach misery and slavery. He preached happiness and freedom. Christ did not preach deprivation. He preached sharing. Christ did not preach agony. He preached comfort. Christ did not preach hunger. He fed the people. Christ did not buy a horse to ride with the money of his followers. He was allowed to use the horse as a form of charity. Christ did not preach reveling in reeking opulence. He lived an example of austerity, self denial and sacrifice for his followers.
Believers in and followers of Christ in Nigeria should remember the wisdom of Frederick Douglass. They should recognize that these Pastors represent oppressive power structure in the polity. As a structure of power, these Pastors would resist any change. The Pastors have been getting away with murder because their followers let them. Christians in Nigeria should take the following passage to heart as they seek out the ways of the present quagmire:
"Power concedes nothing without a demand. It never did and it never will. Find out just what any people will quietly submit to and you have found out the exact measure of injustice and wrong which will be imposed on them, and these will continue till they are resisted with either words or blows, or both. The limits of tyrants are prescribed by the endurance of those whom they oppress."
- Frederick Douglas (1818 – 1895)
The phrase "Touch not the Anointed" is no longer tenable. Time it is, indeed, to touch the "Anointed."
"In the long history of the world, only a few generations have been granted the role of defending freedom in its hour of maximum danger. I do not shrink from this responsibility – I welcome it."
- John F. Kennedy, in his Inaugural Address January 20, 1961
Please, follow me on Twitter @OyeyemiRemi
William Nana Beeko


text:
Михайло Марущак, ( 1892, с.Великий Бичків, Тячівський район, Закарпатська область —  28 вересня 1966, там же) — український політичний діяч, депутат Сойму Карпатської України.

Життєпис

Народився 1892 р. у с. Великому Бичкові Рахівського району в родині хлібороба. Навчався в народній школі, закінчив лише чотири класи.

У період Першої світової війни був мобілізований до австро-угорської армії, відправлений на східний фронт, потрапив у російський полон. Після війни повернувся додому, де незабаром була встановлена влада новоствореної Чехословацької республіки.

18 грудня 1920 року став співзасновником хати-читальні осередку «Просвіта» у своєму селі, а у 1923 очолює осередок. Бере участь у хорі та драматичному гуртку. Відомий театральний діяч Юрій Шерегій назвав Михайла Марущака «визначним патріотом, аматором і співаком». 1933 р. він грав головну роль у п'єсі С. Білої «Діти Агасфери», брав участь і в інших виставах, які ставили у сусідніх селах.

1 вересня 1933 року за його сприяння відкрито горожанську школу.

Михайло Марущак входив також до місцевої організації українського крила Аграрної партії, яку очолював відомий діяч Гуцульщини Степан Клочурак.

Долучився до організації будівництва приміщення для «Просвіти», православної церкви, місцевого осередку кооперативу. 1937 році був учасником Всепросвітянського з'їзду в Ужгороді.

Помітною була його робота в час існування автономного уряду Підкарпатської Русі — Карпатської України. Він улаштовував збори і маніфестації під синьо-жовтими прапорами, на яких виступали достойники Карпатської України, став членом проводу Українського національного об'єднання. 12 лютого 1939 р. Михайла Марущака обрали до Сойму Карпатської України, і 15 березня 1939 р. він брав участь у його засіданнях.

Після угорської окупації був арештований і побитий у Тячеві угорськими жандармами. Звідси його перевели до гімнастичної зали Великобичківської горожанської школи, де знущалися з учасників Карпатської України. Як згадують односельці, його вдалося викупити і звільнити з-під варти колишньому нотарю.

Був одружений з Василиною Савчук. Мав єдину доньку Ганну, яка померла 1941 р.

Після цього відійшов від політичної і громадської діяльності. Помер 28 вересня 1966 року у Великому Бичкові, похований на місцевому сільському цвинтарі.

Посилання
 Довганич Омелян Дмитрович. Карпатська Україна в боротьбі за незалежність: репресії проти її обронців та керівників /Післямова Миколи Вегеша. — Ужгород: Ґражда, 2007. — 140 с.

Політики України
Посли до сейму Карпатської України
Українські громадські діячі

redpajama_set_name: RedPajamaWikipedia


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text:
Wisconsin Edition
The Wisconsin Truth-O-Meter
"Nobody in total is proposing cutting anything. We're trying to reduce the rate of growth in government."
— Ron Johnson on Wednesday, February 13th, 2013 in a radio interview
Ron Johnson says Republican budget proposals don't cut spending, just reduce budget growth
By Dave Umhoefer on Wednesday, February 20th, 2013 at 9:00 a.m.
Republican Ron Johnson, Wisconsin's senior senator, cracked into our High Five last month when we evaluated his claim about gun control
Making the rounds reacting to President Barack Obama's State of the Union speech, U.S. Sen. Ron Johnson was asked why Republicans didn't "cut their way to solvency" during the Bush administration in the 1990s.
Johnson, a deficit hawk elected in 2010, reacted to the word "cut."
"Nobody in total is proposing cutting anything. We're trying to reduce the rate of growth in government," he said Feb. 13, 2013, on public radio station WUWM-FM (89.7) in Milwaukee. "And that's what we need to do. The fact of the matter is, the extreme position is to do nothing on either Social Security or Medicare, because those programs are going broke."
The bitter partisan warfare over who is cutting what and by how much can obscure the true nature of various deficit-relief plans.
So let's test Johnson's claim that "nobody in total is proposing cutting anything." Rather, he claims, officials are "trying to reduce the rate of growth in government."
In the case of Johnson, we've been down this road before, but with the shoe on the other foot.
In defeating liberal Democrat Russ Feingold in 2010, it was Johnson who portrayed limits on spending growth in Medicare -- supported by Feingold in the federal health care law -- as "cuts" that would harm seniors.
Now it's Johnson who complains that critics misconstrue caps on the rate of spending growth as "cuts."
Such is politics.
But let's look at the core issue raised by Johnson's comments.
In Johnson's two years, have he and fellow Republicans advocated limits on federal spending growth -- or have they actually tried to shrink the budget from its current size?
Over the next decade, looking at federal spending as a whole, it's clear that the intent is to slow the growth rate. You can see that in U.S. Rep. Paul Ryan's budget proposals, in the sequester set to take effect in March 2013 and in various spending-cap proposals pushed by Republican lawmakers. To be sure, the measures propose significant and often controversial reductions in spending over multiple years compared with current rates of growth, but they do not shrink the budget below current spending over the course of a decade.
A few Johnson-specific examples:
He supported both Ryan budgets. He signed onto the Contract from America plan to put a per-capita inflation cap on spending growth. He backed a spending-cap proposal by U.S. Sen. Bob Corker (R-Tenn.) and U.S. Sen. Claire McCaskill (D-Mo.) that tied spending to economic growth.
And Johnson's comments in various forums, most recently in January, make clear he endorses limits on total growth.
In the Ryan budgets, it's notable that in the first year of the 10-year projections, his blueprints called for spending less in year one than the year before.
Federal budget plans typically are framed in 10-year increments, though, and spending rises in every year but the first under his plans. So Johnson's point is not knocked down by this, but it's something to consider when evaluating his claim.
It's also worth noting that Johnson praised the 2012 Ryan proposal but said it wasn't aggressive enough in limiting growth.
When you look more narrowly at specific categories of spending, instead of the whole budget, Ryan's proposals did indeed make actual year-to-year cuts -- and over the long-term.
Example: Ryan's fiscal year 2012 plan proposed a cut in Medicaid outlays for that year, and didn't get them back to the previous level until 2019.
And Ryan's 2012 plan cut non-defense discretionary programs by 25 percent over 10 years.
Johnson, for his part, has endorsed enormous cuts on an agency-by-agency basis -- and even talks of eliminating some agencies entirely. In a January 2013 interview with The Daily Caller, Johnson said he'd go across the board.
"I truly believe that any of these agencies could easily withstand a 10 or 20 percent across the board cut and still be able to perform their function," he told reporter Alex Pappas.
Pappas quoted Johnson saying "an awful lot of these" agencies "probably have a harmful effect on the economy anyways, so I don't necessarily want to maintain their function."
Johnson has also scoffed at the size of the looming cuts called for in the sequester, which supposedly was a poison pill so horrible that it would force lawmakers to compromise to avoid swallowing the automatic, across-the-board cuts. A recent Congressional Budget Office estimate said the sequester would cost the United States 750,000 jobs in 2013 alone.
Johnson said the sequester's cuts over 10 years amount to "barely a rounding error" in the giant federal budget. He spoke on WTMJ-AM (620) radio in Milwaukee on February 14, 2013, about the sequester, which totals more than $1 trillion over a decade.
So it's clear Johnson supports steep budget cuts in some areas in order to slow the overall budget's growth curve.
Johnson said: "Nobody in total is proposing cutting anything. We're trying to reduce the rate of growth in government."
While Johnson supports deep cutbacks in some budget areas, he and fellow Republicans repeatedly have made clear that in Washington budget-speak -- which typically covers 10-year increments -- they are talking about limiting the size of future spending increases.
Those growth limits likely would mean significant program changes and fewer federal employees.
But the budget would still grow overall.
We've examined similar claims. PolitiFact National debunked Democrats' claims in 2011 that Ryan's budget would "end" Medicare. And it declared Mostly False claims in 2010 by Republicans that the federal health care law cut hundreds of billions of dollars from Medicare at the elderly's expense.
Both ratings rested in part on the recognition that Medicare's budget would continue to grow, just at a slower pace, under the cost-savings plans.
Johnson's claim is something of a reverse image of those claims, though on a grander scale. With the points of clarification noted above, we think his main point is on target.
We rate his statement Mostly True.
Published: Wednesday, February 20th, 2013 at 9:00 a.m.
Researched by: Dave Umhoefer
Edited by: Greg Borowski
Subjects: Deficit, Federal Budget, Medicaid, Medicare
WUWM Milwaukee Public Radio 89.7, audio of Sen. Ron Johnson interview, Feb. 13, 2013
Interview with Josh Gordon, policy director, The Concord Coalition, Feb. 14, 2013
Interview with David Kendall, senior fellow for health and fiscal policy, Third Way, Feb. 14, 2013
Email exchange with Brian Faughnan, spokesman, Sen. Ron Johnson, Feb. 13-15, 2013
PolitiFact Truth-O-Meter item, "Ron Johnson says Sen. Russ Feingold cut Medicare by $523 billion," Oct. 8, 2010
FactCheck.org, "Ryan's budget spin," May 6, 2011
PolitiFact Truth-O-Meter item, "Former Reagan budget director says Ryan's plan saves debt reduction for later," May 4, 2011
Rep. Paul Ryan's FY 2012 and FY 2013 budget proposals
Milwaukee Journal Sentinel, "Sen. Johnson wants stronger medicine than Ryan's budget plan," April 29, 2011
Washington Post's Wonkblog, "What Paul Ryan's budget actually cuts -- and by how much," Aug. 12, 2012
Wall Street Journal, op-ed, "Daniel Mitchell: What's really in the Ryan budget," from Cato Institute, Aug. 15, 2012
The Daily Caller, "Senator Ron Johnson on federal budgets: "I'm happy to start cutting agencies," Jan. 6, 2013
WTMJ, Charlie Sykes show, "Ron Johnson responds to SOTU address," audio, Feb. 14, 2013
On The Issues, Sen. Ron Johnson's record, accessed Feb. 13, 2013
Sen. Ron Johnson's office, fiscal charts, accessed Feb. 14, 2013
Sen. Ron Johnson on MSNBC's Morning Joe, video, Jan. 4, 2013
Browse The Wisconsin Truth-O-Meter
See all rulings on Tony Evers
See all rulings about the state budget
See all Wisconsin True rulings
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Bryan and Corey go on a journey to visit the parents as they look at the latest episode of The Orville. They get together to discuss is Alara-centric story and talk about the Star Trek connections it has.
Cast: Seth MacFarlane as Captain Ed Mercer; Adrianne Palicki as Commander Kelly Grayson; Penny Johnson Jerald as Doctor Claire Finn; Scott Grimes as Lieutenant Gordon Malloy; Peter Macon as Lieutenant Commander Bortus; Halston Sage, as Lieutenant Alara Kitan; J. Lee as Lieutenant (later Lieutenant Commander) John LaMarr; Mark Jackson as Isaac.
Synopsis: After breaking her arm in an arm wrestling challenge with Isaac, Alara finds out her body is slowly losing its superhuman strength due to its adaptation to Earth's gravity. At Dr. Finn's recommendation, Alara returns to her home planet, Xelaya, to convalesce at home with her disapproving parents and older sister. Old family conflicts resurface, prompting the family to go away to their vacation home to get reacquainted, but things go awry when fellow vacationers Cambis Borrin and his wife show up, seeking revenge against Alara's father for causing their son to commit suicide. Alara defeats the intruders and reconciles with her father. Dr. Finn finds a solution that would keep Alara on board the Orville, forcing Alara to make a choice between staying with her own family or the Orville family. Seeking to spend more time with her family, Alara leaves the Orville following a heartfelt farewell with the crew.


text:
SnowRunner: Launch Q&A
Q: What platforms will the game be on?
At launch on April 28, the game will be on PS4, Xbox One, and PC via the Epic Games Store.
Q: How much will it cost?
The base game is $39.99 on the EGS, and $49.99 on PS4 and Xbox One.
The Premium Edition, which includes the Season Pass with its four phases of post-launch content, is $59.99 on the EGS, and $69.99 on PS4 and Xbox One.
Q: When can I get the game on PS4?
Digital PS4 copies will be available in the PlayStation Store when the game launches on April 28, but physical copies can be pre-ordered now from most retailers.
Q: What time will the game be playable in my area?
Q: What are the System Requirements on PC?
Windows 7/8/10 (64-bit)
Intel i3-4130 3.4 GHz / AMD Ryzen 3 2200U 3.4 GHz
2 GB, GeForce GTX 660 / Radeon R9 270
Recommended (for high settings and 60FPS):
Intel i7-8700 3.2 GHz / AMD Ryzen 7 2700 3.2 GHz
4 GB, GeForce GTX 970 / Radeon RX 580
Q:Will SnowRunner be available in 4k resolution?
Yes, 4k is available on PS4 Pro, Xbox One X, and PC.
Q: What are the Season Pass contents?
SnowRunner's Season Pass will include a ton of content post-launch, which will arrive in four phases. Players without the Season Pass will also receive free new content updates.
Season Pass content includes new vehicles, maps, missions, and features such as logging and breakable ice.
Q: How will you support modding for SnowRunner?
To ensure the modding scene will thrive, we've partnered with mod io, and you can find SnowRunner's page here: http://www.snowrunnermods.com/
Modding will be available on PC at launch.
Here players can browse and download to mods, which will be installed on SnowRunner.
In-game, players will find a link to http://www.snowrunnermods.com/ and be able to manage which of their downloaded mods are active.
Q: When will mods arrive on consoles?
We are currently working to add mod support for consoles post-launch. We'll share more details on this when we can.
Q: Can modders earn money?
Yes, we're excited to say we will be able to directly reward the most popular mods. Based on mod popularity, a number of modders will receive a portion of money from a combined pool. To start with, this pool will be €3000/ $3,252 per month.
Q: Does SnowRunner have different weathers?
Yes, there is dynamic weather, with rain and snow, and different levels of cloudiness and clarity.
Q: Does the weather affect gameplay?
No, there are currently no plans for this.
Q: What wheels and peripherals will be supported by SnowRunner?
Testing for all our planned peripherals has unfortunately been delayed due to the COVID-19 virus. We can confirm that popular wheels from Thrustmaster, Logitech, and others will be available but not fully compatible at launch. We will provide a detailed list of all the specific wheels once testing has been fully completed after launch.
Q: Is there a Hardcore Mode?
Not at launch, but we plan to introduce this in a future update. SnowRunner can be pretty hardcore to begin with though!
Q: How will Multiplayer work?
Multiplayer in SnowRunner, which can reach a total of 4 players, has improved a lot since the previous game. Everything is synchronized, such as lights, tire tracks, and sounds.
The entire game can be played from start to finish in co-op. Players who are invited to join their friend's game will be playing the missions available to the host.
While the guest won't receive mission progression, they will be able to earn xp and money, as well as unlock upgrades and new vehicles, which will be kept when they go back to their own game.
Players keep their own fleet of vehicles when joining a friend's game, but can switch to vehicles left on the map by any player in the game.
Q: Will Missions be repeatable?
Not Missions, but Contests are a new kind of timed activity which are repeatable. We will also add more save slots in a future patch, so you can replay the whole game if you like.
Q: Is there a first person/driver view?
Absolutely, and the interiors of every vehicle have been fully modelled including dashboards and working speedometers.
Q: Will rear view mirrors work in SnowRunner?
Working rear view mirrors will be available on PC at launch. We're working on it for consoles, and will possibly add this post-launch.
Q: Do the windscreen wipers work?
There are currently no plans for this.
Q: Can vehicles be customized?
Yes, all vehicles in SnowRunner can be deeply customized, both in terms of performance and look. Switch your wheels, engine, gearbox, suspension, then apply a new paintjob, new rims, and a grill to your vehicle!
Q: What vehicle do you start with?
You start SnowRunner with the Chevrolet CK1500, a scout, which will take you through the tutorial to teach you the basics of the game. Don't worry if it seems slippery, this is a starting vehicle and we have plenty of other vehicles with better stability, which you will discover soon!
Q: Will there be microtransactions?
SnowRunner doesn't feature any in-game currency or similar that can be bought for real money.
Credits: SnowRunner
Tags: GBPCSeason PassXbox One
SnowRunner: February Community Update
SnowRunner: November Community Update
SnowRunner: Regions
Next mod SnowRunner: International PayStar 5070 gameplay
Previous mod SnowRunner: Caterpillar CT 680 Truck


text:
import React from 'react';
import { List, fromJS } from 'immutable';
import FlatButton from 'material-ui/FlatButton';
import { EditorState, RichUtils, CompositeDecorator, convertToRaw, convertFromRaw } from 'draft-js';
import Editor from 'draft-js-plugins-editor';

import editorStyles from './editorStyles.css';

require('./plugin.css');
require('../../../node_modules/draft-js-linkify-plugin/lib/plugin.css');
require('../../../node_modules/draft-js-inline-toolbar-plugin/lib/plugin.css');
require('../../../node_modules/draft-js-side-toolbar-plugin/lib/plugin.css');
require('../../../node_modules/draft-js-mention-plugin/lib/plugin.css');

import createLinkifyPlugin from 'draft-js-linkify-plugin';
import createInlineToolbarPlugin from 'draft-js-inline-toolbar-plugin'; // eslint-disable-line import/no-unresolved

import createSideToolbarPlugin from 'draft-js-side-toolbar-plugin';

import mentions from './mentions';

import createBlockBreakoutPlugin from 'draft-js-block-breakout-plugin';

const blockBreakoutPlugin = createBlockBreakoutPlugin();

// import createIssueSuggestionPlugin, {defaultSuggestionsFilter} from './plugin';

import createMentionPlugin, { defaultSuggestionsFilter } from 'draft-js-mention-plugin';

class MentionComponent extends React.Component {
  handleMouseDown = e => {
    e.preventDefault();
    e.stopPropagation();
    return false;
  };

  handleTouchTap = e => {
    e.preventDefault();
    e.stopPropagation();
    alert(`show ${this.props.decoratedText} data`);
  };

  render() {
    console.log('mentionComponent', this.props);
    return (

        {this.props.children}

    );
  }
}

const linkifyPlugin = createLinkifyPlugin({
  component: props => (
    // eslint-disable-next-line no-alert, jsx-a11y/anchor-has-content
     alert('Clicked on Link!')} />
  ),
});

const styles = {
  hashtag: {
    backgroundColor: '#dce6f8',
  },
};

class HashtagSpan extends React.Component {
  render() {
    // const {url} = this.props.contentState.getEntity(props.entityKey).getData()
    console.log(this.props);
    return {this.props.children};
  }
}

const HASHTAG_REGEX = /#[\w\u0590-\u05ff]+/g;

function findWithRegex(regex, contentBlock, callback) {
  const text = contentBlock.getText();
  let matchArr;
  let start;
  matchArr = regex.exec(text);
  while (matchArr !== null) {
    start = matchArr.index;
    callback(start, start + matchArr[0].length);
    matchArr = regex.exec(text);
  }
}

function hashtagStrategy(contentBlock, callback, contentState) {
  findWithRegex(HASHTAG_REGEX, contentBlock, callback);
}

function suggestionsFilter(searchValue, suggestions, maxRow = 6) {
  const value = searchValue.toLowerCase();
  const filteredSuggestions = suggestions.filter(
    suggestion =>
      !value ||
      suggestion
        .get('name')
        .toLowerCase()
        .indexOf(value) > -1
  );
  const size = filteredSuggestions.size < maxRow ? filteredSuggestions.size : maxRow;
  return filteredSuggestions.setSize(size);
}

class MyEditor extends React.Component {
  constructor(props) {
    super(props);

    const compositeDecorator = new CompositeDecorator([
      {
        strategy: hashtagStrategy,
        component: HashtagSpan,
      },
    ]);

    const _rawContent =
      '{ "entityMap": { "0": { "type": "#mention", "mutability": "IMMUTABLE", "data": { "mention": { "name"' +
      ': "皮可西", "link": "https://twitter.com/juliandoesstuff", "avatar": "https://s0.52poke.wiki/wiki/thumb' +
      '/a/a9/036Clefable.png/300px-036Clefable.png" } } } }, "blocks": [ { "key": "ca6ju", "text": "皮可西 www' +
      '.google.com", "type": "unstyled", "depth": 0, "inlineStyleRanges": [], "entityRanges": [ { "offset":' +
      ' 0, "length": 3, "key": 0 } ], "data": {} } ] }';
    const _rawContentJSON = JSON.parse(_rawContent);
    console.log('_rawContentJSON', _rawContentJSON);
    for (const key in _rawContentJSON.entityMap) {
      if (Object.prototype.hasOwnProperty.call(_rawContentJSON.entityMap, key)) {
        const entity = _rawContentJSON.entityMap[key];
        if (entity.type === '#mention' && entity.data) {
          entity.data = fromJS(entity.data);
        }
      }
    }
    console.log('_rawContentJSON', _rawContentJSON);
    const content = convertFromRaw(_rawContentJSON);

    const mentionPlugin = createMentionPlugin({
      mentionTrigger: '#',
      entityMutability: 'IMMUTABLE',
      mentionComponent: MentionComponent,
    });
    const inlineToolbarPlugin = createInlineToolbarPlugin();
    const sideToolbarPlugin = createSideToolbarPlugin();
    const plugins = [mentionPlugin, inlineToolbarPlugin, sideToolbarPlugin, blockBreakoutPlugin];
    this.state = {
      editorState: EditorState.createEmpty(),
      suggestions: List(),
      readMode: false,
      _plugins: {
        sideToolbarPlugin,
        mentionPlugin,
        inlineToolbarPlugin,
      },
      plugins,
    };
  }

  componentDidMount() {
    // this.focus();
  }

  onChange = editorState => {
    // if (editorState.getImmutable().get('decorator') !== null) { }
    this.setState({ editorState });
  };

  onSearchChange = ({ value }) => {
    console.log('value', value);
    if (value.length > 0) {
      this.setState({
        suggestions: suggestionsFilter(value, mentions, 9),
      });
    } else {
      this.setState({ suggestions: List() });
    }
  };

  onAddMention = () => {
    // get the mention object selected
  };

  getEditorState = () => {
    return this.state.editorState;
  };

  logState = () => {
    console.log(this.state.editorState.toJS());
    console.log(convertToRaw(this.state.editorState.getCurrentContent()));
    console.log(JSON.stringify(convertToRaw(this.state.editorState.getCurrentContent()), null, 2));
  };

  handleBoldClick = () => {
    this.onChange(RichUtils.toggleInlineStyle(this.state.editorState, 'BOLD'));
  };

  handleToggleReadMode = () => {
    this.setState({
      readMode: !this.state.readMode,
    });
  };

  handleLog = () => {
    this.logState();
  };

  focus = () => {
    this.editor.focus();
  };

  render() {
    const { MentionSuggestions } = this.state._plugins.mentionPlugin;
    const { InlineToolbar } = this.state._plugins.inlineToolbarPlugin;
    const { SideToolbar } = this.state._plugins.sideToolbarPlugin;
    return (

          <Editor
            plugins={this.state.plugins}
            ref={element => {
              this.editor = element;
            }}
            placeholder="Enter the text..."
            editorState={this.state.editorState}
            spellCheck={false}
            readOnly={this.state.readMode}
            onChange={this.onChange}
          />

        <FlatButton label="ReadMode" onTouchTap={this.handleToggleReadMode} />
        <FlatButton label="LogState" onTouchTap={this.handleLog} />
        <MentionSuggestions
          onSearchChange={this.onSearchChange}
          suggestions={this.state.suggestions}
          onAddMention={this.onAddMention}
          onClose={() => this.setState({ suggestions: List() })}
        />
        <SideToolbar />
        <InlineToolbar />

    );
  }
}

export default MyEditor;

redpajama_set_name: RedPajamaGithub


text:
Q: On C++ pointers and references, clarification needed What of the below is wrong please?
It is my understanding that a pointer represents an address of something of some type.
So, int i = 18, a pointer to it is int *pI = &i;
The following 2 declarations are valid
void foo (int &something) // Will accept an address of something
void bar (int *something) // Will accept a pointer to something

When we declare a function as
void bar (int *something)

We better send a pointer to something. Indeed, foo(pI) works.
Following the same logic, when looking at
void foo (int &something)

We should send it an address of something pointing to an int as an argument, so then:
Why is foo(&i) wrong?

A:
void foo (int &something) // Will accept an address of something

This is incorrect: int& is a reference, a concept that is similar to pointers in certain ways, but not at all identical.
References are similar to pointers in that a value can be changed through a reference, just like it can be changed through a pointer. However, there is no such thing as "null reference", while NULL pointers are very common.
When you call a function that takes a reference, you simply pass the variable the reference to which you are taking - no & operator is required:
void foo (something); // "something" must be a variable

A: The declaration void foo (int &something) takes a reference variable, not a pointer.
You call it exactly the same as you would call void foo (int something), except that something is passed by reference, not by value.

A:
void foo (int &something) // Will accept an address of something

No, though I can understand the confusion.  That function takes a reference to int.  References are guaranteed to be non-null in a well defined program.  It is similar conceptually to a pointer, but semantically different.
To call that function you don't need to do anything special.
int i = 10;
foo(i);  // passed to foo by reference

A: Because in C++ the & means "reference type" in the context of a function prototype as you are using it here. Your function:
void foo (int &something)

is actually specifying that an integer reference type should be passed, so you would simply call this function like this:
foo(i);

Note that in this case you are still passing the address of i into the function, but you are doing it as a reference type rather than a raw pointer.

A: There are two different meanings for &.
The first is to create a pointer from an existing variable.
The second is to make a reference.
Even though they both use the same character, they are two completely different things.

redpajama_set_name: RedPajamaStackExchange


text:
<!doctype html>

  <meta charset=utf-8>
  <title>Test for default cookie path</title>
  <meta name=help href="http://tools.ietf.org/html/rfc6265#section-5.1.4">


text:
Elizabeth Cary ist der Name folgender Personen:

* Elizabeth Cary Agassiz (1822–1907), US-amerikanische Erzieherin
 Elizabeth Cary, Viscountess Falkland (1585 oder 1586–1639), englische Dichterin, Übersetzerin und Historikerin


The College of Veterinary Medicine at the University of Georgia is accepting feline patients with chronic renal failure for renal transplantation.
Is my cat a candidate for renal transplantation?
Currently, we offer transplantation for cats with chronic kidney disease. We do not have the facilities to transplant cats with acute renal failure (antifreeze toxicity, etc.). To be considered as a candidate, your cat must be relatively healthy other than the kidney disease. Active infections, cancer, and other systemic diseases cannot be present.
Prior to being considered for a renal transplantation, all recipients must be thoroughly screened. Some of this may be done at your local veterinary clinic and some should be done by a specialist either at UGA or elsewhere. Following the initial screening, each cat will be evaluated on a case-by-case basis.
Complete blood count (with differential), biochemistry profile, urinalysis, and urine culture.
Abdominal ultrasound — This is performed to evaluate the abdomen for other diseases and to evaluate the structure of the kidneys. If the kidneys are unusual in size or shape, we may elect to perform a renal aspirate or biopsy.
Cardiac evaluation — This should include cardiac auscultation, thoracic radiograph evaluation and electrocardiogram. If a murmur or abnormal heart rhythm is present, an echocardiogram is required.
FIV, FeLV, and toxoplasmosis testing.
Blood pressure evaluation — The average of several Doppler blood pressure readings is required. If a patient has high blood pressure, this should be controlled prior to surgery.
Dental evaluation — Bad teeth constantly shower bacteria into the blood. To minimize the risk of infection after surgery, patients should have a dental cleaning done prior to surgery and appropriate dental hygiene must be used after transplantation.
Blood type — This is used to begin to match a donor. Most cats will be type A, although a few purebred cats are type B.
Cross match — This test is performed after the recipient has been screened for other conditions. This test is performed between blood from the recipient cat and the donor cat to make sure the donor's kidney is compatible. This is the only compatibility testing performed in cats.
Can my dog receive a renal transplantation at UGA?
Dogs present a unique problem in veterinary transplantation. Because their immune system differs from cats and people, dogs tend to reject their kidneys very rapidly. Other complications, such as blood clots and infections after transplantation, are also more common.
Additionally, dogs tend to have protein-losing renal disease, which complicates long-term care and lessens the prognosis. To be considered for transplantation, the donor must be young, healthy, and related to the recipient. Additional tests will also be required to minimize the chance of rejection after surgery.
If my cat has chronic renal failure, how do I know when transplantation should be performed?
No one knows the ideal time to transplant a cat with chronic kidney disease. Certainly, not all cats with chronic kidney disease need a transplant right away, as many don't have significant clinical signs associated with their disease. We prefer the cats to have a creatinine concentration of at least 4 mg/dL.
On the other hand, waiting until late in the course of the disease substantially increases anesthetic risk and is not recommended. This is an individual decision, made on a case-by-case basis.
What about the donor cat?
Donor cats "give" one of their kidneys in exchange for a permanent and loving home. All donor cats must be adopted by the recipient's family. Clients assume financial and legal responsibility for the donor prior to the transplantation.
We can work with you to find an appropriate donor. Donor cats must be young and healthy. Clients may provide their own donor cats as long as they meet these criteria. After surgery, donor cats are expected to live a normal life.
Complete blood count, biochemistry profile, urinalysis, and urine culture.
FeLV, FIV, and toxoplasmosis testing.
How long should we expect the donor and recipient to stay in the hospital?
Donor cats will usually stay in the hospital around 2 to 4 days. Recipient cats stay in the hospital around 2 to 3 weeks.
What follow-up care is required for the recipient after a renal transplant?
Renal transplant recipients must receive oral anti-rejection medication (cyclosporine and steroids) once or twice a day, every day, for the rest of their lives. Blood levels of creatinine, BUN, and glucose are also monitored. Initially blood levels of cyclosporine are checked regularly (weekly to monthly). This is may be done in cooperation with your veterinarian.
As time passes after transplantation, the tests are spaced out to every 2 to 3 months. Owners generally spend around $1,000 per year for medication and testing after the transplantation.
What are potential complications of renal transplantation?
Around the time of surgery, the major risks include general anesthesia, leakage of blood or urine, very high blood pressure, and obstruction of the ureter.
Long-term complications result from the anti-rejection medication. Following renal transplantation, cats are immunosuppressed. That means they are more susceptible to infection compared to other animals. Transplant patients may also be more likely to get cancer, diabetes, or high blood pressure as a result of the anti-rejection drugs.
What are the expected long-term outcomes in cats after transplantation?
Historically, at other institutions, roughly 80% of cats will survive to discharge from the hospital. Based on studies from the University of Wisconsin and University of California, 6-month survival after renal transplantation is around 80% and 3-year survival is around 45%. In the long term, most cats will die of diseases other than renal disease.
What is the cost of transplantation?
Without serious complications, the estimated cost of a renal transplant is $12,000 to $15,000, including the donor and recipient. These costs are subject to change and serious complications do occur in some cats, resulting in increased cost.
Does the Veterinary College have studies which may offset the costs of transplants?
While this is a future goal, currently there are no studies to help with the cost of transplantation at UGA.
Who is responsible for the transplants at UGA?
Dr. Chad Schmiedt is the board-certified surgeon in charge of the transplant program at UGA. He is accompanied by other soft tissue surgeons, anesthesiologists, experts in critical care medicine, and a talented support staff. Dr. Schmiedt was trained in transplantation at the University of Wisconsin.


Spectacular Suffering: Theatre, Fascism and the Holocaust considers how we remember historical instances of suffering and atrocity, framing its central questions to reflect larger cultural shifts in how we position ourselves in relation to history, performance, and memory.
4. Realism, Gender, and Historical Crisis: Lillian Hellman's Watch on the Rhine and "Julia"
Vivian M. Patraka is Professor of English and Theatre and Director of the Institute for the Study of Culture and Society at Bowling Green State University. She has written numerous essays about Holocaust theatre, performance, and museums.


Our Farsø plant is one of the world's most modern cutting systems. Himmerlandskød's equipment makes it possible to achieve100% traceability directly, from the animal at the farm to each single cut in the meat counter.
It often happens to our customers that sell Himmerlandskød or have it on their menu, that their customers ask them about the meat, and we know it is important for them to be able to show and tell that their meat is 100% Danish. Buying Danish products has become an important parameter amongst modern consumers, and it is a further advantage to get precise information about the provenance of raw materials. Today, most people want to be sure that animals are raised and transported in proper conditions. There is a demand for meat that has not been produced by a machine, but has been carefully picked, and that is exactly what we do at Himmerlandskød.
At Himmerlandskød's facilities, animals are slaughtered and processed in compliance with the most stringent food safety requirements and regulations. The whole procedure, as from the arrival of livestock at the slaughterhouse until the end of the cutting operations at our Farsø or Hadsund plants, is subject to self-auditing, thus ensuring high quality and food safety throughout the process.
Himmerlandskød's meat is produced according to the highest hygiene standards, and of course it also complies with EU's food legislation, in every respect.


text:
Learning to Ring Handbells
One band, one living room and a lot of changes
Method strategies
Using simulators
Conducting handbells
Handbell Club
Teaching handbells to children
Scottish Handbell Days
Handbell roundups
Albany Quadrant weekly band
Edinburgh crossover band
Little Gransden band
SACR mixed band
Southern branch band
Homemade Handbells
Memories of Roger Bailey
Submitted by Simon on Fri, 25/01/2013 - 21:13
We're very sad that Roger has gone. We failed to ring a peal in his memory yesterday evening, but we managed a quarter afterwards. We'll try again for the peal another day.
Roger had a huge influence on my handbell ringing. I first met him in October 1991, when I arrived at Imperial College to start my PhD. I knew about his lunchtime handbell practices, so I went along one day and joined the group. At that time I had rung a few peals of Bob Major, and I could manage Yorkshire with a lot of concentration, but it was ringing with Roger that gave me the chance to develop further. I rang my first peal of Yorkshire Major, then a couple of peals of Surprise Royal, and then came my big breakthrough.
We had planned an attempt for a peal of Spliced Surprise Minor with Roger and Lesley Belcher. During the day, Roger decided that going for Major would be more likely to succeed (he was undoubtedly correct, because my grasp of the standard Surprise Minor methods was pretty shaky) so he phoned David Brown on the off-chance that he would be free. David was free, so he came along and called a peal of 8-spliced. This led to further arrangements and we rang most of Crosland's Spliced Surprise Major series; later, with Mike Trimm replacing Lesley, we rang other exciting compositions including Horton's Four and Norman Smith's 23-spliced. That period was the high point of my ringing career, and it would never have happened without Roger.
Roger's handbell ringing at Imperial College had a big influence on many handbell ringers over a long period. While I was there we used to practise three times a week, at lunchtime in Roger's office, and there were often two evening peal attempts on top of that. These open practices were very unusual in handbell ringing and Roger taught many people to ring handbells, including a few who never learnt to ring tower bells. Roger firmly believed that teaching is an integral part of ringing, and often said that being a ringer entails a lifelong obligation to teach other ringers.
A few other memories of Roger, in no particular order:
In 1992 I had organised a peal of Spliced Surprise Royal at Isleworth on a Friday evening, to be my first on 10 as conductor. I foolishly arranged for another member of the band to give me and Roger a lift by car. The A4 in West London is not a good place to be at 5 o'clock on a Friday. We arrived an hour late. Roger persuaded the rest of the band to go up the tower and start for the peal, which was successful.
Roger was a film enthusiast. One evening he invited me to go with him to see a Belgian film called Man Bites Dog, at the Odeon in Tottenham Court Road if I remember correctly. The film was great, although rather disturbing at times, and it opened my eyes for the first time to the world of non-Hollywood films.
Roger was also keen on hillwalking. One day in 1995, after a peal in Roger's office that included Steve Mitchell, Steve mentioned that he still had a space on a hillwalking holiday in Scotland that he was organising, and which Roger was going on. Roger suggested that I might like to join them, which I did. Steve organised these holidays regularly, with other ringers, and Tina and I joined them on several more. That gave us a taste for Scottish hillwalking, which eventually was a factor in our move to Glasgow. A few of those trips involved handbell peals too.
At some point Roger got involved in the Keele ringing courses, and he became a regular part of the team of tutors right up until the final course in 2010. I have many good memories of ringing and socialising with Roger and the rest of the course group during those years. The last couple of courses were after he had been diagnosed with prostate cancer, but it didn't slow him down much at that stage.
Another of Roger's ringing sub-genres was the ringing of handbell peals in other countries, especially countries without any tower bells. I'm sure he has rung peals in more countries than anyone else. In 1996 I spent the summer working in Paris, and one weekend Roger and Susie, with Mike Trimm and Ruth Blackwell, came out to visit me. We rang a peal of a new Surprise Major method and called it Paris, and managed to fit in another of Roger's interests by finding a showing of the seldom-screened Peter Greenaway film The Falls.
We also rang two handbell peals in Lisbon, both of Cambridge Minor. The first was in 2007, when Tina and I and the children were there for the autumn during my sabbatical. Roger came for a visit, bringing Julia Cater (and her daughter Bethany) with him so that we would have four ringers to form a peal band plus babysitter. Unfortunately only one of our two attempts was successful, so Tina didn't get her Portuguese peal that time. But in 2008 we were in Lisbon again for a shorter visit, and Roger and Susie came out; we rang a peal in our flat, slightly distracted by what seemed to be a piano lesson wafting up from the flat below.
Most recently, Roger visited us in Glasgow a few times, when we were going for our first peal with Jonathan and Angela. In the end we didn't get Angela's first peal on any of those trips, but he helped us along and was always willing to go for another attempt.
I could go on, but I think that's enough for now. I'm glad I knew Roger, and I'm going to miss him.
Roger Bailey
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