Teshuva is commonly defined as repentance. The Webster's English dictionary defines repentance as, "The act of repenting; sorrow for having done wrong". The definition given for repent is 'To feel remorse or regret..to change ones mind concerning past action.." While these explanations are helpful, they fall short when describing the true meaning of Teshuva. Any time a person a sins, whether he has committed a sin against G-d or he has wronged another person, he has in essence caused damage to his own soul. Through Teshuva, G-d gives us the opportunity to undo the damage we have caused. This concept is purely G-dly. In our physical world, while someone may apologize and be forgiven for, say, breaking a glass, it cannot be fixed in a way that would truly make it as good as new.
When a person wrongs another person, he must obviously approach that person and beg his forgiveness before he can continue his efforts to Teshuva. Every sin is in essence a sin against the commandments of G-d, and causes damage to our soul, diminishing its purity. Teshuva gives one the ability to mend the deep spiritual damage he has caused, and in the process, become a greater person than he as before he sinned.
While there are many components to Teshuva (Rabbenu Yona lists 20), the following four are considered the most essential: Azivas Hachet- leaving the sin, Charata - regret, Vidduy - cofession, and Kabbalah L'Habba-resolution for the future. The first step is recognizing that one's actions are inappropriate. Then one must stop the action, regret that he did it, admit that he was wrong, and resolve never to transgress in this area again. Each of these aspects is crucial if one wants to effect a real change in his behavior. These steps are actually integral to any behavior modification program, which can be understood by looking a the example of someone who overeats and is overweight. he may feel dissatisfied with the situation, but only once he recognizes that he is hurting himself will he implement a weight loss and exercise plan.
The process of Teshuva is a gift with which G-d guides us to change and better ourselves. We have the opportunity to purify our souls and build ourselves to a higher spiritual level. We can mitigate or completely erase the effects of sin, just as in the physical realm, one who implements a weight loss program will significantly lower or remove his medical risks by controlling his weight.
There are two types of Teshuva. The first, Teshuva me'yirah, is teshuva that a person does out of fear. He recognize the Greatness of G-d and the severity of having disobeyed Him. He understands the spiritual damage he has caused by distancing himself from G-d, and regrets his negative actions. This kind of Teshuva is so powerful that it can change a premeditated sin to the level of an error, thereby drastically changing the spiritual repercussions of this action.
The second type of Teshuva is Teshuva Me'ahava, repentance motivated by love of G-d. The sinner recognizes his sin as an act of defiance against G-d, Whom he loves deeply, and this intensifies his feelings of guilt and remorse. He feels that he has misused the capabilities G-d blessed him with, and that he has caused damage to the pure soul which he was given. The difference between the two types of teshuva may be compared to the feeling one has when he is confronted by a police officer, as opposed to how one would feel when he is reproached by his father.
Teshuva can and should be a part of our every day. Three times a day, in the Shemoneh Esrei, we ask to be forgiven for sins we may have committed. While a murderer or a thief has the opportunity to completely turn his life around through Teshuva, every person should use the gift of teshuva to change their lives daily, by correcting small or seemingly insignificant mistakes and lapses.
Rabbi Hershel Reichman shares his thoughts and insights in the wake of the tragic murders of Gilad Shaar, Naftali Fraenkel, and Eyal Yifrah, HY"D. Audio file only.
In this Torah shiur (class) on Yom Kippur, Mrs. Shira Smiles speaks about the prayer of Neilah, and in particular, the line that says that we should "refrain from the repressiveness of our hand." This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah class (shiur) on the month of Elul, Mrs. Shoshie Nissenbaum explores the process of teshuva, including practical steps on acquiring a mindset of return. Mrs. Nissenbaum talks about the importance of our thoughts on Rosh Hashana, and how positive thinking will help us in the day of judgement. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on the laws of proper speech, Rabbi Beinish Ginsburg teaches the beginning of Klal 5 of Sefer Chofetz Chaim. The Chofetz Chaim discusses talking about someone's character traits and weaknesses, such as wisdom, strength, and wealth. Specifically, Rabbi Ginsburg focuses on the trap of criticizing Rabbonim as not intelligent or diplomatic enough, and talks about how we must be careful to only speak positively about our leaders. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (Torah class) on the laws of proper speech, Rabbi Beinish Ginsburg teaches Sefer Chofetz Chaim klal daled paragraph 12. In this shiur, Rabbi Ginsburg talks of the lengths one must go to to do teshuva fro the sin of lashon hara. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this final class on the Haftora of Shabbat Shuva, Mrs. Shira Smiles discusses the centrality of Eretz Yisrael and the meaning of the verse 'Hashem's ways are straight'. The lesson for us is to take every circumstance in life and utilize it to better serve Hashem. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on the Haforah of Shabbat Shuva, Mrs. Shira Smiles explains the beautiful imagery in the perek, as illustrations of G-d's eternal love for His people, Am Yisrael. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on the essence of teshuva, based on the Haftara of Shabbat Shuva, Mrs. Shira Smiles demonstrates the important role of tefilla (prayer) and Torah study in enabling a person to repent completely. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (Torah class) on Rosh Hashana, Mrs. Shira Smiles raises some questions and answers to remind us of the basic ideas of the holiday. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (Torah class), which focuses on the month of Elul, Mrs.Shira Smiles explores the mood of the month, and examines the seeming 'trickery' of being on our best behavior during the month of Elul, when the judgment is approaching. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on the Haftarah of Shabbat Shuva, Mrs. Shira Smiles begins the reading from Hoshea chapter 14. In this class, we learn that teshuva/repentance is a dynamic process with Hashem, and that every Jew's soul is intrinsically pure, which means that even sin does not become part of its essence. When embarking on the teshuva process, one should have an image of who they want to be, so that they have a goal to aspire to. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on the month of Elul, Rabbi Beinish Ginsburg connects the message of the blowing of the shofar, which is done every day of the month, to the essence of the month of Elul. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on Parshat Vayigash, Mrs. Chana Prero explores why Yosef chose to falsely accuse and imprison his brother Binyamin. The class is based on the text of the verses of the Parsha along with the comments of Rashi. No previous knowledge of Hebrew or textual skills are required for the class. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) on Parshat Mikeitz, Mrs. Chana Prero explains the verses and comments of Rashi and others which describe the first encounter between Yosef and his brothers, twenty two years after he was sold into slavery. This class assumes no prior knowledge of Hebrew or experience with reading Biblical texts. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (Torah class) Mrs. Shira Smiles discusses the "Al Chet" for items concerning food and drink, and focuses on the mindset one must develop through proper brachot, etiquette of eating, and netillat yadayim (washing of the hands). This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (Torah class), Rabbi Shimon Isaacson discusses the lessons of Sefer Yonah, which is read on Yom Kipur. Rabbi Isaacson delves into the many messages of the sefer, and how they relate to the essence of Yom Kippur. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
Mrs. Shira Smiles discusses Zichronot, the verses in the Rosh Hashana davening which focus on our remembrance rising up before Hashem. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
Rabbi Hanoch Teller continues his theme of Teshuva, repentance, in this shiur (Torah class). The class discusses examples of true teshuva, and a discussion of what can be expected of us over the Days of Awe. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
This Torah shiur (class) on Rosh Hashana and Teshuva (repentance) by Rabbi Shimon Isaacson is packed with halachot (laws) and hashkafot (perspectives) relating to the call of the day. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (class) on Teshuva, Rabbi Hanoch Teller outlines the path to true repentance. Peppered with inspirational, poignant, and humorous stories, the theme of Teshuva is masterfully illustrated with real life examples. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this shiur (Torah class), Mrs. Shira Smiles explains the concept of Teshuva, Tefillah, and Tzedaka, and their ability to annul the evil decree. This class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class), Rabbi Hershel Reichman reveals the the oath aspect of teshuva and the new bris between Hashem and the individual created via teshuva, as discussed in Sefer Al Hateshuva. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) Rabbi Hershel Reichman discusses the two forms of Teshuva described by Rabbi Joseph B. Soloveitchik in his sefer, Al Hateshuva. Rabbi Soloveitchik speaks about intellectual teshuva and emotional teshuva as two possible processes of teshuva, and describes the nature of each process. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class) Rabbi Hershel Reichman begins his course on Al Hateshuva with an explanation of Rabbi Soloveitchik's essay on the Atonement of Yom Kippur today and in the times of the Beit Hamikdash, and the differences between communal and individual kaparah. This Torah class is available online in streaming video and for download in mp3 and ipod video formats.
In this Torah shiur (class), Mrs. Shira Smiles discusses that during the month of Elul, the month of building our relationship with G-d, we must focus on negating our will before G-d`s Will, and strengthening the deep bond that connects us to Him. This Torah class is available online in streaming video, mp3 and ipod video download formats.
In this class, Rebbetzin Tziporah Heller expounds upon the Torah concept of Teshuvah, repentance.


The growth trajectory of Indian eCommerce has been phenomenal in recent years. It developed by more than 600%, reaching the whopping $16 billion mark in 2014, from $2.5 billion in 2009. As eCommerce firms started flooding the retail landscape of the country, the small and medium physical retailers suffered the most. This change from physical retail to online retail benefited the consumers but many of them still continued to harbor a tinge of uncertainty for this new way of shopping. This is where a new race of disruptors came in to the picture and thus, began the advent of hyperlocal players. Connecting the local retailers with consumers, these technology-backed firms have metamorphosed the face of virtual commerce by helping the brick and mortar stores to gain visibility and boost business. These are now turning out as game-changers in the online retail space of the country.
Bridging the gap between the consumers and physical retailers,act as intermediaries that connect the two poles seamlessly. Helping customers buy anything and everything from the neighborhood retail stores, the hyperlocal firms ensure quick delivery and higher credibility.
The new concept is tremendously beneficial to both consumers and traditional retailers. By getting listed on such hyperlocal platforms, local stores like mobile shops, grocery outlets, vegetable stores etc., get the opportunity to launch themselves online and present their products to the potential customers residing in their vicinity. This elevates their brand visibility and trustworthiness in the market, helping them enlarge their customer base. Besides this, the hyperlocal platform also assists them in interacting directly with their patrons, thus assuring them of timely payments within 24 hours. Another benefit that physical retailers get by launching on hyperlocal platforms, is the ability to upsell and cross-sell their products to customers. This is possible because of the fact that these stores are located in the neighborhood which makes it likely that consumers might visit them once in a while. Also, physical merchants can clock huge profits and increase their brand salience in the market through the hyperlocal eCommerce firms.
The concept is also advantageous in decreasing the shipping and logistics costs significantly, the cost-benefit of which can be passed on to the retailers as well as customers. This makes hyperlocal shopping and retailing a win-win phenomenon for both parties.
The hyperlocal portals create a favorable atmosphere for small and medium physical retailers to flourish and blossom in the online space. The increasing popularity of this concept is attracting significant investments from venture capitalists. It is helping to build opportunities for more hyperlocal firms to come up and provide their platforms to local retailers for the convenience of consumers.
In a scenario where online firms have started dominating the market, it has become difficult for the physical retailers to maintain their foothold. With hyperlocal eCommerce firms making inroads into the marketplace, the local retailers have got something to bank on and compete with the online retail giants. Backed by huge investments, the hyperlocal is generating ripples in the Indian retail landscape of the country. This is remodeling the entire unorganized conventional retail ecosystem.
Offering consumers the compelling comfort and convenience of shopping online from the nearby retail stores, without having to face the vagaries of going to the shops every now and then, is one of the most crucial aspects of hyperlocal eCommerce. By providing humongous growth prospects to the local retailers, hyperlocal eCommerce is heralding a new era wherein everything would be hyper-localized. Instant gratification and reduced prices will give consumers the satisfaction of shopping and will erase all their inhibitions related to quality or delivery of the products. With hyperlocal becoming the buzzword in the retail space of the country, the downward trend that the physical retail outlets have been going through is now taking a U-turn. Hyperlocal is on its way to become the proverbial 'Next Big Thing' in the online retail sector of the country.
Neeraj Jain serves as the Co-Founder and CEO of Zopper. A hyper local mobile marketplace that enables patrons to discover the best prices for products by connecting local sellers with buyers. Neeraj holds a B.Tech in Electronics Engineering from University of Lucknow and a PGDM in Management from IIM, Ahmedabad. Neeraj is a voracious reader and a shopaholic by heart. He also loves to play poker and spend quality time with his family. An avid socialiser, Neeraj swears by the mantra, 'Work while you play and play while you work'.


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Briarwood Pirates Win 4th-Straight Major Championship
Andrew Bensch Posted on POSTED 10:00 AM, June 13, 2019 03:28 PM, June 12, 2019
For the fourth-straight season the Briarwood Pirates will be sailing the seas of TOCs.
In what has seemingly become an annual tradition, the Pirates will once again represent Briarwood in Little League's District 44 Tournament of Champions for the major division.
It was far from easy, though, in this year's playoffs. The Pirates trailed 1-0 in the best-of-three championship series against the Mets but came from behind to steal the trophy treasure. Last Tuesday's thrilling 7-6 walk-off victory in Game 2 set up a likewise exhilarating finish to Thursday's winner-take-all Game 3. What started off as a pitcher's duel between aces Jason Benson and Toby Esqueda, eventually morphed into a back-and-forth, see-saw battle.
The Pirates opened the scoring in the top of the third inning when Esqueda knocked home Sammy Martinez with a sacrifice fly. They would add a second run in the inning to go up 2-0. The Mets answered right back in the bottom of the third to take the lead by dropping a four spot.
Dylan Camacho and Braden Rosa reached base via free passes before Justin Forster drove them both in with an opposite-field triple to tie the game. Eddie Kirk followed with an RBI single to make it 3-2.
Now finding themselves trailing 4-2, the Pirates wasted no time answering right back. Kai Imahara led off the top of the fourth with a double to left-center field, and just a few batters later the score was tied 4-4. Esqueda then walked up to the dish having the bases loaded and only one out. The most feared hitter in the league would launch a double into right-center field, knocking in two runs and giving the Pirates a 6-4 lead.
"I thought he was going to throw me all curveballs, but second pitch was a fastball down the middle and I just put a good swing on it," noted Esqueda. "Found a gap, scored two runs, it was big."
The Pirates would add a seventh run in the fourth to go up 7-4 but would be held scoreless the remainder of the game. Meanwhile, the Mets kept clawing back. First baseman Colin Eldridge smoked a double to the left-field fence for an RBI in the fifth. With the score now 7-5, a super close call in the outfield on a soft line drive off the bat of Aristotle Valdellon was ruled the final out of the inning. However, it appeared as if the ball might have been trapped by the outfielder. The call could have easily been base hit, which would have made it a 7-6 game.
Despite the unlucky break, the Mets didn't let it get them down. After a quick top of the sixth, the Mets got another rally going with their season on the line. Jesse Martinez launched a double to center field to leadoff the inning. Rosa followed by reaching on an error. With first and third, Martinez would score on a double steal to pull the Mets within one at 7-6. Unfortunately for Mets fans, neither Benson nor Forster — two of the team's top hitters — would manage to get on base. Rosa, the potential tying run at third base would be left stranded as Pirates pitcher Andrew Traffas struck out the final batter of the inning to win the championship.
Amaya Fuller Finishes Bruins Track Career in Style
Westside Rays fall to Sunnyvale 7-3 in TOC Opener
Money Hit Escapes Bruins in Loss to Leland
Author Andrew BenschPosted on April 18, 2019
The Santa Clara Bruins were facing a tough, higher-division opponent in the Leland Chargers on Saturday afternoon — but the 12-2 final score doesn't...
2016 Arena Pro Swim Series
Author AdminPosted on June 22, 2016
The George F. Haines International Swim Center in Santa Clara, was the place to be for swimmers and their fans for the weekend of...
Rivalry Water Polo Game Goes Full Throttle
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Neither Wilcox Head Coach Scott Blake nor Santa Clara Head Coach Aja Bumbaca were particularly happy with the officiating in the Chargers 7-4 victory...

redpajama_set_name: RedPajamaCommonCrawl


CASTANHA tells the story of João, a 52-year-old actor who lives with his 72-year-old mother, Celina. He spends his time between his night job as a cross-dresser in small gay bars and the roles he portrays in modest plays, movies and TV shows. Tormented and haunted by ghosts from his past, João's day-to-day life starts to merge with the reality in which he lives and the fiction he performs.


text:
package com.ndr.app.stock.screener.component;

import com.ndr.app.stock.screener.resource.ResourceManager;
import com.ndr.model.stock.screener.Criteria;
import com.ndr.model.stock.screener.ExtendedHistogramCriteria;
import com.ndr.model.stock.screener.HistogramCriteria;
import com.ndr.model.stock.screener.MultiSelectCriteria;
import com.ndr.model.stock.screener.RangeCriteria;

public enum CriteriaComponentFactory {
    instance;

    public CriteriaComponent newInstance(ResourceManager resourceManager, Criteria criteria) {
        CriteriaComponent criteriaComponent;
        if (criteria instanceof RangeCriteria) {
            criteriaComponent = newInstance(resourceManager, (RangeCriteria) criteria);
        } else if (criteria instanceof ExtendedHistogramCriteria) {
            criteriaComponent = newInstance(resourceManager, (ExtendedHistogramCriteria) criteria);
        } else if (criteria instanceof HistogramCriteria) {
            criteriaComponent = newInstance(resourceManager, (HistogramCriteria) criteria);
        } else if (criteria instanceof MultiSelectCriteria) {
            criteriaComponent = newInstance(resourceManager, (MultiSelectCriteria) criteria);
        } else {
            throw new IllegalArgumentException("Invalid model: " + criteria);
        }
        return criteriaComponent;
    }

    private CriteriaComponent newInstance(ResourceManager resourceManager, RangeCriteria criteria) {
        return new RangeCriteriaComponent(resourceManager, criteria);
    }

    private CriteriaComponent newInstance(ResourceManager resourceManager, ExtendedHistogramCriteria criteria) {
        return new ExtendedHistogramCriteriaComponent(resourceManager, criteria);
    }

    private CriteriaComponent newInstance(ResourceManager resourceManager, HistogramCriteria criteria) {
        return new HistogramCriteriaComponent(resourceManager, criteria);
    }

    private CriteriaComponent newInstance(ResourceManager resourceManager, MultiSelectCriteria criteria) {
        return new MultiSelectCriteriaComponent(resourceManager, criteria);
    }
}

redpajama_set_name: RedPajamaGithub


The atlas brings together the relevant biodiversity data in a format that enables both mining companies and regulators to be better informed during their planning and decision-making processes. The atlas identifies key wetland landscapes in the study area that are particularly important or irreplaceable in terms of biodiversity, water resource management and other ecosystem services.
The atlas is published by the Water Research Commission (WRC) and is available to the public. Please note that the WRC requires members of the public to register with their knowledge hub in order to access any publications.


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Apr 18, 2018 | Community Theatre, Reviews | 0 |
While Disney Theatrical has treated local audiences to a number of musicals over the past 25 years based on classic films (Beauty and the Beast, The Lion King, Aladdin and Mary Poppins), some of its productions are yet to make their way to Australia.
One of the musicals not yet given the full-scale Disney treatment on our shores is The Little Mermaid, based on the 1989 animated film and the Hans Christian Andersen fairytale. But thanks to Pro-Am theatre company Birdie Productions, Sydney audiences now have the opportunity to see the Disney take on The Little Mermaid. The production is currently playing at Bankstown's Bryan Brown Theatre until 22 April and makes for a great evening of family entertainment.
Jaime Hadwen in The Little Mermaid (Photo by Grant Leslie Photography)
With a book by Doug Wright (also the book writer for Grey Gardens and, more recently, War Paint), The Little Mermaid in its musical form is essentially the same story as that in the 1989 film, with a few minor adjustments. It's the story of Ariel (Jaime Hadwen), a mermaid princess who longs to join the world above the sea. Determined to achieve that goal, she visits her wicked aunt, Ursula (Michele Lansdown), who agrees to transform Ariel's tail into human legs, allowing her to pursue the human prince, Eric (Tom Ragen), on terra firma. Of course, nothing is straightforward and Ariel soon begins to understand the difficulties involved in getting what she wants. This is a story of pursuing dreams and the sacrifices that may be necessary along the way.
Taking their place alongside classic songs from the film (including 'Part of Your World', 'Under the Sea' and 'Kiss the Girl'), several other compositions – with music by Alan Menken and lyrics by Howard Ashman and Glenn Slater – have been added to the score, and the good news is that the old and new cohere nicely. Those familiar with The Little Mermaid's Broadway iteration should also take note that the musical was revised by Glenn Casale in 2012, with that revision involving a re-ordering of some songs and the addition of new number, 'Daddy's Little Angel'.
Cooper Dallimore, Michele Lansdown and Adam Cameron in The Little Mermaid (Photo by Grant Leslie Photography)
Recreating a much-loved Disney classic with a demanding score and a myriad of stage magic tricks is ambitious, but Birdie Productions has admirably risen to the challenge. The result is a highly entertaining evening of musical theatre that will win over young and older audience members alike. This is a production with heart, championing the notion that dreams are within reach if one can understand and come to terms with precisely what it will take to achieve them.
Fresh from playing ABBA's Agnetha in the world premiere production of Muriel's Wedding The Musical, Hadwen is delightful as the impulsive and effervescent Ariel, fiercely determined to become part of a world she knows nothing about. She proves the perfect fit for the Disney princess, portraying a character that is the stubborn but magnetic young woman we expect to see. Vocally, she is in fine form and beautifully delivers the show's standout ballad, 'Part of your world'.
The cast of The Little Mermaid (Photo by Grant Leslie Photography)
Ragen lends geniality and integrity to Prince Eric, the object of Ariel's affection. He has a rich baritone and infuses sung moments with convincing emotion and his performance of 'Her Voice' is a particular highlight.
Julian Kuo endears as Sebastian, Ariel's caretaker and the king's loyal servant. He demonstrates strong comedic sensibilities, both in his line delivery and aptly animated facial expressions. Andrew Symes brings both the impressive voice and authoritative stage presence befitting of the legendary sea king he's charged with playing; and young teen actor Kai Lloyd-Jones is terrific as Flounder, the boisterous guppy hopelessly devoted to Ariel.
As King Triton's villainous and scheming sister, Lansdown shows she's also well cast. Ursula's sea witch bite comes from being artful and cunning rather than treacherous, and Lansdown brings the right amount of charm and star quality, making her up to the task.
The set is primarily composed of several LED screens that facilitate the easy movement between sea and land locations and showcase vibrant animated backdrops created by Isabella Spagnolo. There is high attention to detail in Rachael Adams' costumes and each character is instantly recognisable, further enhanced by Ellie May Mansfield's hair and make-up designs. Musical director Joshua Ransom's work with the 14-piece orchestra has resulted in a tight reproduction of the score, while Craig Nhobbs' choreography includes a laudable tap sequence.
For children of the nineties and noughties, Birdie Productions' The Little Mermaid is a genuinely enjoyable and nostalgic experience, revisiting one of Disney's best musical titles. For children of today, it's a fabulous introduction to live musical theatre. And if you're too old to fit into either of those categories, sit back and enjoy a theatrical display that features gorgeously melodic music performed by a wonderful cast.
THE LITTLE MERMAID – SEASON DETAILS
Dates: Playing now until 22 April, 2018
Venue: Bryan Brown Theatre, Bankstown
Ticket prices: Adult- $42.50; Concession- $37.50; Children- $22.50; Groups 10+- $37.50; Family (2 Adults, 2 Children)- $110
Tickets on Sale Now from: www.birdieproductions.com.au
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text:
Steun ons en help Nederland vooruit
Doneren Word lid
D66 is part of the ALDE party in the EU
Yes to Europe
D66 Election program – In favor of Europe
D66 candidates
D66 for Brits in The Netherlands
D66 – Liberal Democrats
History of D66
What you need to know about the European elections
Yes to Europe / D66 Election program – In favor of Europe
D66 is pro-Europe. We are optimistic. For our country to be strong, we don't need less, but more Europe. That is why D66 was, is and remains the most pro-European party.
There have not been national solutions for international challenges for a long time. We need to work together for this in Europe. For a clean climate. For our freedom. And for our voice in the world
For a clean climate
Europe has to do all it takes to guarantee a clean future. Achieving the climate goals set out in Paris. Protecting Europe's nature. Making the transition to clean energy. Creating growth, jobs, and prosperity through innovation. We will make Europe a front-runner globally.
With one powerful Energy Union, we will exclusively generate sustainable energy in 2050. We will shut down coal plants throughout the entire EU.
Instead of soy and maize, we only feed our cattle with remains from our food industry, grass, and insects. To achieve this we will create an international biodiversity agreement, as has been done for the climate with the Paris agreements.
We will concentrate on sustainable agriculture rather than old-fashioned agricultural subsidies. D66 supports farmers that actively work on achieving the
Paris climate goals, on circular sustainable agriculture, and those that stimulate biodiversity and animal welfare.
We want to prevent animal suffering. D66 wants to end illegal animal trading.
We want cleaner oceans, rivers, and coasts.
For clean and connected European transport for everyone.
We will ensure that people will get off planes, and on trains. This is better for our climate. D66 wants:
That trains become cheaper, and planes more expensive. With a European tax on flying and a tax on kerosene. We will suspend the VAT-tariff for trains.
We want to decrease CO2-output . That means that shipping needs to be more sustainable.
We want to invest in clean transport. Stimulating the purchase and use of clean vehicles;
The train to be more financially attractive than taking a plane. This is why we want a European Railway agenda, and why we need to invest more in high-speed railway connections.
For a Europe that shares honestly
D66 wants no barriers for people that want to work, live or study in another EU-country. This is why want:
More money for the Erasmus-program, the exchange program for students, and with an extra focus on exchanges in vocational education.
Recognition of all educational degrees, certificates, modules and internships between Member-States;
Equal pay for men and women, legally enshrined;
Women should hold at least half of all important EU positions in 2019.
For a Europe that protects
In Europe we place importance on the same norms and values. Our freedom, security, welfare and human rights need to be protected. D66 fights for freedom for everyone. In a free Europe, everyone should feel free to be whoever they want to be, openly. Therefore D66 wants:
To punish EU Member States that do not respect fundamental rights, such as the rule of law and democracy. D66 wants every Member State to be assessed on a yearly basis and on the same criteria. If a country does not meet these requirements they could for example be fined;
A wide-spread and ambitious LGBTQI-emancipation policy for the entire EU;
Stricter rules for tech-giants. We want to prevent that these big digital companies, like Facebook and Google abuse their power;
Better protection for journalists through an independent hotline for threats and violence.
For our European voice in the world
There are no national solutions for international problems. Europe protects us. Only together we are able to stand up to powers such as the United States, Russia and China. European co-operation is good for our freedom. Our safety. Our prosperity. Therefore D66 wants:
European armed forces that protect us and are able to play a meaningful role globally;
A European Intelligence and Security service;
strict requirements for countries that wish to join the European Union. President Erdogan of Turkey is closing the door towards Europe with his dictatorial politics.
Cybersecurity to be a top priority. We need to reinforce fragile software and prevent ransomware attacks;
A permanent European seat in the UN Security Council, the WTO, the IMF, and the World Bank.
For a Europe that helps people
People that flee war and violence are always welcome in the European Union. People that want to work in Europe should be able to apply in a safe way. We protect human rights, in and outside Europe. D66 wants:
A better asylum system. We offer those who flee war a safe place here. We also need to invest sufficiently in the region and to invest more in economy, education, the rule of law and public administration.
To take strong measures against human-rights violations and corruption, both in and outside the European Union;
To promote human rights, democracy, and the rule of law from Europe all over the world. Especially minority, women and LGBTQI rights.
For a European Union with the Brits
Two years ago, the United Kingdom chose to leave the EU. D66 would prefer the British people to stay in. Brexit does not provide anything, except for an ever-increasing amount of chaos. Should the UK leave the EU, D66 wants:
To ensure that Dutch citizens living in the UK can obtain dual-citizenship.
A trading relationship between the EU and Great-Britain.
For a democratic and transparent Europe.
The European Union is built on its people. Therefore, it needs to be more transparent, more democratic, and more effective. We want a political and federal European Union:
More power for the European Parliament, the only European Institution directly elected by the people. Full legislative powers, the right of initiative, full parliamentary inquiry rights, and full authority over the EU budget.
Majority voting instead of veto's for all policy-areas;
A smaller European Commission. Commissioners should be chosen based on performance and competence.
A single seat for the European Parliament in Brussels.
For a sound economic Europe
European countries currently pay national contributions to Europe through a complicated system with rebates. D66 wants a system that is fair for everyone.
An annual European budget that provides insight into how much money is coming in, and where it is going, instead of the 7 year budgets we have currently;
A European tax, for example for the usage of polluting fuels that directly finances the European budget;
We need a European corporate tax rate. Now big companies shop between the European Member States almost not paying any taxes in the end. That is unfair and would be solved by a common European corporate tax.
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Sam Dastyari is a Senator representing Australia's largest State, New South Wales, in the Australian Parliament. He is the Chair of the Senate Economics References Committee and is currently chairing Australia's first ever inquiry into digital currency. Sam is a strong believer that the future growth of digital currencies requires a partnership between industry leaders and government.


10 lens Display Box - Blue The Most Trusted Name in Collecting!
This Deluxe Display Box is an exclusive Collectors Alliance item. It has been designed to hold 10 of our custom lenses (measuring 3-7/16 x 5-5/8).
This box has been specifically made for Collectors Alliance, it is an exclusive item, and cannot be found anywhere else.
Please note the box does not include the coins, lenses, color wrap boxes or cards. Lenses can be purchased seperately. The photo shown is just a representation to display the usage for American Eagles.


Treating your petas part of our family.
For night and weekend emergency care, Lakewood Animal Hospital suggests the Emergency Pet Care located in Post Falls, Idaho or the Pet Emergency Clinic located in Spokane, Washington.
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Bruce King and VetWebsites expressly disclaim all warranties and responsibilities of any kind, whether express or implied, for the accuracy or reliability of the content of any information contained in this site, and for the suitability, results, effectiveness or fitness for any particular purpose of the content. You are solely responsible for your use or reliance on such information and any foreseeable or unforeseeable consequences arising out of such use or reliance. In no event will Bruce King or VetWebsites be liable for any damages resulting from the use of or inability to use, the content, whether based on warranty, contract, tort or other legal theory, and whether or not Bruce King or VetWebsites is advised of the possibility of such damages. In no event will Bruce King's and VetWebsites's aggregate liability exceed U.S. $100.


text:
Q: Problem using window.location in a function called from onsubmit I'm currently creating a very small form on my homepage using HTML and JavaScript. I've run into a problem I'm pretty sure I could circumvent somehow (probably in a pretty ugly way though), but I got interested in why this error appears.
I have a form on my page which I specify in the following way:
<FORM name="form1" onsubmit="submitTheScript()">

The function "submitTheScript()" is placed in the header and reads:
setCookie("F_GivenSum", GivenSum);
window.location="LastScreen.html";

"setCookie()" is a function that basically just, well, creates a cookie :).
Now, the problem arises with the last line of code. I'm trying to send the user to another page, after the cookie has been set (I'm doing some controls that the input value is alright, but I've skipped that part here) but FireFox gives me the following error:
uncaught exception: [Exception... "Cannot modify properties of a WrappedNative"  nsresult: "0x80570034 (NS_ERROR_XPC_CANT_MODIFY_PROP_ON_WN)"  location: "JS frame :: chrome://global/content/bindings/autocomplete.xml :: onxblpopuphiding :: line 827"  data: no]

I guess I can't call this function the way I do, from within a onsubmit command, however, I don't see why.

A: Okay, I did a quick test and found out that you need to assign the onsubmit event handler via javascript like so:
    document.getElementById("myform").onsubmit = doSubmit;

    function doSubmit()  {
       document.cookie = "F_GivenSum=200";

       window.setTimeout(function() {
           window.location = ('test2.html');
       }, 20);

       return false;
    }

This did not give any errors in FF.

redpajama_set_name: RedPajamaStackExchange


Different types and forms of Poetry.
We have created a list of different types of poetry with explanations. Just click on the type of poetry you would like to know more about to get more details. If there is a type of poetry you would like to see in our glossary contact us, letting us know the poem type and we will add it to our glossary.


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text:
Engineering a minority
Rachel Salyer
When a person envisions a teacher, nurse or secretary, they probably picture a female. Picture an engineer, architect or mathematician — is it a male?
Women like Renee Horn and Lauren Kukwa are looking to change that stereotype. They are part of the small, but growing minority of women engineers here at The University of Akron.
"The first time I realized that this was a male- dominated field was in my statics class," said Horn, a biomedical engineering major. "I was one of five girls in a class of 30."
Even though, according to Monster.com, students with engineering degrees are constantly in demand, females are still largely underrepresented in the field. At UA, of the 110 professors, directors and research assistants in the College of Engineering, only 17 are women.
Kukwa, a chemical engineering major, said that she was discouraged about entering engineering due to the lack of women in the field.
"I knew what everyone would be thinking — what business does a Disney-watching, pink-and-glitter-loving girly-girl have trying to study with the boys?" she said.
This mentality is cultivated throughout grade school years. A study by the National Science Foundation showed that more than one third of the high school career counselors said that they "strongly agreed" or "agreed" that boys were more encouraged to go into engineering. More than half the counselors also agreed that a lack of female engineering role models is another factor.
The lack of encouragement for females in high school translates into the job force. According to the National Science Foundation, only 13 percent of engineers are women.
Margaret F. Donovan, the chair for the first scholarship in the U.S. specifically designed to promote leadership positions for women in engineering, thinks that institutions of higher education need to be more active in encouraging women to enter the profession.
"Women have come a long way in such areas as business, law and many science disciplines, but not as much progress has been made in the male bastion that is engineering," said Donovan. "More women need to enter this field, and it's not enough to have women who are 'examples.' We need more leaders in our colleges and universities who will actively work to bring both younger and older women into this profession."
While many universities are starting initiatives to bring more women into science, technology and mathematics, not everyone is doing their part to make them feel welcome, Kukwa said. She said she "absolutely" gets treated differently because of her gender, both in class and at her current engineering job with ABB Inc.
"Some professors ignore you, and some older men at work think you're a joke," she said. "I was even denied a job because my interviewer told me I seemed 'too delicate' for the kind of work they
were doing."
While Horn has faced her share of adversity among her male counterparts, she doesn't let it faze her.
"It feels good to be proving people wrong and destroying the old stereotypes," she said. "I work hard. I've earned my spot, and I feel like people are starting to take notice and give women like me the chance to show what we know and judge us on our work ethic and attitude."
While women like Kukwa and Horn are outnumbered by their male counterparts, they do say that there are advantages of being a minority within their field.
"There are a lot of scholarship opportunities available specifically for women, so that's a plus," said Horn. "And most companies are looking to promote workforce diversity, and women are the perfect people to help with that. If a company is willing to give me that first chance because I'm in the minority, then that's fine, but then I'm going to prove I deserve to be there just as much as any man."
Kukwa agrees.
"It's fun keeping up with the boys," she said. "And it's even more fun doing it in heels."


Bracing is one of my favourite elements of building acoustic guitars. It is the perfect balance of ensuring structural integrity and sculpting the sound of the resulting instrument. Brace too lightly and the soundboard could fold under the several hundred pounds of string tension. Brace too heavily and the soundboard will not be free to resonate, and the sound will be muddy and lifeless.
Building acoustic guitars is a constant calibration of many different factors (body size, body shape, timber selection) and bracing encapsulates this perfectly. The appropriate bracing pattern must be selected for the desired sound (pre-war ladder bracing? X bracing? A bracing?), then the size of the braces in terms of thickness and height of each brace determined for the stiffness and strength of the specific soundboard timber being used. That is a lot of juggling to do, and it is wonderful.
The flat braces and bridge plate.
The bracing for the parlour guitar is a pretty standard X brace, with a single finger brace on each side of the main "X" brace, two transverse braces across the upper bout, and a single tone brace off the lower leg of the treble side of the "X", along with three soundhole reinforcement braces and a bridge plate. The first step I always take is to draw a full size plan of the bracing, onto which I mark the curvature of the soundboard (there will be more on the curvature in my next post). I also then draw the position of all of the braces onto the inner face of the soundboard itself, using a very fine and light pencil. This helps ensure that they are in exactly the correct position come glue-up.
In the past I have glued all of the soundboard braces in one go. This can mean a glue-up session involving 11 or more braces, each with multiple go bars providing clamping pressure. Which tends to get pretty intense. So for this guitar I decided to split the glue-up into two sessions. The first session would be gluing the flat braces, and the second would fit the curved braces.
I prepared all of the brace stock in one go – cutting a 12mm wide, quartersawn, slice off a large block of spruce I keep for bracing. This was my first proper opportunity to give my new (to me) 1900 era Disston D8 a try, and it cut through the 3.5″ spruce like butter. There is a reason why the D8 is the king of rip saws! The spruce slice was then flattened with my No.8 jointer plane, and the slice split into smaller sections each containing two braces. These smaller elements were planed down to thickness and the flat braces then split off using a fret saw. The reason for thicknessing the braces in pairs is that this gives larger work pieces which are easier to hold in place whilst planing.
The three soundhole braces are each 8mm thick, while the two finger braces and the tone brace are 6mm thick. All braces were left at 15mm high for ease of gluing, and I left each of them 6mm overlength. The soundhole reinforcement braces each have angled ends where they meet other braces. Rather than use a sliding bevel to mark these angles, I showed each brace to the bracing plan, and marked the intersection with the adjoining braces using a small marking knife. The waste was then removed with my 12″ carcass saw and I snuck up on the final angles with a low angle block plane.
With the flat braces ready to be glued, I turned my attention to the bridge plate. This was made out of a straight grained piece of maple, which I planed flat and cut to shape using my carcass saw. The lower legs of the X brace pass under the rear corners of the bridge, and the bridge plate extends 8mm in front of the bridge and 15mm behind the bridge. Once cut to size and shape, I then bevelled the edges of the bridge plate with a block plane.
For the first stage of glue up I placed bracing plan on the deck of the go-bar station, with the soundboard facedown. The flat braces and bridge plate were then glued in place using original Titebond and secured with go bars, before being left overnight for the glue to cure.
A shot partway through the first glue-up – the third soundhole reinforcement brace and the tone bar have not yet been fitted.
In my next post I will describe the more involved processes behind the curved bracing – which is where the fun really begins!
Back in April I cut and installed the headstock inlay for the parlour guitar, and wrote about the process for Furniture & Cabinetmaking (issue 236). What follows is an expanded version of that article.
The first task with any inlay is to select an appropriate design. I find that line drawings work best, as they give a clear indication of where the cuts need to be made, and ensure that the design is not overly dependant on engraving. I make multiple copies of the final design, and mark on the master copy the material which will be used for each element of the work. For the parlour guitar I chose a rose design, the stem of which is 1.5mm square sterling silver wire, the leaves are mother of pearl, and the petals are both green and red abalone, all set into an ebony headstock veneer on a steamed pear neck.
Shell blanks can vary in thickness, which can make life difficult when it comes to cutting the recess for the inlay. So before I start cutting I check the thickness of each piece of shell with callipers, and any pieces which are too thick are brought down to thickness by sanding with 80 grit paper on a piece of 10mm thick float glass. It is important to thickness from the back of the shell, so that the show face isn't worn though.
With the shell thicknessed, I glue sections of the design onto the shell using contact adhesive (this is why multiple copies of the design are necessary). Correct orientation of the shell is critical to a design translating well to inlay, and I always seek to arrange the design so that different elements catch the light from different angles. If the whole design catches the light at the same point then it will look stunning from that position, but dull from every other perspective. If light catches different elements of the shell as you move around the design, then it will look good from every angle.
To cut the shell I used a Knew Concept's piercing saw and No.2 blades, cutting right on the line and supporting the work with 3" wide piece of southern yellow pine into which a "v" shape has been cut. The saw blade moves within the "v", while the shell remains supported on two sides, which keeps it from snapping. For cutting curves, the shell is slowly rotated, and the saw maintains a constant position.
Those with ninja-level sawing abilities will be able to inlay shell straight off the saw. For the rest of us, a set of needle files is essential to refine shapes. I use the same birdsmouth support when filing the shell, and this helps keep the filed edges of the shell at 90 degrees to the show face.
Once the shell has been cut and refined, it is time to cut the recess. I glued another copy of the design to the work piece, and defined the edges of the recess with No.10 blade scalpel blade. This can be done either by tracing the edge of design, or around the shell pieces, depending on design. This ensures that the shape of the recess remains crisp and no more material is removed than necessary. For this design, I scribed round the line drawings, as there were too many small pieces to make scribing the outline of each piece of shell practical.
If the recess is large I use a Lie Neilsen No. 271 router plane fitted with a 1/32" cutter and the optional depth stop (which for this work is less of an optional fixture and much more of a necessity). This design was too small for the router plane, as the plane blade would have bruised the sides of the recess. So instead I used a Dremel in a router stand, and a 1.6mm down cut spiral cutter. Whichever method you chose, it is key that the recess be uniform in depth, placing the top surface of each piece of shell at, or just under, the surface of the wood. This is so that when finish sanding, the thin show surface of the shell is not sanded through, and that any film finish does not collect in hollows and obscure the inlay design.
Wire is much easier to bend before it is cut to length, so I placed the end of the wire stock in the recess and guided the wire into the channel, bending it to shape. Once bent, I cut it to length and filed away the burrs.
Gluing fragile shell can be a fraught experience, so I prefer to use a 24 hour epoxy with working time of at least 90 minutes. Epoxy can be dyed to match the surrounding wood, either using wood dust or filler dyes. For inlay set into ebony I use lamb black to dye the epoxy, adding it slowly until a good colour match is achieved. Ensure a good coverage of epoxy on the sides and floor of the recess, and then place the pieces in. On designs with a number of pieces in a single cavity, such as this rose design, I fit the interlocking pieces first, followed by any free floating pieces. The one disadvantage of epoxy is that it can be very thick, and so it is necessary to really press the shell into place (while taking care not to snap the shell) to make sure it is flat on the floor of the recess. I then left the epoxy for 24 hours to set and cure, and then sanded the excess back with 340 grit paper and a hard sanding block.
The inlay is glued in and left to cure.
I'm pleased with how this inlay has turned out, and hopefully this post goes some way to demystifying the processes. With careful cutting, filing and routing, pleasing inlay is within the reach of pretty much all woodworkers.
Progress on the parlour guitar has slowed a little since the Apprentice arrived, but I did find the opportunity to install the sound hole decoration this week. I had intended to work on the sound hole decoration at EWS, and to maximise the number of skills shown in the demonstration my decoration design was alternating blocks of ebony and mother of pearl between ebony banding. As it happened, I had no opportunity to do any work at EWS thanks to the level of interest from attendees. Since EWS I have been pondering the design again, and decided to revert back to my original design of a simple herringbone inlay. The corner purfling on the guitar will also be herringbone, so the matching sound hole decoration will avoid introducing another clashing element, which is particularly important on a small bodied guitar when the decorative elements are so much closer together. The previous design work was not wasted, as I was able to use the same spacing and circumferences as I would for the shell/ ebony design.
Before I make any cuts to the soundboard, I always make a test piece using offcuts from the soundboard timber. This allows me to check the spacing of the cuts and ensure that the inlay fits before I make the critical cuts for real. The two edges of the trench for the inlay were cut using a rosette cutter from LMII, after which I removed the bulk of the waste with a Lie Nielsen No.271 small router plane. The depth of the trench is critical, as the soundboard is only 2.7mm thick and the herringbone inlay is a little over 2mm high. This gives very little margin for error, and I set the rosette cutter blade to just a hair under 2mm so that a small amount of the herringbone could be removed after gluing.
With the bulk of the waste removed, I then fine tuned the trench using a 0.81mm mini chisel and small marking knife, both by Blue Spruce Tool Works. With these I am able to remove any debris from the two corners at the bottom of the trench, so that the inlay fits flush to the bottom.
The herringbone banding is very fragile and won't bend without some gentle persuasion. I bent the herringbone to the correct radius on my bending iron, going very slowly to avoid the edge banding snapping, or (even worse) the marquetry de-bonding and scattering pieces across the workshop. When bending thin banding such as this, the trickiest part is keeping the length of the banding in a consistent horizontal plane, as applying heat to just one side will encourage it to slowly corkscrew as it bends. This will result in an inconsistent pattern once the inlay is planed flush to the soundboard. Once the banding was bent to the correct radius I levelled out the horizontal orientation by placing the banding on the flat top of the bending iron and trapped it under a broad chisel for a couple of seconds.
The banding is inlayed and ready to be levelled to the soundboard.
The banding was a good tight fit in the trench, so a final touch was to bevel the leading edges of the banding with a cabinet scraper. This eased the banding into the trench and ensured that the edges of the trench would not be bruised when the banding was inserted. The banding was glued in using Titebond Liquid Hide Glue, which had been warmed by leaving the glue tube in a jug of hot water so that it was less viscous. Ordinarily I mix my own hide glue, but hadn't much opportunity recently. The Titebond worked well and I will certainly use it for future work. With a liberal coat of glue in the trench, the banding was placed in position and gently tapped fully into the trench with a small hammer.
I left the banding to cure overnight, and then planed the excess banding flush with my low angle block plane, followed by a small cabinet scraper. The scraper allows the banding to be taken perfectly flush without removing any material from the soundboard, which is critical given the thickness of the soundboard at this point – there is little opportunity for sanding or removing plane tracks once the soundboard has been thicknessed.
With the decoration complete the sound hole was then cut to a 90mm diameter, again using the LMII rosette cutter and the blade set to the full thickness of the sound board. Next I will be writing about how I approach bracing the soundboard.
I prefer to leave thin jointed surfaces clamped up over night to allow the glue to cure fully before further work, and so I removed the parlour guitar soundboard from the thin panel gluing jig the morning after it had been glued up. Because I place panels face down in the gluing jig, there can be a slight step on the rear of the join if the panels are not of consistent thickness, so before surfacing the show face of the soundboard I removed this step from the inner face using a block plane.
When surfacing soundboards and backs, it is imperative to get the work as flat as possible, as well as achieving a clean surface free from tear out, and this involves constant checking of the work with a machinist's straightedge. In the past I have used a No.5 jack plane set to a fine cut, followed by a cabinet scraper to remove any hint of plane tracks, but this time around I decided to give the No.8 jointer plane a go, and the extra width of the blade allowed me to achieve a flat surface quicker than I would have with the No.5, and left only a little work for the cabinet scraper. For difficult timbers (particularly the backs and sides of acoustic guitars, which use exotics like rosewood) I use a toothed blade, and I may have to look into getting one made for the No.8 for this purpose. Because the soundboard panels are bookmatched, it is important to change planing direction on each half of the work, so as to avoid tear out, and the cabinet scraper is invaluable for cleaning up the glue line as it seems to resist tearing out while working against the grain.
With the full panel surfaced, I marked out the shape of the soundboard using my plywood template, and then cut to shape (staying bang on the pencil line) with a fret saw.
The thickness of the soundboard is critical for the sound of the finished guitar, and with the outer face now surfaced I was able to start thicknessing the soundboard from the inner face. The purpose of thicknessing is to achieve the right balance between a thin soundboard which will be responsive and resonant, while remaining strong enough to withstand string tension without imploding. The advantage of handmade guitars over mass produced machine produced instruments is that each soundboard and back can be worked to the optimum thickness for that particular piece of wood, with the bracing further adjusted to reflect the properties of the soundboard and back.
Using my large calipers. I mark the thickness of the soundboard at 2″ intervals, and then work the high points down until the the soundboard is down to a nominal thickness, using block and bench planes. This is a very precise way of working, and with planes set for a fine cut I know that as soon as the pencil numbers have been removed from the soundboard I have reduced the thickness by 0.1mm of material. Once each number has been removed, I remeasure everything and write the new thickness of the soundboard at the same 2″ intervals. Once I am close to the nominal thickness, the numbers stop being as important, because I am testing the wood by flexing it and listening to the sound it makes when tapped with my thumb. The need to constantly remeasure means that thicknessing a soundboard will take a couple of hours, but the end result is worth it. For a yellow cedar soundboard I work to a nominal thickness of 2.7mm, and this soundboard ended up just a hair under that as the timber had good stiffness and tap tone, which allowed me to remove just a tiny bit more material.
With the soundboard thicknessed, I was then able to cut the rebate in the neck which accept the soundboard when the guitar is assembled.
This joint needs to be cut precisely, as the top surface of the neck and soundboard need to be completely coplanar. To achieve this, I set my marking gauge a hair less than the full depth of the rebate (2.5mm instead of the 2.65mm thickness of the soundboard) and once I reached my baseline I checked the fit using the soundboard, slowly sneaking up on the final fit with a very fine cut. To cut the rebate I bevelled the two outside edges with a chisel to prevent spelching, and then used a Lie-Nielsen to remove the waste.


White horses and high winds are what have been distracting me for most of the day. It's wonderful to witness the sea whipping up it's waters and revealing it's power.
Having lived by the sea for the last 21 years of my life, I couldn't imagine being away from it. The scene of it forever in motion, the sound, the smell and when I emerge from it's coolness I feel cleansed and renewed. Many of my most vivid memories take place on the shore or playing in waters around the coast of South West England. Growing up in North Devon, whilst living through my 'angst' teenage years, I would often retreat to a favourite spot, a bench that looked across Croyde Beach, and would watch the surfers getting barreled at low tide.
So, the sun is going down and thus my view is disappearing into the darkness.. perhaps I will now get some work done :-). Having recently set up my (very basic) home studio, I've been practicing with a few different recording techniques and trying out the Pro Tools Software. Tomorrow will be day 1 of creating my first arrangement. Will let you know how it goes.


A Scandinavian trilogy of football matches in Denmark and Sweden as guests of The Ball is Round was simply too good to resist for EFW. We'd be based in Copenhagen and take trips out to Odense on Saturday, over to Sweden on the ferry to Helsinborgs on Sunday morning before the pierce de resistance; the FC Copenhagen v Brondby local derby, which is the biggest game in Danish football. It didn't take too long to accept the invite.
Copenhagen looked a picture as Stuart showed us the sights of the place he calls home for three days a week. Big Deaks and I began the harsh realities of coming to terms with the infamous Nordic beer prices. Lets put this to bed early doors then; in the centre of town a pint costs 50 Danish Kr which is 6 (6!) of your English pounds. Step a shoe slightly out of the tourist boundaries however and you pay half that. You do have the option of around twelve thousand 7-Eleven shops - which sell cheep beer - if you're really desperate.
The train to Odense normally takes around 90 minutes and set us back another 35 quid. Luckily, OB were all about European Football Weekends & TBIR and as such they slipped the three of us press passes for the day. That was a gesture we could cope-enhagen with. Danish trains are pretty impressive aside from not being overly reliable. We had an unscheduled stop in Høje-Taastrup for 30 minutes but pah! We didn't care, we'd come prepared and had visited 7-Eleven for some desperately cheap beers.
A cheap childish gag for which I apologise.
Poetry in motion. Hans Christian Andersen returns to his birthplace.
This was my first ever game in Denners (as it is not commonly known) and so presented me with my first chance to come to terms with some of the elongated team names. Odense Boldklub are known as OB. That I can deal with. Sønderjysk Elitesport on the other hand is a bit of a mouthful. We initially opted to rename them Sønderland, later reduced that to Sønders and the OB scoreboard operator was even lazier than us and simply plumped for SJE. OB v SJE it was then.
If it moves in Denmark, it'll probably be sponsored by Carlsberg. I like to think I'm not a victim of advertising but as they let us take beers into the press box, I shipped a few in for good measure. Another wallet ouching moment at £5 a pop. After a mandatory minutes silence - which actually turned out to be a full on rendition of You'll Never Walk Alone rather than a mute minute - we were underway.
A quick glance through the OB team sheet threw up some familiar names. Their gaffer is Lars Olsen, who captained Denners to their shock 1992 European Championship win. They've also got ex-Man Utd, Derby and West Ham keeper Roy Carroll between the sticks and talking of Ex-Man Utd players, wasn't that Eric Djemba-Djemba sporting the number 19 shirt? It was indeed. Carroll actually picked up the "Det Gylduebur" before the match, which turned out to be the "Danish keepers keeper of the Year". Check him out.
As we got underway, something wasn't quite right. SJE full back Micheal Stryger and visiting boss Michael Hemmingsen were sporting white gloves (white gloves!). Hemmingsen was also wearing jeans (jeans!), my letter of protest is in the post to FIFA as I type. As usual, I've asked for a points deduction. No football manger should wear jeans to a game. It is nothing short of a disgrace. White gloves are for snooker referee's like the late Len Ganley.
Hemmingsen tries to hide his gloves from us but Stryger's are in full view.
I managed to get a close up snap of them at HT though.
Away fans in the terrace on the far corner. Those gloves again on show. Tsk.
After the game we headed into the press conference. A moody Lars Olsen batted away some questions for a few minutes before an altogether more chipper Hemmingsen waltzed in - in those jeans. He happily chatted away to anyone who would listen. Apart from his obvious misdemeanours, he was actually a really nice bloke and clearly has a sense of humour. I'll give him a couple of FIFA stars just for making us laugh.
Big Deaks beavering away in the press box.
Even the camera man had three beers on the go (see bottom left).
FT. Sponsored by Carlsberg. Again.
Mr Fuller records Lars Olsens thoughts in the press conference.
Hemmingsen faces the wrath of angry anti-jeans journalists.
We managed to corner Roy Carroll for an interview. Stuart did the questions because he's good at that. I just stood there like a lemon before asking him for a photo with the EFW logo. He refused. Bloody Manchester United Media Training School. I blame them. Actually, he was alright as well actually save (save!) for that moment. In summary, he said he was just happy to be playing, doesn't gamble anymore and is very content living in Odense.
With my professional hat on and purely for the interests of research, we ended up back in Copenhagen visiting as many pubs as was humanly possible. I'm just glad we didn't end up swinging a fast shoe to the Proclaimers at silly o'clock after a battleships worth of Carlsberg. Oh, we did. Good preparation for the next day - two games in two different countries on the same day. Yeeeees. Good old life. Cheers!
Big Deaks is lovin' it back in Copenhagen.
Very nice report. Given your obsession with the manager wearing jeans, I just can't wait to read what you have to say about Ken's (Brøndby's manager)shorts!
Beautiful to read about the trilogy of football in Sweden and Denmark and also the pictures are great to watch, good post to share.
A goal apiece in the first half and some reasonable football kept our mind off the cold. It was freezing and some the crowd were covered in actual blankets - sponsored by Carlsberg of naturally.
This is a great work that you did,and it is really a great and superb pleasure to see some of the greatest and outstanding stuff that you share,so i will say thanks for sharing this great stuff.


text:
Q: Prevent Ajax calls on Homepage What is the purpose of these ajax calls and how to prevent these Ajax calls on magento 2 homepage, or atleast minimize their execution time because they are taking load time of around 3-4 secs on my site.

1) banner/ajax/load/?sections=&_=1553687029673
2)
  customer/section/load/?sections=cart&update_section_id=false&_=1553687029674


For Patients | Planned Parenthood of Orange & San Bernardino Counties, Inc.
At Planned Parenthood, we believe prevention is the best medicine. That's why 93% of our health care services are preventive, including life-saving cancer screenings, breast health exams, annual well-woman checkups, STD prevention and treatment, family planning, sexual health education, and more.
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I know learning skills aren't in the official list of soft skills or something people are trained on. But keeping in mind the rapidly changing times, this is definitely one of the key skills to develop.
The world has changed rapidly in the recent years and the rate of change is unprecedented.
There is a new update on the apps we use pretty much every week.
From no cellphones to only cell phones in 10 years.
From no whatsapp to mainly whatsapp in just about 3 years, there is so much new information to learn and process. Or decide if we need to even process it.
There is more information than we have the time or the resources to sort through and file in our minds. It is harder to keep up with everything that gets thrown into our consciousness. And to convert all that knowledge into wisdom – the hardest.
In today's post, we will look at why constant learning is a skill, look at a few important sources of learning and then tips on how to use them to make learning a routine.
Why is it important to continue learning?
So being judicious in the choice and sources of consuming knowledge and interpreting it is a skill of the new world we live in.
1. Google: A pretty obvious choice! From technical trouble shooting to kitchen conundrums, Google has been a saviour for me in so many situations. In fact, I sometimes wonder how I did I ever manage before Google.
Get into a habit to looking up anything you don't know – the meaning of a word, a process, a trending hashtag. And mostly it takes about a couple of minutes to quickly look for such stuff and also has the blessings of the productivity guru, David Allen with his 2 minute rule.
2. Blogs: While Google search throws up all the sources for the topic, blogs are a great way to access information topic wise.
You may want to follow only social media blogs or tech blogs from bloggers you like and trust.
Subscribe to blogs and the posts will arrive right in your inbox and you can read them effortlessly on your phone.
3. YouTube: If reading is not your idea of consuming information, there are videos on every conceivable topic on YouTube. Subscribe to channels to keep track of new videos. Videos also can be more engaging than plain text at times.
Just remember to carry your headphones!
4. Ebooks: With smartphones literally being on us at all time, ebooks are a great source to carry along. Instead of meandering on social media, switching over to my Kindle app has helped me finish quite a few books in transit.
5. Social media: Well! Social media platforms are not all evil. In fact, Twitter has been voted year after year as the leading platform for learning. From Twitter chats to Linkedin groups, interacting with like minded people can be a great source of learning.
In fact, videos of Gary Vee and blogs of Neil Patel are quite high on people's reading lists. Fresh and relevant content, week after week, from experts in their fields. Nothing else can replicate this kind of timely information.
6. Coursera: If you are looking at formally learning a new subject, Coursera has courses on every subject you can think of. And the courses take only a few weeks to finish. Earlier a free site, it has paid courses now. But given that the best professors from foreign universities create and run the courses, the value far outweighs the cost.
If you are thinking, "Duh! I know all this already! It's making time which is the challenge!" I know that!! I have been there and completely empathise with you. I find myself swimming in the ocean of information ever so often and have to then find my way out to gain some perspective.
1. Make time: Set a day and time when you are most likely to commit. Stick to it.
Travel time, post lunch or at the end of the day. Carve out some time when your kids leave for school.
Settle down to a nice read or a stimulating discussion before bed. It's your choice and comfort. But making time is imperative in order to keep up with the times.
2. Use the smartphone: Phones are no longer devices that send messages and make calls. That's probably the least we do on our phones. The apps on a smartphone is a peek into a person's personality!
Thanks to a friend, I have recently graduated to even designing on Canva on my phone itself. It feels so liberating to have that kinda access to get things done. Choose your ideal learning apps and install them.
3. Let go: I think this is also an important skill too – choose what is useful and let go of the rest.
But it never came down to it.
After postponing it for days and weeks, I just had to let go the nice-to-have stuff. It's impossible to catch up with all that there is out there and one has to get realistic about how much we can ingest.
4. Learn on the move: Use travel time. Catch up with the day's news, look at what your social media feed is upto, check if any new blog posts that have arrived in your inbox. I have gotten tons of reading done on my way to places.
5. Use Feedly – To make things easier, you can use apps like Feedly or Pocket.
Add blogs of your choice on Feedly and access it once a few days to catch up with new posts. Store articles for later on Pocket. these apps give you the freedom to access content when you have the time. No piling unread subscriptions.
6. Watch one video a day: This is just a suggestion. After I finished a few books on TED talks last year, I had a long list of videos mentioned in those books. Although I wanted to watch every video, I had to let go of quite a few because it wasn't realistic.
But it was easy to make time for the ones I did watch because I'd play one after dinner every night. It was also a nice way to relax at the end of the day and learn a little something too.
7. Grab 15 min slots: If you can't find extended periods of time to catch up on your reading/watching, you can look for gaps in your day.
15 minute slots, say post lunch or while waiting for a meeting to start. You'll be surprised at the amount of reading you can get done this way.
There is information everywhere. The skill is in expertise of being able to navigate it to find the learning we want. I hope this post has helped you with some useful tips. You can find more tips in another version of this topic I wrote for Linkedin – A hundred ways to keep learning everyday.
If you found this article useful, do share it on social media. As you can see, I'll be writing about soft skills this whole month and share tips on how to improve them.
If you want your teams to communicate and present better, you can check out my training services to explore the modules on offer.
There's so much to learn everyday. Internet has made learning easily accessible.
Totally know what you mean here. My profession is such that I get outdated within a year if I don't keep up. Even if I don't have the drugs and equipment, I need to know they exist and how to use them.. And with our hours, it isn't even easy to make time. The points you make are pretty much what I follow.


JW's Financial Coaching Podcast-If Stupid was Illegal We'd be in Jail: Our personal journey through financial stupidity with guest Ryan Brewer | JW's Financial Coaching-Giving you a new perspective on your money!
What did Ryan learn about writing a book?
Ryan Brewerfrom IfStupidWasIllegal.com joins me on the show to discuss his book If Stupid was illegal we'd be in Jail: Our personal journey through financial stupidity* as part of "Author Month" on the podcast.
Ryan wrote the book to recount all of the "stupid" things he had done with money and give hope to those who are in a similar situation. It all started for Ryan when he took out a loan for college and it just started to snowball from there. Ryan tried just about everything he could think of to get out of debt, including borrowing money from his mother and using debt consolidation companies. Neither worked because they did not address his behavior.
It all came together for Ryan when he got on the same page with his wife. Together they worked a plan and became debt-free in January of this year. Writing the book was hard for Ryan because he had to remember all the mistakes he had made. It was also a challenge to transfer his story from his head to paper.


text:
require 'spec_helper'

describe Pycf do
  describe '#dump' do
    subject { Pycf.dump(hash) }

    context 'when dump config' do
      let(:hash) do
        {"Simple Values"=>
          {"key"=>"value",
           "spaces in keys"=>"allowed",
           "spaces in values"=>"allowed as well",
           "spaces around the delimiter"=>"obviously",
           "you can also use"=>"to delimit keys from values"},
         "All Values Are Strings"=>
          {"values like this"=>"1000000",
           "or this"=>"3.14159265359",
           "are they treated as numbers?"=>"no",
           "integers, floats and booleans are held as"=>"strings",
           "can use the api to get converted values directly"=>"true"},
         "Multiline Values"=>
          {"chorus"=>
            "I'm a lumberjack, and I'm okay\nI sleep all night and I work all day"},
         "No Values"=>{"key_without_value"=>nil, "empty string value here"=>""},
         "You can use comments"=>{},
         "Sections Can Be Indented"=>
          {"can_values_be_as_well"=>"True",
           "does_that_mean_anything_special"=>"False",
           "purpose"=>"formatting for readability",
           "multiline_values"=>
            "are\nhandled just fine as\nlong as they are indented\ndeeper than the first line\nof a value"}}
      end

      it do
        is_expected.to eq <<-EOS.chomp
[Simple Values]
key = value
spaces in keys = allowed
spaces in values = allowed as well
spaces around the delimiter = obviously
you can also use = to delimit keys from values
[All Values Are Strings]
values like this = 1000000
or this = 3.14159265359
are they treated as numbers? = no
integers, floats and booleans are held as = strings
can use the api to get converted values directly = true
[Multiline Values]
chorus = I'm a lumberjack, and I'm okay
\tI sleep all night and I work all day
[No Values]
key_without_value = ""
empty string value here = ""
[You can use comments]
[Sections Can Be Indented]
can_values_be_as_well = True
does_that_mean_anything_special = False
purpose = formatting for readability
multiline_values = are
\thandled just fine as
\tlong as they are indented
\tdeeper than the first line
\tof a value
        EOS
      end
    end

    context 'when invalid hash' do
      let(:hash) { 1 }

      it do
        expect { subject }.to raise_error TypeError
      end
    end

    context 'when dump no string value' do
      let(:hash) {
        {"Simple Values"=>
          {"values like this"=>1000000,
           "or this"=>3.14159265359,
           "are they treated as numbers?"=>false,
           "integers, floats and booleans are held as"=>"strings",
           "can use the api to get converted values directly"=>true}}
      }

      it do
        is_expected.to eq <<-EOS.chomp
[Simple Values]
values like this = 1000000
or this = 3.14159265359
are they treated as numbers? = false
integers, floats and booleans are held as = strings
can use the api to get converted values directly = true
        EOS
      end
    end
  end
end


text:
When visiting the Adirondack Coast, immerse yourself in the local arts scene. Attend an open air concert, take in a stage performance at one of our regional theatres or browse a local art gallery.
Click here to eat local during your travels to the #adkcoast!
Hill and Hollow Music
Hill and Hollow Music presents music ensembles of national and international stature in formal concerts at the charming historic Saranac United Methodist "Church in the Hollow," along with extensive community outreach. On the history time-line they have covered every period: from medieval, renaissance, and baroque played on replica historical instruments, through the classical, romantic, and twentieth-century eras, to contemporary, jazz, and traditional folk and dance music.
North Country Ballet Ensemble
Since its inception, the Ballet Ensemble has become a regional ballet company, encompassing the geographical areas of Plattsburgh, Lake Placid, Keene, Saranac Lake and Tupper Lake. The organization was designed to develop a community of young people from the North Country, and to provide performing experience for student-dancers in the art of ballet and contemporary dance. The North Country Ballet Ensemble endeavors to offer live concert dance performance in the North Country so that it is understood and appreciated as an art form. At the same time it is the intent of the organization to provide a background in the classics and more modern day ballets for young dancers to enhance their dance education. Additionally, the NCBE's mission includes educational outreach to underserved communities and populations, which might otherwise not see live (dance) performance.
Paul Smith's College, VIC
The Paul Smith's College VIC is dedicated to fostering connections with nature for students, local residents, and regional visitors by providing outdoor recreation opportunities, experiential education programs, and year-round art exhibitions.
At the Plattsburgh State Art Museum find permanent collections and changing exhibits range from antiquities to contemporary art - including one of the country's most complete collections of works of Rockwell Kent.
The Depot Theater
The Depot Theatre is a professional theater producing five plays with six performances per week from late June to September. The historical building is a functioning train station built in 1876, making journeys with the theatre both literal and figurative. These theatrical journeys require no passport or baggage, just your willingness to sit in a comfortable seat while professional artists dazzle you with story, song and dance.
The Strand Center Theatre
The Strand Center Theatre is a landmark of cultural and historical importance. Located in the heart of downtown Plattsburgh, NY, the Strand Center Theatre was originally built as a Vaudeville Theatre in 1924 and is currently on the National Register of Historic Places. With ambience similar to the Broadway experience, you can enjoy films, music and live entertainment along with a variety of productions at The Strand Theatre, a cushy movie palace dripping with the grandeur of days-gone-by.
The Strand Center for the Arts
The Strand Center for the Arts has and continues to play a vital role in the development of the Adirondack Coast art scene in downtown plattsburgh. Since its inception in 2000, the Strand Center for the Arts has strived to collaborate with the community and strengthen the economics of the North Country with events, classes and exhibits.
Adirondack Regional Theatre


text:
OECD: Global economic growth is stalling — trade, a strong dollar and wages are to blame
Published: Sept. 20, 2018 at 7:00 a.m. ET
Rachel Koning Beals
Central banks should keep removing easy monetary policy, but at staggered pace, says group's new economist Laurence Boone
China is pegged for a 6.7% GDP growth rate in 2018, slowing to 6.4% next year, according to the OECD.
The global growth expansion may have peaked as trade uncertainty and stalled wages tighten their grip on confidence, the Organization for Economic Cooperation and Development said Thursday.
The OECD projected global growth to plateau at 3.7% in both 2018 and 2019, the group said in its latest interim outlook released Thursday. That's slower than the outlook issued in May and marks a return to a rate of growth just below that seen prior to the financial crisis 10 years ago.
"Confidence has weakened, trade and investment growth have proven slower than anticipated and wage growth has remained modest across most countries despite OECD-wide unemployment having fallen below pre-crisis rates," the OECD said in its release.
And the largest factor? Trade.
"Trade tensions are starting to bite, and are already having adverse effects on confidence and investment plans," said OECD Chief Economist Laurence Boone. "Trade growth has stalled, restrictions are having marked sectoral effects and the level of uncertainty on trade stances remains high. It is urgent for countries to end the slide towards further protectionism, reinforce the global rules‑based international trade system and boost international dialogue, which will provide business with the confidence to invest."
She added: "With tighter financial conditions creating stress on a number of emerging economies, especially Turkey and Argentina, a strong and stable policy framework will be key to avoid further turbulence."
Emerging market stocks, broadly, have flipped into bear-market territory.
Related:Why history suggests emerging-market investors should power through the bear market
The OECD called for a gradual normalization of monetary policy but said it should be at a varying degree across different economies. The Federal Reserve, who is tightening interest-rate policy at a faster clip than its large-economy brethren, is expected to nudge a key rate higher again when it meets next week. That has boosted the dollar DXY, +0.02% this year, a factor that is creating a drag on emerging market economies.
The OECD expects U.S. GDP growth at 2.9% this year, slowing to 2.7% in 2019, a downgrade from its previous outlook. It expects the euro area to grow 2% this year and 1.9% next year. China, meanwhile, is pegged for a 6.7% GDP growth rate in 2018, slowing to 6.4% next year.
Boone said in a CNBC interview that trade tariffs were impacting China, yet Beijing had managed to steer a portion of its economy away from its previous reliance on exports.
Just this week, in only the latest lobs between the two powers, Beijing announced it would retaliate against new U.S. tariffs with import tariffs of its own on $60 billion worth of U.S.-made goods. President Trump said Monday that the U.S. would impose a 10% levy on about $200 billion of Chinese goods.
The OECD's chief economist also highlighted in the interview Brexit as a major source of uncertainty and said it was "vital" that a deal is struck on trade and financial services in order to maintain a close relationship between European Union and Britain. Britain is due to leave the EU in March 2019.
Rachel Koning Beals is a MarketWatch news editor in Chicago.


text:
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 *
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      header("Location: ?q=" . $_SESSION["back"]);
      unset($_SESSION["back"]);
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    else
      header("Location: ?q=" . $_GET["link"]);
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    $res = churchcore_getPersonById($_GET["id"]);
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      header("Location: ?q=" . $_GET["location"]);
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  $form->addButton(t('simulate.user'), "ok");
  return $form->render();
}