text:
I gotta have more cowbell..
What do you think the chances are of this:
Last night, we're playin' a little poker with the boys, and for some reason Ray mentions something about the SNL skit of 2000 called "I gotta have more cowbell". I've never seen it so I am not participatory in the laughter which follows. Then Dan, gets out his cell phone and tells us we have to listen to something, and it's a voicemail recording of his brother in law from earlier that day saying, "DAN, I gotta have more cowbell" ok... as if that's not freaky enough.. it goes on.
Matt (who was at the game) emails me this morning saying,
"I am listening to "more cowbell song " in a supplier right now. Crazy world man!"
okay that's just creepy. Then this...
I'm surfing the web at work this morning, NOT anything related to "cow bell" or SNL, and I come across a website with a sponser.. the sponser's banner said.. Gotta Have More CowBell TSHIRTS (click here if you don't believe me)
Two occurances... coincidence.. Three occurances.. Something's going on here but FOUR??? Undeniably out of world system sending a message, warning perhaps. So of course I have to analyze the phrase "I GOTTA HAVE MORE COWBELL"
Now.. what you are about to see will surprise the hell out of you. Cause it's undeniably true. I solved the puzzle. If you take all the 21 letters from the phrase "I GOTTA HAVE MORE COWBELL" and re-arrange them, not adding any letters or taking any away (an anagram).. you get... this..
ready? (this is some kinda crazy)
I GOTTA HAVE MORE COWBELL
converts to
OATMEAL BLOC OVERWEIGHT
Please! Count the letters! Prove me wrong! it's a direct anagram!
THANK YOU UNIVERSE FOR PROVIDING ME WITH THIS MESSAGE, I SHALL CONTINUE ON WITH THE OATMEAL CHALLENGE
Thanks matt for the link to the actual cowbell video!
http://www.youtube.com/watch?v=pBqPHJhmFHo
Tan said...
I'm like freakin' out, dude! I heard something about this skit...apparently, it wasn't that funny in rehearsal and then Will Ferrel changed into a smaller shirt for the live version and no one could keep a straight face after that. It's almost up there with "Corksoakers."
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Facebook.. Friends Redefined.
Oh the boring things I do..
Do you feel lucky? Huh shrimp? Do ya?
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Poker.. A Few Thoughts..
Amazing thing...
Welcome to Poker with Ray
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Two hunters..
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Knock knock..
A slight discoloration
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My life as I know it.... Is over


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text:
Q: ctypes dll loading is very slow I am using ctypes to load a dll to control a Measurement Computing MiniLab board. It works, but takes about 5 seconds to load.
Is there a way to make this faster?
The library contains about 100 functions of which I am only using one. Can I maybe tell ctypes to load only that function or something like that?
import ctypes

class DaqInterface(object):
    def __init__(self):
        self.dll = ctypes.WinDLL("cbw64.dll")

    def set_analog(self, data, channel=0, board_num=0):
        res = self.dll.cbAOut(ctypes.c_int(board_num), ctypes.c_int(channel), ctypes.c_int(0), ctypes.c_int(data))
        if res != 0:
            raise RuntimeError("Daq error: {}".format(res))

if __name__ == '__main__':
    daq_interface = DaqInterface()
    daq_interface.set_analog(512)

The library: Universal Library
The interface: miniLAB 1008

redpajama_set_name: RedPajamaStackExchange


text:
REPORT - PARTY FINANCING
Party financing under new scrutiny
Will a new watchdog to monitor the donations to political parties be all bark and no bite? asks Ana-Maria Nitoi
No democracy has a system where the financing of political parties is one hundred per cent transparent and Romania is no different.
The country's flexible system of laws and the lack of effort in bringing corrupt individuals to justice has allowed anyone to finance parties with little scrutiny.
But there is new legislation in place that attempts to improve transparency. In the local elections this May, the elections will be organised by the Permanent Electoral Authority (AEP), an independent institution controlled by Parliament. AEP is also responsible for regulating Romanian political parties' incomes and expenditures.
But don't expect the exposure of huge scandals.
"This election year I don't believe the AEP will be able to ensure an efficient supervision over the financial activity of the parties," political analyst Cristian Parvulescu from NGO Asociatia Pro Democratia (APD) tells The Diplomat. "This is because the people working for this institution don't have the necessary investigatory experience and will rely on information given by the parties."
Laws regulating the financing of parties change every couple of years, under pressure from pro-transparency NGOs like the Institute for Public Policies (IPP) and APD.
"In the near future things will start moving on the right track," says IPP deputy director Adrian Moraru. "The politicians will only have to not insult our intelligence by not being so obvious when they handle black money."
<? if ($_SESSION['aut'] <> '1') { require('php/art_auth.inc'); } ?> Parties in Romania benefit from funds from the budget, membership fees of party members and donations. The state subsidies in Romania are divided between parliamentary parties according to the percentages they obtain in parliamentary elections and a smaller amount from those obtained in local elections.
Donations remain the Romanian parties' main source of income and donors find elaborate methods of disguising their origins.
Before the 2006 modifications to the financing laws, Romanian parties could receive donations in kind which the party did not need to declare.
When a party organises a regular gathering or congress, it usually does not pay for the accommodation, dinners, lunches or transportation. Rich donors will 'sponsor' the event for his pet party in return for political favours once the group is elected.
Most of this money comes from businessmen who do not want to be connected directly to a political movement and prefer to make 'anonymous' donations. The party prefers this situation because its financial influences are not subject to disclosure.
In the 2004 elections political advertising on television, which is now banned, benefited parties with a special relationship with some TV stations. These broadcasted commercials, worth 100,000s Euro, for free. Legally, the parties did not have to declare these donations to the state because they were "gifts" from the networks.
The new law states that donations such as giving accommodation to party members, transport, free adverts, staff, computers, land, cars or propaganda materials must be declared to the new regulators.
To help campaign financing, another practice is for a sympathiser to a party to pay for their advertisements in newspapers during the campaign. This is a form of donation in kind.
The Diplomat asked three quality national dailies, which carried political advertising in their newspapers before the European elections last November, who paid for the commercials. Evenimentul Zilei, Cotidianul and Jurnalul National, papers which support the principle of transparency, chose to give no response.
Having friends in leading positions on national dailies is a way for parties to receive fat discounts for electoral campaign adverts. In the last local elections in 2004 discounts were not considered a way of financing a political party or a candidate.
"Mona Nicolici, the Conservative Party (then called the PUR) candidate for Bucharest's Sector One, managed to receive such discounts worth 10,000 Euros from the TV advertising broadcasted on the TV stations owned by the President of the Conservative Party, Dan Voiculescu," alleges Parvulescu.
Donors also use the loopholes in the current laws to fund parties. IPP alleges that Grivco, a company owned by then president of the Conservative Party (PC) Dan Voiculescu, made donations to PC, even though the firm had huge debts to the state, which is an illegal practice.
But thanks to the Romanian legal system, Grivco managed to prove that for only 48 hours during an entire year the company had no debts to the state. It was during this window that the company made the donation.
Small parties like the Greater Romania Party gains its income from state subsidies, while large parties like the Social Democratic Party (PSD), which has around 800,000 members nationwide, is financed by membership fees.
However having such a base allows some parties to declare that mysterious packages of money are 'membership fees', thus covering up for the provenance of the cash.
The AEP has the power to fine parties that break the law on finance. An extreme measure, which the AEP can recommend, is to confiscate money that has journeyed through an illegal route to the party's budget.
USA versus Europe
In democracies, there are two international trends for financing political parties. The American way gives no limits on financing, but the donations and expenditures are made public.
The USA is a unique case because it is a big nation, a wide territory, with large interests and the amounts of money necessary for campaigns are huge. The country has no state subsidies and the party does not finance candidates for presidential elections.
Candidates must appeal to donors for campaigns to finance media coverage and campaign staff expenditures, which means each contender must court the richest companies and wealthiest individuals.
The European trend is more conservative, with each country setting up an institution to regulate financing. In most European countries donations are capped and the parties receive state subsidies.
Germany does not give subsidies to parties according to the percentages obtained in elections, but awards an amount of money for each vote, with the historical slogan declaring 'One Deutschmark, one vote'. This way, politicians work harder for votes to win the money from the state budget.
The UK also lacks transparency in campaign financing and the Brown Government and Conservative opposition have both been rocked by financing scandals in the last year. But, Guy Burrow, executive director at lobbyists Candole Partners says there is a difference between the UK and Romania.
"In Great Britain when a politician is suspected of having committed something wrong, he immediately resigns if he holds a public position," he says, "meanwhile, in Romania, such politicians don't have the dignity to resign, they are not pursued, judged or punished."
Source : http://www.thediplomat.ro/reports_0308_2.php

redpajama_set_name: RedPajamaCommonCrawl


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me and my birthday~ cinco de mayo!
Since forever my birthday has alway fallen during exams (when I was a student) or on a normal work day (since I started working). So it's quite a treat how for the past year and bit, it has fallen onto a string of holidays and I could really plan treats upon treats and happiness.
On Friday, I took off from work and headed straight to Kyushuu - got there in the middle of the night.
Having booked my stay in Fukuoka (a really beautiful and easy city to get around), I spent the days roaming about and the nights at this British pub along a riverside with this amazing night view. From Fukuoka, I took a quick trip to Kumamoto - a trip I'd delayed for a year now and it was a trip that was worth the wait and the castle is a must see with it's beautiful castle grounds... and of course, the wonderful extra knowing that KAT-TUN went there for the 20141003 episode of Tame ni Naru Tabi. I also did a trip to Nagasaki which is beautiful in it's own way with its many hills and mountains and the trams and history and Mount Inasa has this amazing sunset and night view overlooking the habour.
And so that's how my bday ended. Everything happened so fast that honestly, I had forgotten it's actually my bday until warm, geeky, fun and awesome messages came in. A lot of exhaustion and yet a lot of this energy kept me up till late last night replying to messages and rewatching KT's bday message over and over with happy sighs and giggles.
So tomorrow I'll return to work... and Friday I work some more... and then on Saturday and Sunday, I'll be screaming at 9uarters in Tokyo Dome. I've been listening to old albums and singles to keep my tension up till then.
Yeah, as I told a friend, I'm busy busy, broke broke but happy happy!
Anyway, I'm glad you had fun on your special day eventhough, of course, you were both physically and financially tired. The most important reward to a working self is a special treat with things that gives you happiness and makes you feel relax and more motivated.
and yes! come soon so we can go concerts together. That will be a treat for me.
of course, you were both physically and financially tired.
Happy Belated Birthday. Hope you had a great one and many more to come.
Sounds like a blast! I was home all golden week.
Sounds like you still had a good time!
Woww,you are working in Japan?
Here's my Birthday wishes again: HAPPY (belated) BIRTHDAY ;P I can see that you had a great one and I'm very happy to hear you had fun!! "ヽ(´▽`)ノ" That's what's important!
And the KT 9quarter concerts!!! (((o(*゚▽゚*)o))) I'm ssssoooo excited and I'm not even going lololol!! If we don't talk before that have TONS of fun!!!
I'm looking forward to the fun!
oh my dear friend, genki desu yo ne. 'BELATED" HAPPY BIRTHDAY. you had so much fun and a precious birthday. yokatta.so happy for you. woahh you went to Kyushuu [lots of beautiful places]and Nagoya for miyavi`s live. saikou. unforgettable birthday.
I`m so happy for you that you are enjoying your stay there.... and fulfilled all your dreams... still so much fun is coming...kondo at tokyo dome. otanoshimini ne.
Hey birhday girl! Did you sleep till midday as planned?
"The venue was small and the crowd was wild and lively"
that's the best! Being close to the performer and having a great time!
I believe KAT-TUN will deliver a great show at Tokyo Dome too!
You cheer for us too, right!
*________________* that's some good photoshop!


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can help to reduce labor costs—or at least redeploy employees away from rote tasks like bringing a guest a shaving kit because they forgot theirs at home. Also, all that ordering via Alexa or a hotel's app results in valuable data that can be used to target guests with other services they might like.
Koretz founded the Miami-area startup Plum three years ago, and sells a two-bottle appliance that has a motorized needle that is injected into the cork, simultaneously extracting wine while also injecting argon gas to prevent oxidation.


text:
Q: cfselect not binding to cfc I'm new to the newer versions of ColdFusion and I'm having issues with a simple databind to a cfselect. I've done my best to thoroughly research it and I've even gone back to a textbook and essentially duplicated the code example in a test file and I still get the same error.
I'm trying to build the common situation where there are 2 cfselects and the second is dependent on the first, but at this point, I can't even get the first to work. The error returned is:
"Bind failed for select box Species_id, bind value is not a 2D array or valid serialized query"
Thanks in advance for any help. Here is the code:
<cfcomponent>
    <cffunction name="getSpecies" access="remote" returnType="array">
    <cfset var rsData = "">
    <cfset var myReturn=ArrayNew(2)>
    <cfset var i=0>
      <cfstoredproc datasource="#application.dsn#" procedure="up_get_Species">
            <cfprocresult name="DataResults">
        </cfstoredproc>
    <cfloop query="DataResults">
        <cfset myReturn[rsData.currentRow][1]=rsData.Species_id>
        <cfset myReturn[rsData.currentRow][2]=rsData.Species>
    </cfloop>
    <cfreturn myReturn>
    </cffunction>
</cfcomponent>

    <title>CFSelect Example</title>

Sandbox for getting cfselect bind working

<cfform name="form1">
Wood Type

<cfselect name="Species_id" bind="office.cfc:data.getspecies()"
    bindOnLoad = "true" />
</cfform>

A: It looks like your bind syntax is off. The bind expression should start with the type: of bind (cfc, url, javascript). Since you are binding to a component, you must preface it with "cfc:", ie
     bind="cfc:path.to.yourComponentName.yourFunctionName()"

That said, later versions of CF support binding to a query, which simplifies binding. Just change the function returnType to query.
<cffunction name="getSpecies" access="remote" returnType="query">

     <cfstoredproc datasource="#application.dsn#" procedure="up_get_Species">
          <cfprocresult name="Local.DataResults">
     </cfstoredproc>

     <cfreturn Local.DataResults >
</cffunction>

Then specify the display and value attributes in your select list.

<cfselect name="service"
          bind="cfc:office.cfc:data.getSpecies()"
          display="Species"
          value="Species_id" ...>


text:
caa91e179d68ade4306cf761b7fc36c8f86bc67a
recursive-sacrifice.md
add Recursive Sacrifice
n1x committed Oct 07, 2020
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title = "Two Essays on Recursive Sacrifice"
date = 2020-10-07T03:07:00-07:00
categories = ["theoryfic", "santa-nada"]
draft = false
type = "post"
The following two essays have not been republished with the consent of the
University of California, the CIA, the UC Santa Nada Archives, the Spahn Dept.
of Counter-Occulture Archives, or the estate of Prof. Cornelia Clarke.
## An Essay on the Anti-Praxis of Recursive Sacrifice {#an-essay-on-the-anti-praxis-of-recursive-sacrifice}
Suicide is far too easy.
It must be said that vulgar suicides are not without an art to them. There is a
deceptive simplicity to the act; fellate the barrel of a gun, pull the trigger,
lights out. If only it were so easy. There is a game of chance involved with all
suicides wherein the more certain a suicide is likely to succeed, the more one
gambles with wishing it had. While such accidents are rare, there is always the
possibility of the bullet going through the brain and missing the vital arteries
and grey matter, leaving the would-be suicide victim possibly paralyzed. Losing
this game means being sent to a hell of sorts, powerless to even fail at being
alive. The same holds true in all other forms of suicide: There is always the
risk of simply prolonging and increasing one's suffering, either by maiming
oneself or surviving it.
But here is where suicide is far too easy: Suicide aims to escape from
suffering. However intolerable being alive may be, something is retained in a
suicide, some small precious thing that the suicidal person hopes to smuggle
past the gods who would thwart their attempts at cheating instinct. The suicidal
person may scorn existence, but only up to a point; they always hope to be
buried with a sort of dignity, their death symbolic of their refusal to suffer.
Such is the irony of suicide. Like the reciprocal game of chance suicide
entails, so it is that a suicide extinguishes a life so that it would not be
further desecrated by the agony of existence. The suicidal person denies
everything else but themselves to the most radical extent possible. All other
things are closed off from the suicidal person's life but their own agency to
end it, making a suicide both the highest expression of valuing one's own life
and also the highest expression of one's freedom. If one has the freedom to take
their own life, then there is truly nothing that one is not free to do.
Suicides are far too easy because they stop at this pitiful impulse to preserve
oneself throughout the agony of existence. Things will go no further from there.
The life remains, preserved forever in a moment of self-indulgent ectasy, and
worse still a suicide cannot ever be anything other than a delusional, even
solipsistic response to the world, denying that one never really ends their own
life by committing suicide. The thought of course often crosses their minds --
"Mother would be sad" being the classic example. The act itself is the final
decision to ignore that one's own life is not under their own control. It
reaches outward through the social sphere in a branching fractal of connections
and persists cruelly long after one has died.
The problems with suicide then are threefold: a). Suicides are a game of chance,
b). Suicides are essentially self-centered, c). Suicides are essentially
solipsistic. It might be said that these are the epistemic, ethical, and
metaphysical problems with suicide. None of these problems are beyond resolving,
however, and they are worth resolving. If suicide's art, its sanctification of
life, and its status as a totally free act were recovered from the methodology
of suicide, it would constitute a new mythical era.
Sacrificial offerings have been present throughout much of human history, though
the practice has regretfully been transvalued from a physical act of
sanctification to a dramatized recurring oedipal trauma: The Crucifixion and the
Eucharist. Though suicides have of course been around as long as human history,
this shift in values from the sanctification of life before diverse pantheons of
gods and goddesses to the dramatized and sterile form before a patriarchal
desert god is undoubtedly upstream from shifts in views on suicide. Where once a
suicide could itself be a sanctifying act, now the surface is rough and
unyielding. The drama of the Crucifixion and the Eucharist must play on forever
as a reminder that we are already saved from having to choose anything else.
Suicide remains an escape from Yahweh, a transgressive act which devalues
Christ's self-sacrifice, but it is still merely transgressive. It cannot create
anything new. Creating something new would require not merely returning to
pre-Christian sacrificial practicies, but taking them further than Christianity
can, and in modern practices of suicide we find the tools needed to create a new
anti-praxis better suited to our present era. It is more apparent than ever
before that the individualist male death drive in all forms is woefully outdated
and insufficient, but resolving the problems of suicide will free the death
drive from its male monkey-brained self-preservation instincts. This new
anti-praxis I term: Recursive Sacrifice.
Problem A is the easiest to resolve because though it is an epistemic question
regarding the possibility of certainty, it hasn't been addressed from the right
angle. Suicide, as stated previously, is concerned with one's own
self-preservation to the point of death; it is an ego-driven act. Therefore
suicide always considers Problem A from the standpoint of minimizing suffering.
Which method of dying is the least painful but also the most likely to succeed?
This is where the game of chance comes in. The entropy has to go somewhere, and
this is an unintended consequence that the methodology of suicide doesn't take
into account. Our new method takes into account that the entropy must go
somewhere and that we must take this into account in order to achieve specific
goals. Whereas suicide seeks to minimize pain and preserve the organism in the
face of death, recursive sacrifice involves eating the entropy. It is possible
to achieve a certain, thorough death of both the body and mind, but it is only
possible through divine suffering. Contrary to suicide, recursive sacrifice
doesn't seek to preserve the organism but rather to desecrate it as much as
possible. The organism must experience a suffering far greater than anything
life or death could afford it. Certainty can be achieved by debasing oneself to
the point of ectasy, and it is only when one is nearly beyond sanctity that
their sanctification achieves the greatest possible effect. At such a point, the
sacrificial offering is given to the gods not as a human being, not as an ego,
but as pure libidinal intensity, pure id. Thus the epistemic problem of suicide
is solved elegantly through the sublimation of death.
We can see here how resolving Problem A leads into resolving Problem B. If the
epistemic problem of suicide is resolved by throwing the organism into entropy
rather than trying in vain to escape it, then it likewise resolves the ethical
problem of suicide functioning primarily in the interest of self-preservation.
Where the pure freedom of suicide as a radically egoistic and transgressive act
against Yahweh is primarily a negative one that seeks to free the organism from
being affected by life, recursive sacrifice is a positive form of freedom. By
annihilating the ego, the organism can be offered up to the gods in a virginal
state, denigrated to the point of pure potential. Contrary to suicide being an
essentially selfish and humanistic act, recursive sacrifice removes human
interests altogether from the death of the organism. From an ethical standpoint,
death becomes an act of pure affirmation and production for the gods to do with
whatever they wish.
This leads finally to Problem C, the metaphysical problem of suicide. There is
of course an obvious relation between suicide as selfish and suicide as
solipsistic; the latter is merely the underlying metaphysics informing the
former's ethical judgement. But it isn't enough to merely destroy the ego of the
organism being sacrificed, because as stated previously, the metaphysical
problem of suicide is the judgement that the suicidal person is the only thing
in the world. Or at least, the only thing that matters. It is founded on the
mistaken, patriarchal-humanist view that the individual exists isolated from
everything else. The reality however is that no individual is self-contained;
all things are connected in a tangled mass of social ties, and the death of one
organism affects the others in turn. This would then mean that the resolution to
Problem B is invalidated, since it would mean the resurgence of the ego (or its
ghost, at least) through the social sphere, and it would likewise invalidate the
resolution to Problem A since it would mean that the organism has not with
certainty been destroyed. Even in a symbolic sense, the organism persists, and
the sacrifice is not complete. It may seem like this is an unavoidable problem
and that the methodology of recursive sacrifice is doomed, but though this is
the most difficult problem to solve, it isn't impossible.
If every organism is connected to other organisms in a web of social ties, which
consequently ensures that the ego persists beyond the control of the organism or
even indeed of its own body, then it follows that the total annihilation and
denigration of the organism would require hollowing out every single mycelial
tunnel in this network. The sacrificial offering must not only be reduced to a
state of pure id and given to the gods selflessly so that it may serve the
divine aims of pure affirmation and production, but it must also be recursively
severed entirely from any connection to the world. Only when the sacrificial
offering is returned to a pure state, devoid of any social ties, reduced to the
status of in fact being truly an isolated individual, only then will its
mortification achieve the absolute zenith of sanctification. The artfulness of
suicide is affirmed once again in recursive sacrifice, making it such that the
sacrificial offering achieves in life the status of a pure individual so vainly
sought after by the ego, only then for this to be destroyed as thoroughly as
possible. And in fact the process of recursive suicide from the beginning
involves the breaking down of this ego, since the first task of the sacrificial
offering is to sever every one of their social ties. Their family, friends,
acquaintances, anyone within a reasonable degree of separation -- its first task
is to kill every single one of them.
## An Account of the First Recorded Recursive Sacrifice {#an-account-of-the-first-recorded-recursive-sacrifice}
Having laid out the methodology of an anti-praxis termed "recursive sacrifice"
in my previous essay published in _Counter-Occulture_ vol. 3 issue 7, what
follows is the concluding essay in this sequence which will serve as both an
experiment in carrying out the anti-praxis and a testimony to the effects of the
anti-praxis on the sacrificial offering. The editors, the Department, and the
Board of Directors been informed of and approved the experiment, all being in
agreement that sacrifices must often be made in the pursuit of enlightenment.
This text will be written throughout the course of the experiment, and for the
sake of recursively detaching myself from existence, all faculty members at the
University have underwent memory erasure sessions. By the time this article is
published, everyone involved in the decision to approve it will have already
forgotten having anything to do with it or that I ever existed.
18 Araḫ Nisānu 1961: In preparation for the sacrifice, I have first renounced my
given name. This new name came to me during a guided datura session with the
Department's psychoanalyst. Henceforth I will be referring to myself as
Ku-Nergal, the first act of sacrificing Cornelia Clarke to the eponymous god of
14 Araḫ Simanu 1961: Since purging University faculty is beyond the scope of
this experiment, the next stage involves isolating myself from civilization.
This is necessary from both a practical standpoint to halt any additional social
connections and is a key part of the journey of the sacrificial offering. They
must break themselves down not merely from being connected to their immediate
social circles, but must also have their sense of any connection to the human
species also stripped from them. I have spent the past year since the previous
article was published living in the forest near campus. It has proven to be
secluded enough that at the time of writing this, I have not yet met any hikers.
The University could not afford me with any tools for survival; this is also
part of the offering's journey. They must both become isolated from civilization
and as self-sufficient as possible, reverting to an almost primal state. Though
I have received training from the University's orienteering department, even the
most experienced of survivalists would have a difficult time surviving in these
conditions. Though this Reš Šatti has been mercifully mild, the time spent
living naked in the wilderness foraging for food and huddling over a fire for
warmth has quickly hardened my body to the elements. My feet are calloused over
and can walk across jagged rocks and the cold night air cuts through my skin
just a little less than it once did. It is nevertheless a harsh existence. Many
nights I've found myself nearly hypothermic. Many nights I find myself stooped
over a pit, sick with parasites from the river water that I have no means of
boiling. Many nights I find myself covered in cuts and ticks, treating the
wounds as best I can to prevent infection.
This pain is only the beginning, but I have learned to love it as I love the
gods.
16 Araḫ Simanu 1961: I killed a deer today. I have never killed anything before
in my life, though I know this will not be the last time I kill something, human
or non-human. I managed to entice it into a trap I had set, but the fall into
the pit I had covered over was not enough to kill it. Its two front legs were
broken, and the poor thing was flailing pitifully in the mud for awhile before
it either tired itself out or instinctually recognized that it would not
survive. At this point I climbed down into the pit, which was covered with
debris from the covering. At the edge across from where I'd climbed down it lay,
a young doe by the looks of it, likely a mother given the season and its age.
Its leg bones were jutting out of its skin at the knee like broken branches, and
its eyes had what I can only describe as a resigned fear in them. It tried to
fight back, however weakly, but with only a little difficulty I pinned the thing
down and shoved the sharp rock I improvised as a knife into its throat.
Not many people might be aware of this, but a knife doesn't go as easily into
flesh as one might think, and even if you stab something in the throat, it
doesn't die instantly. There is always a struggle on the part of both the killer
and the victim, and the fact that I was using a sharp rock rather than a real
knife only compounded the difficulty. I had to shove the rock into the deer's
throat through fur, cartilage, and muscle using the palm of my hand while using
the other to stab. And yet the thing didn't die so quickly, and let out a
horrible ear-piercing gurgling groan, thrashing around beneath me with the last
bit of strength it had left. I plunged the knife in the same way again. And
again. And again. I lost count of how many times I stabbed the thing in the
throat and could feel myself becoming warm from the exhaustion and being covered
in mud and blood. It was probably excessive, but I wanted to shut it up. Soon
enough it stopped moving. After collecting myself I was able to drag it back to
In the traditional fashion, I ate its heart first. Its skin is currently being
tanned.
17 Araḫ Simanu 1961: Perhaps the deer being killed yesterday changed something
in the air. Today I ran across a hiker, and had to kill again.
From the looks of it, this was a college student who had gone way off trail on
an LSD trip. It was somewhat surprising that it had made it this far, but the
sacrifice demands that anyone who is entangled in it must also die.
The hiker saw me at a distance. Somehow I hadn't seen the damn thing there,
perhaps because I was too busy washing the dried blood on me in a stream.
Initially I leapt out the moment I saw it gawking at me and fled into the forest
to figure out what to do, but perhaps the hiker thought it had seen a forest
nymph of some sort during its acid trip and followed after me. I had no choice.
Still covered in dried blood and wearing my deerskin hide, I ambushed the hiker
from behind a tree and again pinned it beneath me. I imagine for a brief moment
the hiker (who was male) might have thought it was about to have intercourse
with a fae. There was a charged moment while I hesitated, perched atop the
hiker. Killing an animal was difficult, but killing another human was something
else altogether. Something in me, some sort of instinctual response, stopped me
from immediately carrying out the act. Perhaps all animals know not to kill
their own kind without it being a matter of survival. This was not a matter of
survival, but survival is no longer relevant to my existence unless it
interferes with the sacrifice.
Again I plunged the stone knife into its throat. And again. And again. As I did
so I sobbed and told it, "It gives me no pleasure to do this. The gods demand
sacrifice. You will not die in vain." This hiker also let out an ear-piercing
gurgling groan, and it also had a resigned terror in its eyes as the life
drained from it. I cannot begin to imagine the pain and horror of dying during a
psychedelic trip, but after my continued stabbing elicited no response and I sat
atop its corpse for a moment, I looked across its blood-spattered face and
clothing and realized that what lay beneath me was no longer a human being, nor
was I. What I am now, I cannot say; I continue to exist, I am sure of this, but
whatever is here is not altogether real. Or perhaps the world itself is not
real. This hiker's immense suffering I realized after killing it was all the
better for the sacrifice. Its pain pleases the gods all the more -- a far
greater death than it would have otherwise had.
The University has made sure that state and federal authorities are aware not to
interfere with the experiment. The hiker's death will officially be ruled as a
disappearance. I made the decision to treat the hiker like any other slain
animal. I removed its clothing and butchered it.
3 Araḫ Simanu 1962: A year has passed now that I have lived isolated from
civilization. Nothing very different has happened that hasn't already been
written down since then. I have killed many more animals, human and non-human
alike. It's time now to move onto the next phase of the sacrifice.
I found my way back to the outskirts of the city using the trail I hiked in
from. Using clothes taken from stray hikers, I've been able to disguise myself
as best I possibly can. I keep a hat covering my face at all times. No one can
see my face, no one can know my true name or my dead name. I avoid crowds, but
sometimes despite my best efforts I end up being seen. When this happens, I kill
whoever has joined the sacrifice. Each time I repeat the same mantra: "It gives
me no pleasure to do this. The gods demand sacrifice. You will not die in vain."
I'm not sure whether I say it for their sake or mine, but mostly killing more
just takes too much time.
Cornelia, luckily for me, had few friends before her disappearance. Her family
is estranged and mostly dead. Perhaps this is why she was chosen for this
offering, because she already had little connection to this world. But now I
have to find and sacrifice them as well.
First I had to find her closest friend, Alma. I already knew that she worked in
the University's Department of Theological Studies, the conventional counterpart
to the Department of Counter-Occulture. I also knew that she lived in a small
studio in the back of a retired couple's house. She'd been there many times
Because the retired couple knew Cornelia, I kill them both first. Thankfully I
was able to get a knife from a slain hiker. This makes the job go by more
quickly. Since Alma always enters from a door in the fence on the side of the
house, I wait in the darkened alley between the house and the one next to it.
When she opens the gate and sees me there, she initially is surprised and
scared. She says she didn't recognize me at first, is alarmed and confused at my
changed appearance. I don't stop to explain anything to her; I know she wouldn't
get it anyways. I sacrifice her and once again repeat the mantra: "It gives me
no pleasure to do this. The gods demand sacrifice. You will not die in vain."
Its eyes roll back into its head as it dies wondering why the thing that looks
like her friend is doing this.
It goes the same like this for the other few friends Cornelia had. Sacrifice
anyone adjacent as necessary. Same lines every time. "It gives me no pleasure to
do this. The gods demand sacrifice. You will not die in vain." The same happens
for every other person who would remember Cornelia existing in some way.
Employees at businesses she frequented. Landlord. Neighbors. Mother. Friends of
friends. The University covers everything up but each sacrifice requires extreme
care to avoid complicating things further.
Last to go is Cornelia's spouse. I find it in Cornelia's former home, a modest
one-bedroom apartment above a bar downtown. I enter through the front door and
am greeted by stacks of boxes next to the door. Cornelia's stuff is mostly
packed up. The bookshelves are mostly empty. Dishes are piled up in the sink,
with a few broken bottles next to the garbage can. The air is slightly stale. It
enters in from the bedroom in the back hallway, hair hanging limply in its face,
eyes heavy with bags and a bit bloodshot, red streaks across it. Just like all
the others, its face shifts from confusion to being alarmed but also relieved. I
don't give it a chance to say anything. I cannot bear it. It goes the same as
all the others. "It gives me no pleasure to do this. The gods demand sacrifice.
You will not die in vain."
22 Araḫ Kislimu 1962: The offering has made its way up from Santa Nada via
hitchhiking to the Hanford Nuclear Site in Washington. It has left behind not a
single connection in this world. Each driver has been offered as a sacrifice to
ensure that this stays the case. It arrived at the nuclear site and drank deeply
of the Columbia River. Modern nuclear technology has made it possible for the
recursive sacrifice to be truly realized. The offering has accumulated massive
amounts of radiation that will begin to scramble its body on the molecular
level. Its very DNA will be changed by this communion. It will begin to leave
this world in a state of total isolation and purity being broken down and
rearranged into something entirely new. Its old existence will be completely and
utterly annihilated with absolute certainty. It now has only one last task to
fulfill.
33 Araḫ Kislimu 1962: The offering has made its way from the Hanford Site to
Mount St. Helens in Washington. Again after hitchhiking, it has sacrificed each
driver. It has spent these past ten days accruing additional radiation
poisioning. Its skin has sloughed off, its hair has fallen out, and its lungs
are slowly drowning themselves. Blood has begun leaking out of every orifice,
and its organs are liquifying. It watches its body fall apart before its eyes,
having sacrificed everything it ever had in its past life, completely alone at
the summit of this volcano. It only has one last act of sacrifice. It sits
inside a stolen car with a rope tied around its neck which is stuck into the
ground behind it. When it reached enough speed, the rope will run out of slack,
and the offering will be decapitated. The gods will be given a sacrifice that is
completely pure, completely new, with no face and no ego. This will herald a new
era in 3,10 šanātu, birthed in another sacrificial decapitation and divine
wrath. The gods have been awakened and the offering's final act of releasing
this account ensures that the sacrifice once completed may return once more. May
many more follow its example.
Editor's note: The essay ends here.
## Bibliography {#bibliography}
Cornelia Clarke. "An Essay on the Anti-Praxis of Recursive Sacrifice."
_Counter-Occulture_, vol. 3, no. 7, 1961, pp. 67-70.
Ku-Nergal (née Cornelia Clarke). "An Account of the First Recorded Recursive
Sacrifice." _Counter-Occulture_, vol. 3, no. 10, 1962, pp. 14-16.


text:
How Pride and Prejudice and Kitties Came About
Pride and Prejudice and Kitties (originally called "Purr and Petulance") began many years ago with the idea of combining the wicked humor of Jane Austen with the wackiness of cats. When we started out, we didn't really know what we were doing (and that's an understatement). We thought it was enough to take a cute cat photo and throw a quote from Pride and Prejudice at it. The idea of illustrating P&P with photos of kitties was so funny to us that we didn't even think it mattered if the photograph related to the quote. In fact, to us it was funnier if it didn't. Here's an example:
OK, so the letters look more like bills, and Mr. Bennet looks more clueless than surprised, but maybe he's really bowled over by the thought that his dear Lizzy is about to become Mrs. Darcy!
We blithely snapped a bunch of cat photographs, wrote a proposal and query letter, and began approaching agents. There were always one or two who came back right away, enthusiastic about the idea. In fact, says Pamela, "On a slow morning, when I wanted something exciting to happen, I would send out agent queries just for the rush of getting that phone call an hour or so later."
The problem was that after thinking it over, the initially-enthusiastic agent had second thoughts about the logistics of photographing cats in Regency settings, or came up with a vision for the book that had little or no relationship to ours.
Though dressing cats up is not our thing, we occasionally took the liberty of putting a cap on a cat (pictured here is the late Mittens as Mrs. Bennet).
More photos, more interest, and many more rejections. This period went on for five years and an undisclosed number of agents. We did get an interested agent who sent our proposal out to a few publishers. One major publisher said they would consider publishing the book if we could perfectly reproduce scenes in P&P with cats dressed in Regency costumes. This was not going to happen. First of all, you can't make cats do anything they don't want to do. The pictures would have been hilarious, but not in the way the publisher imagined. Secondly, this was not our vision for the book. We wanted a book that juxtaposed cats being cats with Jane's wit and verve. To us, the juxtaposition was the joke.
Still Clueless
Slowly we began to shape our vision for the book. Each chapter would include a "kittified" summary from P&P, an excerpt from the original text, and two or three photographs. We continued to work on fine-tuning our proposal. Even the rejections helped with this process. As one agent told us, "how do we know that P&P isn't a paradigm for a bunch of kitties running around the neighborhood?"
Eventually, with very little fuss or fanfare James McGinniss took on the book and sold it shortly afterwards to Skyhorse Publishing.
Debbie and Annelise (Pamela's daughter) on the way to a cat-photo shoot in Portland, 2006.
Now we had a publisher, a contract, and deadline, but we still had no clue how it was all going to come together. Debbie was in Portland, Oregon, taking thousands of cat photos, and Pamela was in Pennsylvania "Kittifying" P&P chapters (although Pamela also photographed and Debbie wrote). When Pamela expressed paralyzing and insurmountable anxiety about just how all this was going to work, Debbie said, "Just have faith."
Luckily, at this time, Pamela's good friend, author and photographer Sally Keehn, set out on an "English Literature on Location" tour in the UK. The tour focused on several authors, including Thomas Hardy, Charles Dickens – and Jane Austen. Sally agreed to take photos of Austen-related settings for us to Photoshop the cats into.
Sally's Story:
Children's author and photographer, Sally M. Keehn
Taking the photographs was a joy (seeing Austen's world through a cat's eyes) but tricky because so many humans got in the way of my shooting! "Begone humans," I'd hiss in my fake British accent as I crawled about on the floor, trying to get photos from a cat's perspective and with no human feet in them. It was also challenging because the homes and museums were "electrified." I needed to avoid those modern power outlets and electrical cords. I was particularly moved when I saw the house on College St. in Winchester where Jane died in the arms of her sister, Cassandra."
Sally at the Roman Baths (in Bath) where Jane Austen lived from 1801-1806,. Her novels Persuasion and Northanger Abbey are set there.
Kathryn's Story:
The last piece of the puzzle was provided by the incomparable graphic artist, Kathryn Hathaway (http://hathawaydesignsnw.com). Kathryn Photoshopped the kitties into many of Sally's settings, which is why we have a photo of Elizabeth throwing up a hairball on Jane Austen's actual bed in Chawton.
Kathryn and her dog, Finley
"What's crazier than working with two Austenite-cat-lovers? I've known Debbie Guyol for years and met Pamela Jane when she came up with this totally loony idea of putting cats as characters in Jane Austen's Pride and Prejudice. They both came out to my place to photograph the neighbor's cats.
Then came playtime, placing cats into Regency backgrounds or putting two cats together in a room via Photoshop. There were weekends taking shiny 21st century toys out of cat's paws and replacing them with hairballs or some bit of a lace hanky.
Now two of the silliest girls in the country are in the limelight. Who knew? I am happy for Austenites and cat-lovers everywhere. I entreat you to enjoy the book, as it is a very innocent diversion."
Kathryn places a kitty on Sally's photo of the wall and garden of Chawton, where Jane Austen lived from 1809 until her death in 1817.
Mr. Bingley proposes to Jane Bennet in front of one of the fireplaces at Chawton
We Finally Figure Out How To Do It!
We used Pamie's downstairs office to lay out all our photos, text and captions
Long ago, Pamela miraculously acquired a two-story office. Debbie flew to Pennsylvania for the let's-put-it-all-together phase, and the downstairs office became our staging area.
We worked all day every day for weeks: writing and revising, scouring the pages of Pride and Prejudice, then painstakingly matching photographs with chapters and with quotes, and when that didn't work, making up silly captions for photographs. We settled our artistic disagreements with duels. Or horse-trading.
After Debbie flew back to Portland, we spent another full month refining the text, discovering that the cat we thought would fit perfectly into one of Sally's wonderful authentic settings was all wrong for it, taking more pictures, making lists, horse-trading – well, you get the idea. Yes, we did it. We figured out how to do it, in the end, simply by doing it.
Posted in Austencats, Pride and Prejudice	Tagged Pride and Prejudice and Kitties	permalink
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Chicago electro/rock act Sister Machine Gun has signed with WTII Records for the release of the band's new album, The Future Unformed, due out on March 10, 2015. This marks the first new material from the band since the release of Influence in 2003, officially disbanding in 2007. Since then, front man Chris Randall has focused on his solo career, releasing the blues/rock album The Devil His Due in 2007, and the IDM/electronic album Floats on Air in 2014. Randall is also a member of electronic acts Micronaut with Miguel Turanzas (also of SMG) and Scanalyzer with Wade Alin (of Christ Analogue). It is unknown at this time what other personnel are included on the five new tracks featured on The Future Unformed.
Sister Machine Gun was originally formed by Chris Randall in New York City in 1990, before moving to Chicago and becoming an essential group on the WaxTrax! Records roster, releasing four albums with the label from 1992 to 1997. Randall then founded Positron! Records, releasing six more albums before the band officially disbanded in 2007. Over the years, Randall has also collaborated with members of KMFDM, Die Warzau, and Pigface.


The September show was blessed with some magnificent weather. Yes it rained for part of day 2 but who will forget that F-15E Strike Eagle bursting with shock waves in that water soaked air and, on day 1, that spiralling power climb to 10,000 ft. The incockpit footage - interactive on the DVD - is breathtaking. Our cameras visited the F-15 base at RAF Lakenheath just before the show for a behind the scenes look at this big and powerful fighter.
A complete contrast; the 7 Spitfires in formation and tail-chasing in the golden early evening sunlight. TFC's presentation of Curtiss Hawk, P-40B and P-40F was inspirational and historic. A very welcome overseas contingent was the Norwegian Vampire team with a single seater and 2 seat variant.
In all a big, varied and historic show in excellent photographic conditions .
Interactive in-cockpit minicams in F-15 Strike Eagle, Spitfire, P-40F, both Vampires, Aerostars, Redhawks, SWIP Team and Brendan O'Brien's Flying Circus truck top landing.
The highlights from Duxford's October show will be reported shortly.


The city of Raleigh is named for Sir Walter Raleigh, explorer and noblemen who funded the first expeditions to the coast of modern-day North Carolina. Image courtesy of the North Carolina Office of Archives and History, Raleigh, NC.
The 1792 design plans for the city of Raleigh. Image courtesy of the North Carolina Office of Archives and History, Raleigh, NC.
The Joel Lane House, home of a wealthy landowner who settled in the Raleigh area in the 1760s and sold 1,000 acres for the site of the capital city. Image courtesy of the North Carolina Office of Archives and History, Raleigh, NC.
The State House in Raleigh, circa 1940. Image courtesy of the North Carolina Office of Archives and History, Raleigh, NC.
Fayetteville Street in downtown Raleigh, 1909. Image courtesy of the North Carolina Collection, University of North Carolina at Chapel Hill Libraries.
By the late 1780s, North Carolina's General Assembly recognized a need for a permanent location to conduct state government. Prior to this time, the state's seat of government had been hosted by several existing cities. Rather than select one of these communities, the legislature decided to build a centrally located city. Eight commissioners were appointed to choose the capital's location. On March 30, 1792, the commissioners purchased 1,000 acres from Wake County landowner Joel Lane, and a city plan was quickly developed. On December 31, 1792, the North Carolina General Assembly officially approved the purchase and the site plan. The city was named "Raleigh" in honor of the sixteenth-century English explorer and nobleman Sir Walter Raleigh.
The city of Raleigh grew slowly. In 1794, the first State House was opened. It provided not only a location for governmental affairs but also a center for community activities. Over time, an increasing number of inns, taverns, dry-goods stores, coffin houses and brickyards supported the growing capital city. Until the Civil War, these businesses catered mostly to retail customers, providing services and basic needs. Fayetteville Street quickly became Raleigh's commercial core as storefronts replaced residences along the blocks south of the State Capitol. In addition to downtown commerce, a handful of mills and new ventures, such as the Raleigh & Gaston Railroad of 1840, comprised the composition of antebellum Raleigh.
North Carolina legislators voted to secede from the Union on May 20, 1861, the tenth of eleven states to do so. Very quickly, North Carolina–and Raleigh–prepared for war. Camp Ellis, the first training camp established in the state, was located at the state fairgrounds now east of town. Within a few weeks, more than five thousand North Carolinians arrived in Raleigh to train for war.
Raleigh was spared from the decimating destruction that other southern capitals suffered. Four days after Confederate General Robert E. Lee surrendered at Appomattox, Virginia, on April 19, 1865, Union General William T. Sherman and more than 80,000 soldiers marched into Raleigh. To avoid the devastation experienced earlier in Atlanta, Georgia and Columbia, South Carolina, Governor Zebulon Vance and Mayor William H. Harrison formally surrendered. Although food supplies and other resources were raided, the city remained intact.
Starting in the 1870s, Raleigh experienced slow yet steady economic growth. Although an effort was made to establish a manufacturing base, the city did not develop into a manufacturing center like other North Carolina communities. Retail, however, flourished and a profusion of family-owned businesses dominated the downtown district. Raleigh also experienced a wave of publishing enterprises as newspapers, printers and bookbinders became an important means of communication and advertising.
In the early twentieth century, Raleigh evolved into the retail center for eastern North Carolina. People flocked to Fayetteville Street for shopping, entertainment, and parades. Whether grand opera, vaudeville, or motion pictures, Raleigh's theaters and public performance venues offered something for all ages. Meanwhile, East Hargett Street thrived as the African American retail and social hub of Raleigh.
Beginning in the mid-nineteenth century, higher education in Raleigh contributed greatly to North Carolina's culture and economy. The establishment of women's colleges such as St. Mary's School (1842), Peace College (1857) and Meredith College (1891), and historically black colleges like Shaw University (1865) and St. Augustine's College (1867) solidified Raleigh's reputation as the state's educational and government center. In 1887, the establishment of present-day North Carolina State University as a land-grant institution further enhanced the city's standing.
Like all communities, Raleigh has been influenced by national events. During the world wars, Raleigh contributed to the war effort in many ways; not only did families give up their sons to war, they sacrificed money and time, buying war bonds and volunteering for the Red Cross. After World War II, however, Raleigh experienced a boom in housing. The first suburb in Raleigh was developed in 1949 near Cameron Village, the Southeast's first shopping center. With the establishment of the Research Triangle Park between Raleigh and Durham, North Carolina, the city experienced further population growth in the 1960s, when new arrivals moved to take advantage of employment opportunities at the newly built high-tech companies.
But possibly the greatest change of the 1950s and 1960s was the positive effects of the Civil Rights Movement. No other national event affected Raleigh more profoundly than the Civil Rights Movement. After suffering years of discrimination, black students and activists protested Jim Crow legislation by marching in the streets, sitting at whites-only restaurants—in short, performing public protests. Their action transformed Southern culture and ensured that national, state, and local laws would one day protect all citizens.
Since the 1970s, Raleigh has experienced rapid suburban development—especially outside its northern limits–and continued to be a vibrant cultural center. In 1992, Raleigh celebrated its bicentennial, and in 1999, it started hosting the Carolina Hurricanes, a National Hockey League franchise. Today, approximately 320,000 people live within the city limits of Raleigh, making it North Carolina's second largest city.
Candy Lee Metz Beal, Raleigh: The First 200 Years (Raleigh, 1992); Linda Harris Edminsten and Linda Simmons-Henry, Culture Town: Life in Raleigh's African American Communities (Raleigh, 1993); Jennifer A. Kulikowski and Kenneth E. Peters, Images of America: Historic Raleigh (Charleston, 2002); Elizabeth Reid Murray, Wake: Capital County of North Carolina, Vol.1 of Prehistory through Centennial (Raleigh, 1983); David Perkins, ed., The News and Observer's Raleigh: A Living History of North Carolina's Capital (Winston-Salem, 1994); R.B., Reeves III, ed., Raleigh 1792-1992: A Bicentennial Celebration of North Carolina's Capital City (Raleigh, 1992); Steven Stolpen, Raleigh: A Pictorial History (Norfolk, 1977).


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redpajama_set_name: RedPajamaGithub


Photocopy of your degree certificate.
Photocopy of the information page of your passport.
4 colour passport size photos.
A signed copy of your resume (your signature).
2. Decide where you want to go – EPIK (Public School Jobs in Korea) recruits for February and September while Hagwons (Private institute jobs in Korea) are all year round. Be prepared for a quick move if you go for a Hagwon as generally you're in Korea within 12 weeks of application, depending on the season. So if you're ready to get up and go now, South Korea may be ideal for you as waiting around is not something they do over there!
3. Research! – when your recruiter has found an area for you to work in, undertake some in-depth research. Find the area on the map and then look for local expat groups on Facebook so you can talk to people and get their opinions. If you are going to South Korea to TEFL alone or you don't know anyone there already, you don't really want to be placed in a rural area for the first time as this could be very lonely. The expat communities there are great at helping others out and everyone is very friendly; and this is especially important to Hagwon staff as there is no orientation like with EPIK.
4. Go, Go, Go – Once you have secured a job and you're happy to go, pack your bags, say your goodbyes and fly off to the best time of your life.
Seriously, what's stopping you now? South Korea really is a perfect TEFL destination with so much to offer so get applying and trust us, you won't look back!
Please could one of the Hagwon staff please be in contact with me. I'm interested and will be starting there next year 2016.
Congrats on getting your teaching job in Korea!
Here at i-to-i TEFL we actually train you to be a teacher, so we are not a recruiter. So, I'd advise you contact Hagwons directly or alternatively look at a specific Korea recruiter.


Built at the beginning of the 20th century, the Herz-Jesu-Kirche (Sacred Heart Church) in Koblenz is one of the most important Neo-Romanesque sacred buildings in Germany. The church was built from 1900 to 1903 to the plans of Ludwig Becker, who would go on to be the Mainz Cathedral master builder. The Herz-Jesu-Kirche was consecrated on 19th May 1904. The church was severely damaged in an air raid in 1944 and was completely burnt out. It was rebuilt from 1950 - 1953 after the Second World War.
In 2011, a faulty connection in the power supply led to a fire in the sacristy. The fire damaged the sacristy and covered the nave and other rooms in soot, leaving the church unusable for several months.


How can I add banner ads to my currently blog? Are there any programs that can help me track pay-per-click advertising through my WordPress blog?
oh I understand…..so you're saying you can't at wordpress? So how do you put in the links folks have in their side bars that look like banners?
and put this kinda code  but no ads because it is not allowed here at WordPress.COM or your blog will be banned.
Great information bablicious. Thanks a lot.
The topic 'Banner Ads and PPC to my Blog' is closed to new replies.


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text:
Pikudei 5774 -- Rabbi Meir Schuster, zt"l
http://www.jewishmediaresources.com/1670/pikudei-5774-rabbi-meir-schuster-ztl
Rabbi Meir Schuster, zt"l
Rabbi Meir Schuster, zt"l, who passed away last week, was the great man of the generation in terms of his devotion to a particular mission. Rabbi Noach Weinberg, the founder of Aish HaTorah, constantly held Rabbi Schuster up to his students as the exemplar of the "power of one" – the power of each of us to dramatically change the world if we could just put our egos aside and acknowledge that success or failure is not in our hands, but Hashem's. The path of virtually every Aish student in the early decades began with an encounter – often several – with Rabbi Schuster.
When Reb Meir first started to maintain his vigil for young Jewish backpackers at the Kosel, his own ego needs played no role. He never asked himself whether he was well-suited to approach hundreds of complete strangers every day for nearly forty years or likely to be successful getting them to taste Torah for the first time. For if he had asked the question, the answer would have been a resounding no. But in his calculations only Hashem's purposes counted.
There was never a person less likely to do what Reb Meir did than Reb Meir himself. Over the years, there were others who patrolled the Kosel precincts in search for young Jews lacking knowledge of their heritage. All were more extroverted and flashy than Reb Meir. Most did valuable work. But none were able to sustain the effort year after year as he did or to match his impact.
In our first years in Jerusalem, my wife and I used to take guests nearly every Friday night from among those picked up by Reb Meir at the Kosel. The phone would ring on Thursday night. Caller identification had not yet been invented, but it was not needed: If I picked up the phone and there was silence on the other end, I would ask, "Hello, Rabbi Schuster, is that you?"
Reb Meir was so shy that he found it difficult to begin a conversation over the phone with someone whom he knew well. And yet virtually every day for decades, he spent long hours trying to drag reluctant strangers to Aish HaTorah, nearby in the Old City, or further away to Ohr Somayach. In my two years in Ohr Somayach, one of our diversions was waiting to see what hirsute recruits Reb Meir would bring through the door next.
There was a second way in which Reb Meir's own ego was completely eradicated. Reb Meir was a very learned Jew. Rabbi Sheftel Neuberger, the menahel of Ner Israel Rabbinical College, told me that they went through tractate after tractate over the three years they learned as afternoon chavrusos in Ner Israel.
Yet he never tried to make the "sale." That he left to others whom he felt could do a better job. He was content with the least glamorous stage of the process -- schlepping backpackers from the Kosel to someone else's shiur or "to meet a wise man." He never, in my observation, ever tried to do more. The goal was that the young backpackers meet the figure most likely to have an immediate impact, not that Reb Meir should have the satisfaction of being the one to convince them.
I FIRST encountered Reb Meir in the summer of 1976 as an ulpan student sitting on the lawn of Ulpan Etzion. How we laughed at the tall, thin figure in the unfamiliar black hat. Most ignored him or told him, sometimes rudely, that whatever he was selling they were not interested. But he walked away with a fellow Chicagoan, who went to yeshiva and has been the rav of a well-known moshav for nearly three decades.
I would guess that the percentage of those who responded positively to his entreaties to hear a class on Jewish philosophy or to meet a wise man was less than 20%, and that of those who did agree to attend a class, only a small fraction remained in yeshiva for more than a few hours. Yet he could not be deterred by rejection and never held up the white flag.
The appearance of an article about the early ba'al teshuva movement in the bible of the counter-culture Rolling Stone Magazine marked one of the milestones in the movement. Every student who entered any of the ba'alei teshuva yeshivas in the '70s or '80s read "Next Year in Jerusalem," Ellen Willis's account of her trip to Jerusalem to try to understand what happened to her brother Mike (Chaim) Willis, then a student at Aish HaTorah (and today director of Aish-South Africa.)
And how did Mike get to Aish HaTorah. After a couple years in Asia, he stopped in Israel on his way back home to New York. Reb Meir spotted him one morning at the Kosel and asked him whether he'd like to go to a yeshiva. Mike brushed him off. That afternoon, Reb Meir ran into Mike at the Central Bus Station and repeated his question. Again the response was negative. But when Reb Meir approached him for the third time that day in the Machane Yehudah shuk, Mike threw up his arms and joined him.
Once he had your address, you had a pen pal for life. If he met someone in Jerusalem who was working on a kibbutz, he would write them and on occasion even surprise them with a visit. His persistence wore down even the most obstinate, who sensed the passion that underlay his pursuit.
One young Jew fled Israel for Egypt, in part to avoid Reb Meir. When he turned on the TV in his hotel room, he was shocked to see a news report from the Kosel, in which Reb Meir gaunt figure could be clearly discerned. The same exact thing happened when he got to Spain. At that point, he knew that he could run but he could not hide from Reb Meir.
A young man learning at Harvard Business School was brought to speak to Reb Noach. Fifteen minutes into the conversation, he said, "Rabbi, do you believe it G-d? Do you actually believe that G-d spoke to the Jewish people?" Reb Noach answered both questions in the affirmative, which provoked the young man to blurt out, "It's amazing, we've been talking for fifteen minutes, and I could have sworn that you were an intelligent man."
Rather than get angry, Reb Noach asked."Who brought you to the yeshiva? I want to give a medal to the person who could convince someone who thinks only a moron could believe in G-d to set foot inside a yeshiva." The Harvard student replied that no medal was necessary.
He told Reb Noach that he was then involved with a young woman from Sweden, and as he was standing at the Kosel he had uttered the following tentative prayer: "G-d, I want You to know I have nothing against You, I just don't happen to think You exist. But if you do, please give me a sign. At that precise moment, he felt a tap on the shoulder. He jumped, and when he turned around to see who had tapped him, he saw a tall figure with a straw hat and his coat draped over his shoulders in the summer heat.
"Would you like to go to a yeshiva?" Reb Meir asked.
"What's a yeshiva?" the business student replied
"A place where you learn about G-d."
When he heard that, the young Jew had to admit that the consanguinity of events made it pretty hard to deny that he had just received the Divine sign he had sought.
That story, with minor variations, repeated itself many times over the years. Over twenty years ago, I wrote a feature about Reb Meir in which I included a similar story. I gave the article to a friend whom I knew was close to Reb Meir. When I looked back in my rearview mirror, I saw that my friend – who has been in full-time learning for 35 years – was crying. "That story about the guy at the Kosel asking for a sign – that was me," he explained.
There are thousand of Jews who are only shomrei Torah u'mitzvos today because Rabbi Meir Schuster found them, and their descendants number in the tens of thousands.
No story better captures the passion that drove Reb Meir than one that took place when he was sitting shiva for a three-year old daughter who had been struck by a truck. As Shabbos drew near, the thought that there would be wandering Jews at the Kosel on leil Shabbos and he would not be there gave Reb Meir no rest. In his eyes, they were like drowning brothers whom he must do everything possible to save.
Reb Meir felt that his being there on leil Shabbos to find Shabbos hosts for them was a matter of pikuach nefesh. The question was brought to the posek hado, HaGaon Ha Rav Yosef Shalom Elyashiv. He said that Reb Meir was right, but the community would not understand, and therefore he must remain sitting shiva.
They would not understand, for who else lived to the same degree with the consciousness that bringing Jews into a connection with the Ribbono shel Olam through Torah is literally lifesaving work.
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Croydon's Anthem for Peace
Funded on Spacehive 12 September 2017
Impact data and claims within this report are provided by the project creator and have not been independently verified by Spacehive.
By London Mozart Players Croydon Delivery stage
By London Mozart Players
In 2018 Croydon will be holding its first Festival of Peace with a beautiful, inclusive Anthem as its centrepiece commissioned by LMP and involving hundreds of artists and performers from Croydon.
Croydon Delivery stage
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12 Sep 2017!
This project was funded on 12 Sep 2017!
MozartPlayers
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Croydon's resident orchestra, London Mozart Players are commissioning An Anthem for Peace to be launched at Croydon's first Festival of Peace. For the WW1 centenary, LMP will be commissioning a classical composer to create a modern-day anthem which can be played, rapped, sung, remixed or sampled by musicians of all abilities, ages, genres and backgrounds. Croydon's first Festival of Peace takes its inspiration from the power of the arts to touch, inspire and uplift communities. As a borough, we have found creative ways to stand together after the riots, the tram crash and the more recent assault on an asylum seeker. The festival will be a space for our community to reflect on what peace means to us and to join together in a vibrant, colourful, multi-cultural celebration. Schools, choirs, orchestras, bands, rappers, artists etc from across Croydon will be invited to perform the Anthem at the festival's centre piece community day in Park Hill in Croydon in June 2018.
What we'll deliver:
Create Teaching Packs to be distributed to participating community groups, choirs and schools
Manage the staging of the live performance and other festival events
Promote the Festival and encourage everyone to be part of the first live performance of the Anthem
Recruit well-known artists to perform and record the Anthem of Peace with LMP
Commission a composer to create the Anthem for Peace
Why it's a great idea:
In a year where the World remembers the devastation of WWI, we want to uplift, and unify people in our local and global community. The Anthem offers everyone a chance to find their voice and reflect on what peace means for them. We particularly want to engage young people, as Croydon has the largest population of young people under 15 of any London Borough. The 2011 riots shocked the community and spurred local artists and entrepreneurs to start award-winning initiatives such as Croydon Tech City and Rise Gallery. The violent assault on asylum seeker Rekher Ahmed in April 2017 was followed by a march organised by Stand Up Against Racism attended by hundreds. The Festival of Peace will partner with and celebrate those who have contributed to community cohesion. It will offer a space for all to enjoy peaceful, collaborative arts events. We hope that this model of peace-making and the beauty of the Anthem can ripple out from Croydon to our wider global community.
Steps to get it done:
Recruit local schools, musicians and music groups to rehearse and learn the Anthem
Recruit well known artists to perform and record the Anthem of Peace with LMP
Rehearse the Anthem and devise a teaching pack for schools and community groups
Commission a composer to write and orchestrate the Anthem
Perform the Anthem as the flagship community event for the 2018 Festival of Peace
Recruit a production manager to organise the staging for the community performance
The Anthem and the Peace Festival are about core values and the sort of community we want to live in. We know that if you share those values that you will be happy to support the project without any rewards. But we still want to thank and involve all our supporters and donors and would like to do so as follows: For Peace Friends who give from £2 to £20 you will get a huge thank you from all of us and of course be kept informed as to how the project progresses. For Peace Lovers who give from £20 to £100 we will invite you to take an active part in the project, bringing your choir, school, community group or just a group of friends, to the event For Peace Ambassadors who give £100 or more we will invite you to the rehearsals to meet the Players, Guest Artists and performers.
Location Croydon
The Borough of Croydon
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Our first Anthem for Peace community performance this Saturday!2 years ago
We are just days away now from the first Anthem for Peace community performance! Thanks to your support Festival of Peace Croydon launches this Saturday 16th - we warmly invite you to come and learn the Anthem with London Mozart Players and children from Ecclesbourne School at 3-4pm Wandle Park (nearest station Wandle Park Tramstop) The performance takes place within a wonderful festival day Summer of Love which will include family fun activities, live music and stalls from midday. The Festival launch will be followed by a week of participatory arts events - films, art exhibitions, workshops, singing, dance, dialogue, spoken word and more - view the full programme here - http://festivalofpeacecroydon.org/full-programme/ We also invite you to join us at the Festival Finale featuring LMP brass players and a wonderful dance piece created by Anusha Subramanyam - you can view a video here... https://youtu.be/_2ouJjKFmeM Singers, choirs and groups are welcome to download and learn the Anthem for Peace from the LMP Website http://londonmozartplayers.com/anthemforpeace/ Thank you again so much for supporting the Anthem for Peace. We look forward to celebrating Peace with you 16th-23rd June.
Festival Programme announced2 years ago
Full programme details for the first Croydon Festival of Peace have just been released and are on the website at www.festivalofpeacecroydon.org. The Anthem will be appearing twice - on June 16th at 3pm in Wandle Park where we will be teaching it to choir leaders and music teachers so that they can take it back to their groups and students. The main performance will be at the finale community event at 3pm in Park Hill on June 23rd and we really hope to see you all there.
Dates announced for first performances of the Anthem2 years ago
The dates have now been confirmed for the first two performances of the Anthem as part of Croydon's Festival of Peace in June: 16 June at the opening of the festival in Wandle Park and 23 June at the festival's finale event in Park Hill. More details to follow but we do hope you will be able to join us for one or both events and can keep the dates free.
Video of the first performance of The Anthem for Peace2 years ago
We are delighted to be able to share a short video from the first live performance of The Anthem for Peace at last year's patrons dinner at Buckingham Palace hosted by HRH the Earl of Wessex. The anthem, still a work in progress, was sung by children from Ecclesbourne school choir from Thornton Heath. The first public performance of the Anthem will be at the inaugural Croydon Festival of Peace in June and we will of course let you have full details of performance times closer to the time. We hope that you enjoy this initial taste of the Anthem. To view:: http://londonmozartplayers.com/anthemforpeace/
Thank you for your pledges3 years ago
Hi folks, thank you all for your pledges. If it hasn't already, the money will be collected from your accounts soon, so don't worry if it looks like we've taken money from you, it's in fact the generous donations you pledged back in the summer. Thank you again for your amazing generosity, and we look forward to keeping you updated with Anthem for Peace news and developments! We could not have done this without you!
100%! Thank you to all our pledgers!3 years ago
We are delighted to announce we have reached 100% of our crowdfunding target! Thank you so much to everyone who has given so generously (some multiple times). We're so moved by the response to this project, and really excited to now move forward and make it all happen. If you haven't already heard, we've announced the Anthem's lyricist as Selina Nwulu! You can find out more about her here: http://londonmozartplayers.com/anthem-for-peace-crowdfunder-target-achieved/
Croydon's Anthem for Peace hit its fundraising target!3 years ago
Brilliant news, thanks everyone!
57 Pledges worth £1,3263 years ago
Nick Mallett pledged £4003 years ago
130 backers!
130 people have backed Croydon's Anthem for Peace!3 years ago
Whoop, 130 people have pledged since fundraising began!
This project is part of:
Crowdfund London
Croydon LIVE
How will the money be spent?Total £10,511
Orchestra rehearsals and orchestration of The Anthem - £3,677 (35%)
Production costs for the main community performance - £2,000 (19%)
Performance and other costs including stewarding - £1,700 (16%)
Education packs for schools, choirs and community groups - £1,000 (10%)
Logo and Print design - £855 (8%)
Programme, fliers and posters - Printing - £525 (5%)
Other - £754 (7%)
Costs Breakdown
This shows how money raised for the project will be spent. These costs have been confirmed by the project's Delivery Manager and verified.
Orchestra rehearsals and orchestration of The Anthem
Production costs for the main community performance
Performance and other costs including stewarding
Education packs for schools, choirs and community groups
Logo and Print design
Programme, fliers and posters - Printing
Spacehive fees
Total £10,511
We're currently looking for people to offer skills and stuff to develop our project! Check out the list of what we need below and then use the 'Offer Something' button to the right to get involved.
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About the Project Creator
http://www.lmp.org
Founded in 1949 by Harry Blech, London Mozart Players is the UK's longest established chamber orchestra. Known for its unmistakable British roots, the orchestra has developed an outstanding reputation for adventurous, ambitious programming, from Baroque through to genre-crossing contemporary music. The ensemble has enjoyed a long history of association with many of the world's finest musical personalities including Igor Stravinsky, Sir James Galway, Dame Felicity Lott, Jane Glover, Julian Lloyd Webber, Nicola Benedetti, and John Suchet. The London Mozart Players are the only professional orchestra in the UK to be managed both operationally and artistically by the players, and has enjoyed the patronage of HRH The Earl of Wessex since 1988.
Croydon's Festival of Peace is a new cross-arts, cross-cultural collaborative festival established by Katie Rose, who leads choirs across London and has been closely engaged with the Croydon community and has written and broadcast for local media.
The Steering Group for the Festival of Peace will include community partners who have significant experience and commitment to building community cohesion including:
Fr John Pritchard, St John the Evangelist, Upper Norwood,
Kevin Zuchowski-Morrison of Rise Gallery who will lead on visual arts
Josi Kiss & Anusha Subramanyam of The Big Dance/ Family Fest at Park Hill Park who will lead on dance
Julia Desbruslais, Executive Director of the LMP who will lead on music
A Festival CIC is also in the process of being established to oversee the governance of the project.
Project Delivery Manager: London Mozart Players The Project Delivery Manager takes legal responsibility for receiving and spending the funds raised and ensuring the project is delivered.
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"Petropavlovsk Heating Networks" LLP is the power transferring organization which primary activity is to transfer and distribution of thermal energy, operation of thermal networks, providing a steady heat supply of the city of Petropavlovsk.
The enterprise carries out transportation of thermal energy for 67,122 thousand subscribers of household sector of the city and 2172 subscribers of industrial, budgetary, commercial and other consumers.
Pump stations – 52 pieces.
For activity implementation on transfer and distribution of thermal energy of "Petropavlovsk Heating Networks" LLP has the services providing operation and maintenance of the equipment, labor protection and safety measures.
No. 011281, given-out ADS and housing and communal services of 28.03.03 on occupation by installation and construction works, date of issue of the appendix to the license is the 16th of July, 2012.
No. 011281, given-out ADS and housing and communal services of 28th of March, 2003 on occupation by design activity, date of issue of the appendix to the license on the 16th of July, 2012.