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Boston College Law Review
Home > JOURNALS > BCLR > Vol. 56 > Iss. 6 (2015)
Limited Faith in the Good Faith Exception: The Third Circuit Requires a Warrant for GPS Searches and Narrows the Scope of the Davis Exception to the Exclusionary Rule in United States v. Katzin
Clare Hanlon, Boston College Law SchoolFollow
On October 22, 2013, in United States v. Katzin, the U.S. Court of Appeals for the Third Circuit held that police and federal agents must obtain a warrant prior to attaching a GPS device on a vehicle. In doing so, the Third Circuit became the first federal appeals court to add a warrant requirement to the practice of GPS tracking by the police. The court also held that the good faith exception did not excuse the warrantless use of a GPS device, and that law enforcement's reliance on out-of-circuit or distinguishable authority alone was insufficient to support a finding of good faith. This Comment argues that the Third Circuit took a mistakenly narrow view of the good faith exception, and failed to further the purpose of the exception as determined by the U.S. Supreme Court. This Comment contends that on rehearing en banc, the Third Circuit conducted a superior good faith analysis of the law enforcement conduct in Katzin, and correctly reversed the district court's decision to apply the exclusionary rule.
Clare Hanlon, Limited Faith in the Good Faith Exception: The Third Circuit Requires a Warrant for GPS Searches and Narrows the Scope of the Davis Exception to the Exclusionary Rule in United States v. Katzin, 56 B.C.L. Rev. E. Supp. 33 (2015), https://lawdigitalcommons.bc.edu/bclr/vol56/iss6/4
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Posts Tagged 'Beach House'
BEACH HOUSE – " Live at Kings Theatre Brooklyn "
Posted: May 1, 2019 in MUSIC
Tags: 7, Alex Scally, Beach House, Live at Kings Theatre Brooklyn, Victoria Legrand
Last August in, 2018, Beach House performed a stunning, career-spanning set at Brooklyn's historic Kings Theatre. It's an immersive concert film from the evening. Performing music from their latest album 7 and stretching back through 2008's Devotion, Victoria Legrand and Alex Scally brought their moody and mysterious dream pop to life, backed by state-of-the-art visuals, in a venue as grand and majestic as their music. The film is a close visual journey from one of the decade's defining indie bands.
As usual, Victoria Legrand, Alex Scally and the rest of their band played mostly in silhouette against dramatic lighting and projected visuals. The band also played a set the previous night at United Palace in New York City.
The Setlists between the two NYC shows only varied by one song: United Palace got "Pay No Mind" from 7 while Kings Theatre got that album's "Woo", in addition to six other new ones including "Lemon Glow," "Drunk in L.A." and "Wild." Their sets included older favorites like "Lazuli," "Myth" and "Silver Soul." Opening both shows were old friends and onetime Sub Pop labelmates Papercuts,
Beach House have announced new set of tour dates for the United States and Canada this August. Lets hope they will come to the UK later this year.
Beach House perform live at Kings Theatre in Brooklyn on August 23rd, 2018.
Setlist: 0:25 Levitation 6:06 Wild 10:49 Dark Spring 14:20 The Traveller 18:31 L'Inconnue 23:16 Lazuli 28:05 Drunk in LA 32:10 Myth 36:29 Elegy to the Void 42:54 Woo 47:19 Space Song 53:32 Wishes 58:15 Girl of the Year 1:02:13 Sparks 1:07:39 Lemon Glow 1:12:17 Home Again 1:16:50 Walk in the Park 1:22:19 Dive
BEACH HOUSE – " 7 " Best Albums Of 2018
Posted: December 18, 2018 in ALBUMS, MUSIC
Tags: 7, Alex Scully, Baltimore, Beach House, Bella Union Records, Best Albums Of 2018, Victoria Legrand
Victoria Legrand and Alex Scully of Beach House described a new kind of freedom in the making of their seventh album. It seems they felt an unwelcome pressure writing and recording in the past, whether that was the constraints of a set studio schedule, or concerns with how their experimentation would translate live. With some adjustments to the creative process, the duo were more liberated this time and the results are stellar. That's not to suggest they re-invented their sound along the way; in fact, they have stayed true to their particular brand of dream-pop, but you can hear confident strides toward mastering their craft.
As a music fan reared on '90s-era British indie-rock (Cocteau Twins, Ride, My Bloody Valentine), Beach House have always had an immediate gravitational pull. Peter Kember from Spacemen 3, central to that era in the U.K., took a turn producing this album, and you can hear his fingerprints all over it. "Dive" is a good example, as the song builds from a drone-like church organ to a hard-charging anthem. The dynamics and range of feeling throughout this album are really special: intimate one moment and rolling thunder the next. It's also a great album listen, which has become something of a lost art in these days of algorithms and streaming playlists.
Over the past decade, Beach House has become synonymous with dream-pop. The duo has consistently written gorgeous music with a hypnotic, almost otherworldly quality that often defies conventional expectation and revels in risk-taking. But by definition, its sound has typically been a little more dream than pop. Album number seven for the Baltimore-based group flips that relationship, but only ever so slightly. And the result is perhaps the band's finest recording to date. 7 is indeed a cover-to-cover listen. When consumed in one sitting, the record's 11 songs will reward the complex palates of longtime fans. But Beach House have also created some truly great standalone tracks here. Songs like "Lemon Glow," "Dark Spring" and "Dive" standout with their less-than-subtle hooks and a surprising drive. And this being Beach House, they get better with each listen.
You can either fear the unknown, or you can embrace it. Beach House has spent the last 13 years worshipping it, each new song and album a dance of devotion to an unnamable, immutable creative force. After following it down to its most elliptical and interior on 2015's Depression Cherry and Thank Your Lucky Stars, where else was there for Victoria Legrand and Alex Scally to go but outward? 7, the dream-pop duo's most collaborative and extroverted album yet, springs forth with an urgent and unpredictable energy. It plunges you into dense, interstellar shoegaze ("Dark Spring"), then grounds you in stargazing grunge balladry ("Pay No Mind"), before sending you on a mechanical 808 track through the woozy "candy-colored misery" of "Lemon Glow." And those are just the first three songs. Breaking from a long partnership with producer Chris Coady, Legrand and Scally began assembling 7's immersive arrangements in a new home studio before finishing them off with space-rock experimentalist Sonic Boom, a.k.a. Peter Kember of Spacemen 3. The shake-up paid off spectacularly. Together they've crafted a towering psych record that plays like a radio response to otherworld transmissions like My Bloody Valentine's Loveless or This Mortal Coil's It'll End In Tears. You can try to drift off in its dark, dreamlike textures, but like those seminal albums, 7 will keep prodding you to witness its mysteries up close. It will keep asking you to search its layers, to savor each image flying by—to give yourself over to the moment. And by now Beach House has well-proven that, whatever the next moment holds, they'll see you through it. This is a band you can trust with your life.
This Pay No Mind video is directed by our friend Michael Hirsch. We've been lucky to have friends join us on the road over the years. They've helped us stay sane through all the hard touring. Mike recorded this footage between 2015-2018, and it documents many live performances over that time. We like how it focuses on the audience, as they are the whole reason we go on tour. We also like that it shows some of the scuzzy reality of tour
BEACH HOUSE – " Pay No Mind "
Posted: November 15, 2018 in ALBUMS, MUSIC
Tags: 7, Beach House, Victoria Legrand
Beach House have released a further music video for "Pay No Mind," from their latest album 7. The video was directed by Michael Hirsch, and is made up of touring footage from 2015-2018. "We've been lucky to have friends join us on the road over the years," the band said in a statement. "They've helped us stay sane through all the hard touring."
"Pay No Mind" is perhaps the most romantic song off 7. Its gentle, lethargic chords feel like a prom-night waltz at the bottom of the sea, Victoria Legrand's vocals shining down like fractal pillars of light. The video finds the small serenities in the chaos of touring—from the murmuring excitement of the crowd to the bliss of performance and the road the next day, the video finds solace in repetition.
Watch "Pay No Mind" below and check out the earler video and 7 standout track "Drunk in LA." The video was directed by album co-producer Sonic Boom, who also remixed Beach House's "Black Car."
The video is the third from 7, following "Dark Spring" and "Black Car." It features wobbly, watery animation of everything from liquid horses to fractal treetops, to a blacklight-infused stage play set.
The band said the idea came from Sonic Boom, aka Pete Kemper, while they were all out together at dinner and he "mentioned an idea for a video where the viewer is always looking up from the ground." After complimenting him on the dreamlike nature of the video, "he wrote that it was essentially just a day in his life."
Beach House just wrapped a sold-out North American tour, and will be embarking on a European tour this fall.
Watch the video for "Drunk in LA"
BEACH HOUSE – " Alien "
Posted: October 23, 2018 in ALBUMS, MUSIC
Tags: Beach House, Victoria Legrand
Beach House have shared a new song, "Alien," along with an accompanying music video. The track is a b-side off the band's new seven-inch single featuring "Lose Your Smile," off their latest album 7.
This recently announced and ready for shipping is a 7″ from the beloved group Beach House. These two songs appear on slime green vinyl and the B side is an unreleased song. For Beach House junkies like myself, I'll need this in my collection. Get yours. A limited edition 7 inch that was originally sold on their European tour. Side A is "Lose Your Smile" from the album 7. Side B is a new song called "Alien".
"Alien" is proof that Beach House can dip their toes into just about any genre they want and come out with their dreamy melodies intact—in this case, they don the guise of shoegaze. At times, it sounds remarkably like My Bloody Valentine's landmark Loveless, and it works incredibly well. The spacey wanderlust of Beach House has always seemed to be in the same neighborhood as the dreamscapes of shoegaze, especially Victoria Legrand's vocals, which so often manage to be both background and foreground.
BEACH HOUSE – " 7 "
Posted: May 2, 2018 in ALBUMS, MUSIC
Tags: 7, Alex Scally, Beach House, Bella Union Records, Victoria Legrand
Unlike any of the Beach House previous albums, 7 has no producer in the traditional sense. Spacemen 3's Sonic Boom (aka Peter Kember) was said to be a driving force behind the album, making sure it was protected against studio over-production and over-development. What we get is a more organic sound from the pop duo, highlighted by single "Dive," which begins with a bright organ leading into Victoria Legrand's soft vocals, slowly building into a dynamic climax that picks up with propulsive electric guitars.
7 is the 7th full-length record from Beach House. It marks the start of a new chapter for the band, who've been together for over 13 years and had most recently released an album of b-sides and rarities which they they described as "…a good step for us. It helped us clean the creative closet, put the past to bed, and start anew."
The new album, 7, is about rebirth and rejuvenation for the group, allowing them the opportunity to rethink old methods in the writing and recording processes and shed some self-imposed limitations. They've delivered a truly remarkable work of art in this new album and we can't wait for you all to experience it for yourselves.
The dream pop duo Beach House have released a new video for the song "Dark Spring" another track taken off their 7th album 7, which is set to be released via Sub Pop Records on May 11th. The video, directed by Zia Anger is shot in stark black and white, with many of its shots and edits recalling classic film noir movies.
Musically speaking the song is a more uptempo affair, riding a bubbling synth line and an urgent drum pattern. As usual, the icy vocals of Victoria Legrand and the winding guitar work of Alex Scally take center stage, giving the song an epic sense of feel.
"Beach House return with one of their finest records to date, loaded with infectious, immersive melodies… Few can create such dreamy, melancholic yet pop–tinged worlds, as this duo."
Long Live Vinyl – 8/10
"While still unmistakably the work of Beach House, 7 is arguably their freshest sounding and texturally–rich set since 2010's breakthrough Teen Dream." London In Stereo
"More a subtle restyling than a full–on reincarnation, the soft–edged weightlessness, sumptuous tones and gauzy vocals still instantly recognisable on songs such as 'Woo' and the drop dead gorgeous 'Dive'." Uncut – 7/10
"Vast, hypnotic, beautiful… An exciting and essential album of 2018." Louder Than War – 8/10
"Beach House have become one of indie's most dependable acts, and on 7 that continues… 'Lemon Glow' is a swirling cocktail of warped, wobbly synths while 'Dive' is another highlight, an intoxicating barrage of rollocking drums and guitar barging down the door." DIY
"Beach House are remarkably consistent, their woozy dream pop always finds a way to take up whichever space it inhabits." Crack – 7/10
"Dive" is taken from 7, the new full length out May 11th, 2018.
BEACH HOUSE – " Dark Spring "
Tags: 7, Baltimore, Beach House, Bella Union Records
Baltimore dream-pop duo Beach House have unveiled a new song "Dark Spring," from their upcoming album, 7, due out May 11th via Sub Pop/Bella Union/Mistletone.
Alex Scally commented on the duo's creative process and the frustrations of trying to put it into words
"Dark Spring" opens with a thunderous drum fill that settles into a steady bass drone and layered vocals. The accompanying black-and-white video was directed by Zia Anger and features an array of enigmatic image sequences: an empty house, stark trees and swimmers floating underwater. Anger said the video was "a very organic thing made with a lot of people (who are also filmmakers), that I love and trust. An anomaly in process."
Prior to releasing "Dark Spring," Beach House earlier shared another 7 cut, "Dive." 7 marks Beach House's first album since 2015's Thank Your Lucky Stars. Last year, the group released the compilation, B-Sides and Rarities.
BEACH HOUSE – " Dive "
Posted: March 23, 2018 in ALBUMS, MUSIC
Tags: 7, Beach House, Sub Pop Records
Pre-orders of the album in any format will get early access to stream the record from your SubPop.com 2 weeks before the rest of the world does on May 11th (streaming starts on April 27th!).
Posted: March 8, 2018 in MUSIC
Beach House will release 7, the group's 7th full-length record, on 11th May 2018 via Bella Union Records in Europe and Sub Pop in the US. 7 features their latest offering, 'Dive'. All of the songs on 7 began in Beach House's home studio in Baltimore, and were finished at Carriage House in Stamford, CT and Palmetto Studio in Los Angeles. The album was mixed by Alan Moulder.
Beach House (Alex Scally & Victoria Legrand) released B-sides and Rarities in 2017. Scally and Legrand used to limit themselves to what they thought they could perform live, but this time that limitation was ignored. Also, instead of one long studio session, Beach House recorded when inspired by batches of songs, which resulted in five mini-sessions over the course of eleven months.
Unlike the last four albums, 7 didn't have a producer in the traditional sense. Spacemen 3's Sonic Boom (Peter Kember) became a significant force on this record by shedding conventions and helping to keep the songs alive, fresh, and protected from the destructive elements of recording studio overproduction and over-perfection. The band's trusted live drummer from 2016 to the present, James Barone, played on the entire record, helping to keep rhythm at the centre of a lot of these songs.
Beach House has also scheduled a worldwide tour in support of 7 beginning April 30th ending in October 20th in Dublin, IE at Vicar Street. The tour reaches the UK for the 2 dates so far in London and Manchester shows this Autumn:
Thursday 18th October – LONDON – Troxy , Friday 19th October – MANCHESTER – Albert Hall
BEACH HOUSE – " The Albums "
Posted: February 23, 2018 in ALBUMS, MUSIC
Tags: Alex Scally, B-Sides & Rarities, Baltimore, Beach House, Bloom, Depression Cherry, Devotion, Maryland, Teen Dream, Thank Your Lucky Stars, Victoria Legrand
Formed in 2004 when Alex Scally and Victoria Legrand—both of whom had just recently graduated college—found themselves in different bands in the Baltimore indie rock scene (Baltimore has spawned Dan Deacon, Ponytail, Future Islands and more). After playing together in a different band that siphoned off members, it eventually just became the two of them writing songs on an organ and a guitar. Eventually, they'd have a live drummer, but it's remained Legrand and Scally since the beginning.
It's hard to peg Beach House to a genre beyond that big nebulous "indie rock," but after 15 years and seven releases, they are a genre unto themselves. Because they haven't expanded their palette that much, the beauty of the Beach House catalog is tracking how they recontextualized their sound again and again, adding more drums, making the songs faster and shinier, and moving back again to their lo-fi sound. While their albums all sound similar, they all stand as unique entities. Their self-titled debut album was released in 2006 to critical acclaim and has been followed by Devotion in 2008, Teen Dream in 2010, Bloom in 2012, Depression Cherry and Thank Your Lucky Stars in 2015, and B-sides and Rarities in 2017.
Legrand's vocals to 1980s psychedelic rock vocalist Kendra Smith of the band Opal. The group's influences include This Mortal Coil, Cocteau Twins, The Zombies, Brian Wilson, Françoise Hardy, Neil Young, Big Star,and Chris Bell.
Last week, Beach House dropped "Lemon Glow," the lead single from their upcoming seventh album. It's due out later this spring—no hard date has been announce yet—but this new single is a perfect appetite whetted. Build on a gauzy drum and organ figure, it's cut with Legrand's lush vocals and occasional searing blasts of guitar from Scally. Turn the lights down low, indeed. This vaulted to the top of our most anticipated album of 2018 list in four minutes and five seconds.
Recorded in 2 days, Beach House's debut LP is a lo-fi mirage, the scrappiest version of an album that can be described as so lush you could sleep on it. The album was the culmination of a couple years of experimentation and live shows. "Apple Orchard" is the song that ran through MP3 blogs, but for my money "House on the Hill" is the album's centerpiece.
producing music composed largely of organ, programmed drums, and slide guitar. Of the origins of the band name, Scally said: "We'd been writing music, and we had all these songs, and then there was that moment where you say 'what do we call ourselves?' We tried to intellectualize it, and it didn't work. There were different plant-names, Wisteria, that kind of thing. Stupid stuff. But, once we stopped trying, it just came out, it just happened. And it just seemed perfect." In an interview with Pitchfork, Legrand addressed their two member status; "[I]t's a way to challenge ourselves: What do you do when it's just the two of you… [O]ne of the reasons this has been such a fulfilling experience for me is that with two people, it's so much easier to achieve things that feel exciting and new."
Released October 2006 through Carpark Records the band's self-titled debut album, Beach House,
Released 10 years ago on February 26th, 2008, Beach House's second album Devotion marks the point where Beach House found their sound. Singer Victoria Legrand and her musical partner, guitarist and keyboardist Alex Scally, have traveled far since then. Later albums, like 2015's gorgeous Depression Cherry, have made them one of the most beloved indie acts of their generation. But this one stands alone as a moment of discovery. It felt then and feels now like a glimpse of a private world. A secret worth treasuring.
It was received with similar acclaim and was included in Best Albums of 2008 list. On October 21, 2008, the group released the single "Used to Be". Beach House also recorded a cover of Queen's "Play the Game" release of the Red Hot Organization's 2009 compilation, Dark Was The Night.
In 2009, Legrand provided backing vocals on the song "Two Weeks" by the indie rock band Grizzly Bear. She later collaborated with the band again by providing vocals to "Slow Life", the band's contribution to the soundtrack for the film Twilight: New Moon.
Teen Dream
If Devotion is the album that put Beach House on every indie fan's radar and represented the first appearance of the Beach House we know now, Teen Dream was the one that put them in the first two lines of festival lineups.
The duo's "dynamic and intense" third album, was released on Sub Pop Records. After touring Devotion for close to two years—and writing on the road, as "Norway" debuted during promotion of the album—the band worked with producer Chris Coady for the first time, and suddenly the shimmery, beautiful organ sounds became even more shimmery and beautiful.
Teen Dream features the lynchpins of the Beach House live show, like "Zebra" and "Take Care." . Teen Dream did little to alter Beach House's core characteristics– slow-motion beats layered with hazy keyboard drones, rippling guitar figures, and Victoria Legrand's melancholic melodies– but greatly amplified them to the point of redefining the band's essence, from that of introverted knee-gazers into an assured, emotionally assertive force. Legrand stated: "I see this as just another step in a direction. I would not want to say that 2010 will be our year, necessarily, I hope it's just another year in which we do good work. I don't want to be defined by this year, I want it to just be a beginning.
While Beach House have a reputation, in their music at least, of being pretty serious, anyone who's been to a live show knows that they're really funny and personable during the in-between song banter. They also sometimes cover songs you wouldn't expect them to cover. Case-in-point: They played a sinister, amazing cover of Gucci Mane's "Lemonade" at festival spots in 2010. My favorite part of this cover is that some media outlet (I can't find this now, but if someone could help me out @ me) interviewed them at the time about "their new song about lemons" and they had to explain it was a Gucci Mane cover. It's impossible to imagine someone interviewing Beach House in 2018 not knowing Gucci Mane.
Bloom shot Beach House to the stratosphere; it delivered on all the sonics of Teen Dream, and even debuted at No. 7 on the Billboard charts. Listening to this album is like riding a horse into an infinite vista, where you will meet everyone you've ever loved. Released on March 7th, 2012 the band streamed a new song, "Myth", from their website. The album Bloom was released on May 15th, 2012 via Sub Pop Records. A second song from the album, "Lazuli", was released. The band released a short film, Forever Still, The film, directed by the band and Max Goldman, was inspired by Pink Floyd's Live at Pompeii and features the band performing songs from Bloom at various sites around Tornillo, Texas, where the album was recorded. The idea for the film came from the band's desire to make quality promotional content they could control artistically: "We had previously been involved in too many live sessions, radio tapings, photo shoots, etc., where the outcome was far below our personal artistic standards.
We also felt a need to distance ourselves from the 'content' culture of the internet that rewards quantity over quality and shock over nuance.
Depression Cherry & Thank Your Lucky Stars
In August 2015, Beach House released their fifth LP, Depression Cherry which they promoted the usual ways, by doing tons of interviews, appearing on late night TV and releasing singles. It had a bunch of songs that felt of a piece with Bloom—the highlight being "Sparks." A month after Depression Cherry came out, the band surprise dropped another album, Thank Your Lucky Stars, a darker, more lo-fi album—in some ways, it's the spiritual sequel to Devotion—that they didn't want to have fall into the "traditional" album cycle of promotion. As a set, the albums are a good encapsulation of everything Beach House had done leading up to 2015; the lo-fi, the widescreen and everything in between.
The album was released on August 28th via Sub Pop Records (on Bella Union in the UK) and the band announced a world tour in support. Talking of the direction of the new album, the band said "In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.".
B-Sides & Rarities
Compilations of B-sides and rarities are often either released at the end of a long career as a vault clearing, or as a way for a band to reset after a long creative period. In Beach House's case, this release feels like the latter, a way for them to put a capstone on their last six albums, as they look forward to whatever is next. Like, maybe a new album in 2018. The fun highlights here are the remixes, because you don't realize how malleable Beach House songs are until you hear them fussed up.
The compilation, B-Sides and Rarities, was eventually released on June 30th, 2017, and was supported by a new song, "Chariot", which served as the lead single of the compilation and one of the two previously unreleased songs on it.
BEACH HOUSE – " Lemon Glow "
Tags: Alex Scally, Beach House, Bella Union Records, Victoria Legrand
Beach House have shared a brand new song, 'Lemon Glow.'
The track will appear on their forthcoming new album which is set to land laters this spring: "Wishing everyone out there love tonight," they wrote on Instagram while announcing the news. Jam-packed with synths, Lemon Glow is a glimpse into what to expect from their new album which will be their seventh studio full-length and the follower to the 2015 double-release of 'Depression Cherry' and 'Thank Your Lucky Stars'.
Last year, they released a collection of unreleased music called B-Sides and Rarities.

redpajama_set_name: RedPajamaCommonCrawl


Empty bottles of the cough syrup used to make the latest street drug called "lean".
The discovery of discarded cough-syrup bottles in Marina da Gama has some fearing the codeine-based street drug "lean" has arrived in the neighbourhood.
The eight empty bottles had no prescription labels and were found in one pile.
The drug is made using cough syrup, sweets and fizzy cooldrink. The addictive element in this mix is the codeine, which is converted to morphine in the user's system.
The Uitsig Peninsula Civic Association's youth development committee called a drug-awareness meeting at the San Marina Recreation Club, where concerned parents heard from a recovering heroin addict as well as an addiction counsellor, Christine Fenemore.
Teens at the talk said the drug was popular with users as young as 10 and they had seen children using it, although not in Marina da Gama. Some claimed its use was more widespread than tik.
Ms Fenemore is registered with the Board of Addiction Professionals and is also a specialist wellness counsellor with the Association of Supportive Counsellors and Holistic Practitioners. She said codeine was often overlooked as an addictive substance, but parents ignored its dangers at their peril.
A Durban drug-rehab facility, Assisted Recovery Centres of Africa, lists codeine as one of the top-10 most addictive substances in the world – up there with heroin, cocaine and morphine.
"It is not just that your body converts codeine to morphine, but also the long-term affects that can be very dangerous," Ms Fenemore said.
The recovering addict, who did not want his name used, told how his life had been sucked into a spiral of destructive drug use. He never used lean, but he was a heroin addict for many years.
Heroin is the most notorious derivative of morphine.
His rock bottom wasn't his mother telling him he was dead to her. He wasn't moved by lying to his father to get his hands on cash for more drugs; he didn't even count selling off the contents of his parents' home in a fake robbery he staged as his rock bottom. The same with watching so many of his peers, fellow addicts, die. He said he had simply lived for his next hit, until the time he had to claw his own way back from near death.
"I never had to kill for my next hit… I'd like to say I wouldn't have, but I don't know," he said.
The son of a principal, he said he had had no traumas, no financial issues, no stresses and no reason to abuse drugs.
"The only reason I became addicted was because I liked the feeling," he said. It was as simple, and life altering, as that.
After nearly dying more than once and eventually doing rehab, it had still taken a year before his sister had begun to even talk to him again, he said. And the strain on his parents' marriage was one of the scars he still carried today.
He has been clean nine years but says he lives in constant fear of the effects of his drug abuse catching up with him. He has a child now, and is well aware that the child may have inherited his addictive tendencies.
Ms Fenemore said all drug addiction started with use, proceeded to abuse (using to feel better) and became addiction. Many well educated people from stable backgrounds found themselves living on the street, indebted to gangs, she said.
Drugs affected everyone differently and codeine was no different, she said. The liver, through the actions of an enzyme called CYP2D6, metabolises codeine to morphine. There are those with higher than normal CYP2D6 activity who produce greater amounts of morphine and can have severe reactions to codeine.Some users of lean will become sleepy or euphoric, others will suffer paranoia and reality distortion. Male users have reported erectile dysfunction. Other complications include tremors, convulsions, loss of consciousness and muscle tone.
Ms Fenemore advised parents to be aware of their own use of codeine-containing medications around youngsters and not to think that their child could never become addicted.


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Plate Tetonics Essay Research Paper Plate TectonicsPlate
Plate Tetonics Essay, Research Paper
Plate tectonics are a relatively new theory that has revolutionized the way geologists think about the Earth. According to the theory, the surface of the Earth is broken into large plates. The size and position of these plates change over time. The edges of these plates, where they move against each other, are sites of intense geologic activity, such as earthquakes, volcanoes, and mountain building. Plate tectonics is a combination of two earlier ideas, continental drift and sea-floor spreading.
Continental drift is the movement of continents over the Earth's surface and in their change in position relative to each other. Sea-floor spreading is the creation of new oceanic crust at mid-ocean ridges and movement of the crust away from the mid-ocean ridges.
The Earth is divided into three chemical layers: the core, the mantle and the crust. The core is composed of mostly iron and nickel and remains very hot, even after 4.5 billion years of cooling. The core is divided into two layers: a solid inner core and a liquid outer core. The middle layer of the Earth, the mantle, is made of minerals rich in the elements iron, magnesium, silicon, and oxygen. The crust is rich in the elements oxygen and silicon with lesser amounts of aluminum, iron, magnesium, calcium, potassium, and sodium. There are two types of crust. Basalt is the most common rock on Earth. Oceanic crust is made of relatively dense rock called basalt.
The outermost layers of the Earth can be divided by their physical properties into lithosphere and asthenosphere. It is made of lower density rocks, such as andesite and granite. The lithosphere is the rigid outermost layer made of crust and uppermost mantle. The lithosphere is the "plate" of the plate tectonic theory. The asthenosphere is part of the mantle that flows, a characteristic called plastic behavior. It might seem strange that a solid material can flow. The flow of the asthenosphere is part of mantle convection, which plays an important role in moving lithosphere plates.
Alfred Wegener, a German meteorologist, originally proposed continental drift in 1912. This geologist Wegener used the fit of the continents, the distribution of fossils, a similar sequence of rocks at numerous locations, ancient climates, and the apparent wandering of the Earth's polar regions to support his idea. Wegener used his observations to hypothesize that all of the present-day continents were once part of a single super continent called Pangaea. Fossils of the same species were found on several different continents. Wegener proposed that the species dispersed when the continents were connected and later carried to their present positions as the continents drifted. For example, the specie Glossopteris, a fern, was found on the continents of South America, Africa, India, and Australia. The distribution of other species can also be accounted for by initially spreading across Pangaea, followed by the breakup of the super continent, and movement of the continents to their present positions.
Rock sequences in South America, Africa, India, Antarctica, and Australia show remarkable similarities. Wegener showed that the same three layers occur at each of these localities. The bottom (oldest) layer is called tillite and is thought to be a glacial deposit. The middle layer is composed of sandstone, shale, and coal beds. Glossopteris fossils are in the bottom and middle layers. The top (youngest) layer is lava flows. The same three layers are in the same order in areas just separated by great distances. Wegener proposed that the rock layers were made when all the continents were part of Pangaea. Thus, they formed in a smaller contiguous area that was later broken and drifted apart.
Glaciers covered all or part of each of these continents during the same time period in the geologic past. If the continents were in their present position, a major glaciation event that covered nearly all of the continents and extended north of the equator would be required. Geologists have found no evidence of glacial action in the northern hemisphere during this time period. In fact, during this time period, the climate in North America was warm. Wegener proposed that the continents were adjacent to each other during the glacial event. Therefore, glaciers spread over a much smaller area in the southern hemisphere and probably did not influence the climate of the northern hemisphere. Wegener used the distribution of specific rock types to determine the distribution of climate zones in the geologic past. For example, glacial till and striations, sand dunes, and coral reefs, indicate polar, desert, and tropical climates, respectively. Using the distribution of rock types, Wegener reconstructed the distribution of climates zones at specific times in the geologic past. He found that, unlike the present distribution, in which zones parallel the equator, the past zones occupied very different positions. This implies that the rotational pole was in very different locations relative to today. Wegener proposed an alternative interpretation. He believed that the climate zones remained stationary and the continents drifted to different locations. The drift of the continents caused the apparent movement of the climate zones. Wegener used the distribution of climate zones to determine the location of the poles at different times in the geologic past. He found that the rotational pole appears to gradually change location, arriving at its present position only in the very recent geologic past. The apparent movement in the pole position over time is called polar wandering. Wegener offered an alternative explanation. He suggested that the poles remained stationary and that the continents changed their positions relative to the poles.
All geologists did not accept Wegener s model. Some thought that dispersion by winds or ocean currents could explain the distribution of fossil species. Other geologists thought the poles might wander and continents remain stationary. Many geologists thought Wegener's evidence was insufficient.
The greatest shortcoming, at least in the eyes of American geologists, was the lack of an adequate mechanism for moving the continents. Wegener proposed that the Earth's spin caused the continents to move, plowing through the oceanic plate and producing mountains on their leading edges. Geologists at that time understood enough about the strength of rocks to know that this was highly unlikely. Wegener's work was largely unaccepted in the northern hemisphere. In the southern hemisphere, where geologists were familiar with the rocks that Wegener used to support his hypothesis, continental drift was generally accepted. A mechanism to move continents was proposed by Arthur Holmes, Scottish geologist in 1928. He believed heat trapped in the Earth caused convection currents, areas where fluids beneath the Earth's crust rise, flow laterally, and then fall. The currents would rise beneath continents, spread laterally, and then plunge beneath the oceans. Unfortunately, Wegener died in 1930 while exploring the Greenland ice cap. He never had the opportunity to adapt Holmes' ideas to his views of continental drift.
During the 1940s and 1950s, great advances were made in our knowledge of the sea floor and in the magnetic properties of rocks. Both of these fields of study provided new evidence to support continental drift.
Geologists have known for over a century that a ridge exists in the middle of the Atlantic Ocean. The Mid-Atlantic Ridge is 6,500 feet above the adjacent sea floor, which is at a depth of about 20,000 feet below sea level. In the 1950s, a seismologist, a scientist who specializes in the study of earthquakes, showed that the global system of mid-ocean ridges was also an active seismic belt, or zone of earthquakes. An international group of geologists proposed that the seismic belt corresponded to a trough, or rift, system similar to the trough known at the crest of the Mid-Atlantic Ridge. The rifts are about 20 miles wide and 6,500 feet deep. In all, the oceanic ridges and their rifts extend for more than 37,500 miles in all the world's oceans.
In 1962, a geologist presented an explanation for the global rift system. Harry Hess proposed that new ocean floor is formed at the rift of mid-ocean ridges or sea floor spreading. The ocean floor, and the rock beneath it are produced by magma that rises from deeper levels. Hess suggested that the ocean floor moved laterally away from the ridge and plunged into an oceanic trench along the continental margin.
A trench is a steep-walled valley on the sea floor adjacent to a continental margin. For example, ocean crust formed at the East Pacific Rise, an oceanic ridge in the east Pacific, plunges into the trench adjacent to the Andes Mountains on the west side of the South American continent. In Hess' model, convection currents push the ocean floor from the mid-ocean ridge to the trench. The convection currents might also help move the continents, much like a conveyor belt. As Hess formulated his hypothesis, Robert Dietz independently proposed a similar model and called it sea floor spreading. Dietz's model had a significant addition. It assumed the sliding surface was at the base of the lithosphere, not at the base of the crust. Hess and Dietz succeeded where Wegener had failed. Continents are no longer thought to plow through oceanic crust but are considered to be part of plates that move on the soft, plastic asthenosphere. A driving force, convection currents, moved the plates. Technological advances and detailed studies of the ocean floor, both unavailable during Wegener's time, allowed Hess and Dietz to generate the new hypotheses.
One test for the sea-floor-spreading hypothesis involved magnetic patterns on the sea floor. In the late 1950's, scientists mapped the present-day magnetic field generated by rocks on the floor of the Pacific Ocean. The volcanic rocks, which make up the sea floor have magnetization because, as they cool, magnetic minerals within the rock align to the Earth's magnetic field. The intensity of the magnetic field they measured was very different from the intensity they had calculated. Thus, the scientists detected magnetic anomalies, or differences in the magnetic field from place to place. They found positive and negative magnetic anomalies. Positive magnetic anomalies are places where the magnetic field is stronger than expected. Positive magnetic anomalies are induced when the rock cools and solidifies with the Earth's north magnetic pole in the northern geographic hemisphere. The Earth's magnetic field is enhanced by the magnetic field of the rock. Negative magnetic anomalies are magnetic anomalies that are weaker than expected. Negative magnetic anomalies are induced when the rock cools and solidifies with the Earth's north magnetic pole in the southern geographic hemisphere. The resultant magnetic field is less than expected because the Earth's magnetic field is reduced by the magnetic field of the rock. When mapped, the anomalies produce a zebra-striped pattern of parallel positive and negative bands. The pattern was centered along, and symmetrical to, the mid-ocean ridge.
If new oceanic lithosphere is created at mid-ocean ridges, subduction takes place. Geologists had the answer to this question before Vine and Matthews presented their hypothesis. In 1935, K. Wadati, a Japanese seismologist, showed that earthquakes occurred at greater depths towards the interior of the Asian continent. Earthquakes beneath the Pacific Ocean occurred at shallow depths. Earthquakes beneath Siberia and China occurred at greater depths. After World War II, H. Benioff observed the same distribution of earthquakes but could not offer a reasonable explanation.
The movement of oceanic lithosphere away from mid-ocean ridges provides an explanation. Convection cells in the mantle help carry the lithosphere away from the ridge. The lithosphere arrives at the edge of a continent, where it is subducted or sinks into the asthenosphere. Thus, oceanic lithosphere is created at mid-ocean ridges and consumed at subduction zones, areas where the lithosphere sinks into the asthenosphere. Earthquakes are generated in the rigid plate as it is subducted into the mantle. The dip of the plate under the continent accounts for the distribution of the earthquakes. Magma generated along the top of the sinking slab rises to the surface to form stratovolcanoes.
The new hypotheses of the early 1960s explained several puzzling sets of observations. All that remained was a synthesis of these hypotheses. The synthesis began in 1965 when Tuzo Wilson introduced the term plate for the broken pieces of the Earth's lithosphere. In 1967, Jason Morgan proposed that the Earth's surface consists of 12 rigid plates that move relative to each other. Two months later, Xavier Le Pichon published a synthesis showing the location and type of plate boundaries and their direction of movement. Since the mid-1960s, the plate tectonic model has been rigorously tested. Because the model has been successfully tested by numerous methods, it is now called the plate tectonic theory and is accepted by almost all geologists.
Earthquakes and volcanoes, evidence of unrest in the Earth, help locate the edges of plates. Earthquakes are distributed in narrow, linear belts that circle the Earth. Some of these belts have only shallow (0-20 miles) earthquakes, like the mid-Atlantic and east Pacific ridges. In contrast, earthquakes in other belts, like western South America and south-central Asia, are at shallow, intermediate (20-45 miles), and deep (45-450 miles) levels.
Volcanoes are also distributed in long belts that circle the Earth. A dramatic example is the line of volcanoes that circles most of the Pacific Ocean. This belt is known as the "Ring of Fire" because it is the site of frequent volcanic eruptions.
The distribution of earthquakes and volcanoes coincides at most locations. The Ring of Fire is an excellent example. Geologists believe that areas of intense geologic activity, indicated by earthquakes, volcanoes, and/or mountain building, mark the boundaries between lithosphere plates. The distribution of earthquakes, volcanoes, and mountain ranges define 7 large plates and 20 smaller plates. The Nazca and Juan de Fuca Plates consist of only oceanic lithosphere. The Pacific Plate is mostly oceanic lithosphere only a small slice of continental lithosphere in southern California and Baja Mexico. Most of the other plates consist of both oceanic and continental lithosphere. The ways that plates interact depend on their relative motion and whether oceanic or continental crust is at the edge of the lithosphere plate. Plates move away from, toward, or slide past each other. Geologists call these divergent, convergent, and transform plate boundaries. At a divergent plate boundary lithospheric plates move away from each other. The mid-Atlantic Ridge, a topographically high area near the middle of the Atlantic Ocean, is an example of a divergent plate boundary. At a convergent plate boundary, lithospheric plates move toward each other. The west margin of the South American continent, where the oceanic Nazca Plate is pushed toward and beneath the continental portion of the South American Plate, is an example of a convergent plate boundary. At a transform plate boundary, plates slide past each other. The San Andreas Fault in California is an example of a transform plate boundary, where the Pacific Plate slides past the North American Plate.
Plate Tetonics Essay Research Paper When Albert
... his theory of Pangaea and plate tectonics. Wegener?s theories gave ... Science?. Normal science being ?research firmly based upon one or ... for the possibility that each new discovery, no matter ... Alfred Wegener theory of plate tectonics clearly represents Thomas ...
How Mountains Are Formed Essay Research Paper
How Mountains Are Formed Essay, Research Paper How Are Mountains Formed ... as the Eurasian plate pushed against the African plate. Other examples ... are formed when one plate pushes or pulls away ... in California and the Grand Tetons in Wyoming. Dome mountains ...
Water It Moves The World Essay Research
... river?s power could be lost. A plate in the valley?s floor could ... Utah?s Wasatch Mountains and Wyoming?s Tetons, streams pour over cliffs formed ...
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... Different Types Of Mountains Essay, Research Paper Mount St. Helens ... them. The Colorado Plateau: -The Colorado Plateau lies west of ... plateaus dryness. -The Colorado Plateau has a desert landscape. - ... . The Grand Tetons: -When the Grand Tetons formed one block ...


text:
Q: Add objectAtIndex: 1 -9 when exists from NSDictionary I want to get a few objects out of an NSDictionary
10 at a time, so objectAtIndex 0 to 9
Now addings with just:
AddObject:[[[json objectForKey:@"one"] objectAtIndex:1] ObjectForKey:@"likes"];

and that 9 times, is there a simpler way to do this, and only add when object exists.
Thanks in advance

A: Try this:
NSArray *shotsArr = [json objectForKey:@"shots"];
NSMutableArray *allViewsCounts = [NSMutableArray array];
for (NSDictionary *shotDict in shotsArr) {
    NSNumber *viewsCount = [shotDict objectForKey:@"views_count"];
    [allViewsCounts addObject:viewsCount];
}

if you wish for only 10 objects in this array:
__block NSMutableArray *allViewsCounts = [NSMutableArray array];
[shotsArr enumerateObjectsUsingBlock:^(id obj, NSUInteger idx, BOOL *stop) {
    NSDictionary *shotDict = obj;
    NSNumber *viewsCount = [shotDict objectForKey:@"views_count"];
    [allViewsCounts addObject:viewsCount];
    if (idx == 10) {
        *stop = YES;
    }
}];

A: Use simply for loop
for (int i=0;i<10;i++){
     if([[[json objectForKey:@"one"] objectAtIndex:i] ObjectForKey:@"likes"]){
          AddObject:[[[json objectForKey:@"one"] objectAtIndex:i] ObjectForKey:@"likes"];
     }
}

redpajama_set_name: RedPajamaStackExchange


U.S. 40 travels 486.92 miles in Colorado, entering the state at Dinosaur and departing into Kansas east of Arapahoe. Through northwestern reaches of the state, U.S. 40 joins the county seats of Craig, Steamboat Springs and Hot Sulphur Springs to the Rocky Mountains. South from Granby, U.S. 40 ascends across Berthoud Pass at an elevation of 11,315 feet to Empire and Interstate 70.
Interstate 70 overlays U.S. 40 east through Idaho Springs. East into Jefferson County, the US highway emerges as a frontage road for the freeway to El Rancho, and again from Genesee Park to Mount Vernon Canyon. Through Golden, Lakewood, Denver and Aurora, U.S. 40 combines with Business Loop I-70 along Colfax Avenue.
Colfax Avenue and Interstate 70 converge in east Aurora, with U.S. 40 and 287 joining the freeway on a hidden concurrency to Limon. The US highway pair branch southeast from I-70 and U.S. 24 at Limon to Kit Carson. U.S. 287 heads south to Eads while U.S. 40 continues to Cheyenne Wells and Wallace County, Kansas.
U.S. 40 westbound merges onto Interstate 70 at Genesee Park. Section B of U.S. 40 begins 2.4 miles to the west from SH 74 at El Dorado. Photo taken 02/02/02.
U.S. 40 west and U.S. 6 converge at the west end of Clear Creek Canyon. U.S. 40 (Route 040B) ends, with U.S. 6 merging onto I-70 west through Idaho Springs. SH 119 ties into U.S. 6, 2.8 miles to the east. Photos taken 08/29/04.


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Grow Wire
Grow Wire Show
How I Grew It
Veggie Grill Faces Challenging Times With Good Food and Good Deeds
By Fritz Nelson, editor-in-chief at Grow Wire
When Billie Eilish and her family are stuck at home, they apparently wish aloud for Veggie Grill's chocolate pudding parfait, a treat the company hasn't had on its menu for a while. But when Billie Eilish asks, you bring it back.
Why? Partly because you don't want to be a bad guy, do you? And partly because your corporate culture insists on being involved in community initiatives near your restaurants, and it just so happens that Eilish's mom, actress Maggie Baird, started Support + Feed, an initiative to both help Los Angeles's plant-based restaurants in need and deliver food to first responders and nursing home residents. If you're Veggie Grill, you immerse yourself in such causes like a tempura-battered green bean.
Like so many restaurants, Veggie Grill has had to figure out its response to the restrictions imposed by COVID-19. Many small restaurants we've spoken with are wrestling with the financial implications, and although Veggie Grill is a 37-unit chain with about 1,000 employees, it's not immune, especially since 50% of the fast casual restaurant's business comes from customers who dine in.
What became clear in our discussion with the company's CMO, Sarah Grover, is that the chain's management knows it has to respond in ways that go far beyond figuring out curbside pickup and contactless transactions. Sure, it's had to train its employees (sometimes over Zoom) about safety issues. Sure, it's had to introduce value meals, with family portions and even alcohol, and list "10 items under $10" to remind customers it can provide good food for a good value.
But Veggie Grill didn't stop there.
A few weeks ago, Grover, who spent more than two decades at California Pizza Kitchen, hashed out some fresh ideas baked by her ad agency, High Wide & Handsome (which I mention by name only because . . . well, High Wide & Handsome). She began talking about restaurants coming together to lift the industry. After all, she reasoned, nobody eats at one restaurant every time: "If we band together, we'll all rise together," she said.
So along came Panera and Cheesecake Factory and hundreds of others behind a campaign called The Great American Takeout, launched on March 24. Along came an outpouring of support, coverage from CNN and "Good Morning America" and all the feelgoods you could possibly feel. This was to be a one-time event, but things went so well, they tried again, and Grover reached out to Coke and Pepsi. Neither batted an eye.
The effort is now going on its fourth week, and big donors like Smithfield Foods, Tyson Foods andVentura Foods have jumped aboard with support and money. The money raised goes to CORE (Children of Restaurant Employees) and RERF (Restaurant Employee Relief Fund).
Maybe this is how we emerge: We all rise together.
Watch our conversation with Grover in the video above.
Here's the full transcript of our conversation with Grover:
Fritz Nelson: Really excited to be joined today by Sarah Grover. She's the CMO at Veggie Grill. Hi Sarah. Thanks for joining us today.
Sarah Grover: Hi. Thanks for having me.
Fritz Nelson: I think the explanation of what Veggie Grill does is maybe in the name, but for those, especially outside of California who may not be as familiar—although you guys have been in the news a little bit lately—maybe describe what Veggie Grill is.
Sarah Grover: Sure. Well, Veggie Grill is a 37-unit restaurant chain that is one hundred-percent plant based. We're the largest plant-based restaurant company. A majority of our restaurants are in California, but also recently opened in New York City and Boston and Seattle. So our positioning is that we make food that is good for our lives as well as good for our future.
Fritz Nelson: About what size? You said how many units, but can you say how many employees the company has?
Sarah Grover: Well, we've gone through a bit of a transition recently to adjust to the new situation. We have... Yikes. I think about a thousand employees at this point.
Fritz Nelson: Gotcha. I just wanted to give people a sense of the size of the company. And you yourself have the history in the restaurant world. Can you give us a little bit of a tour through that?
Sarah Grover: Sure. California Pizza Kitchen was my first position in the restaurant world in 1989, end of 1989, and we had about eight restaurants at that point and stayed for 25 years. I left when we had 250-ish around the world. I was hired by the founders who are former federal prosecutors, and we were sold to Pepsi. And then Pepsi sold us to a private equity firm, and the private equity firm took us public, and then we went private again—all throughout those 25 years. So I was the Legacy Marketing Executive from basically the beginning until four and a half years ago. After leaving CPK, I fell into a consulting opportunity with a chain that had just come out of bankruptcy, and they needed some assistance restructuring the team. So I was at Garden Fresh Restaurants for about a year helping out.
We sold the company to a family fund, and then shortly thereafter Coffee Bean & Tea Leaf asked me to come and join them in the same capacity to help reposition the business and help sell the company, which we did about a year ago. It's interesting, but timing worked to my advantage, and I was asked to come in and help out at True Food Kitchen—which I did for just short of a year as the CMO was on maternity leave—and help out on a few strategic initiatives. So that ended when she came back from maternity leave. That was at the end of the year, and this Veggie Grill opportunity came up in January. So that's when I joined them to help as they were going through some management changes.
Fritz Nelson: Got it, thank you. Wow, that's quite a history. You've helped some pretty major brands, some of my favorites mixed into there. I want to talk about the current state of things right now in the world and the impact that it's having on your business, the restaurant industry as a whole. So Veggie Grill is more what I guess we would call a fast casual chain, meaning it's not full table service, but you're not fast food either. So how much of Veggie Grill's business relied on dine-in customers before this? How much of the business was it?
Sarah Grover: About 50% dine-in, 50% off-premise.
About 50% of Veggie Grill's business came from dine-in customers before the coronavirus closures.
Fritz Nelson: Got it. So pretty big portion. And so when it first became clear early on in this crisis that restaurants were going to have to shut down as a place to dine in, what were some of the first thoughts that went through your mind and in the operator's minds and maybe what some of the first steps you guys decided to take?
Sarah Grover: Initially, our immediate focus was the safety of our employees and our guests. So we needed to review and retrain all of our employees as to the very specific measures that we have in place and anything additional that we needed to introduce. And that continues to change each day now with the introduction of masks for employees. So those were the kinds of things that we started with. Then, once we shut down the dining rooms, we introduced curbside service. We have third-party delivery, and we also have pickup—which we are trying very hard to provide a contactless pickup as most restaurants are doing these days as well. So those were the immediate shifts just to make sure that we were following all of the right protocol to keep everybody safe and healthy and then making it easy for the guests.
Fritz Nelson: And we've heard some of these elements from others as well. Doing contactless pick up requires some changes, whether it's just technology or protocols and things like that. How difficult has that process been? Or how easy maybe?
Sarah Grover: Well, it's an adjustment for sure. I'm not on the front line in the restaurants actually implementing this, but we have an incredible team. They're extremely passionate, and they recognize the importance of addressing all of these critical health issues. Being able to call in and say, "I'm here and pop your trunk," so that they don't even have to interact. Rolling down the window on the opposite side. I mean, just things that are obvious. Those were the kinds of things that we insured were put in place.
Fritz Nelson: Yes, and I mean it's like one thing to say it, another thing to make it muscle memory for employees to do.
Sarah Grover: Yes. I've seen a lot of—not a lot, a few companies that have introduced technology free or at a very reduced price to help with all of this. It's wonderful to see everyone being so generous, but I think it's critical to get the basics right first before you try to implement anything additional that people are not familiar with as part of this transition.
Fritz Nelson: Yes. You mentioned that you had to look at employee changes, too. I imagine some of that meant retraining some employees that were working on the dine-in part into helping on the delivery/pickup/ordering aspect of it. Can you talk through a little bit of some of the changes you made on the employee side, and how you delivered some of that communication?
Sarah Grover: Well, Zoom and other FaceTime technology is really how we have done it. Now we have our operators, the regional operators as well as the managers are in the restaurants so they're able to translate what our head of training is going over with them and training again and retraining. So the things that I mentioned earlier, just taking the precautionary measures of gloves and masks and contactless delivery and curbside. As I said, that was not in existence until a couple of weeks ago. So we just moved quickly to get that in place to make it easy for the guests to pick up the food.
Fritz Nelson: Were there any changes that you made to the menu?
Sarah Grover: No. We were on the path to working on a new menu just in general for the company, and we decided that we needed to pause for a moment and get these critical elements in place with regard to safety around the coronavirus issues. But the menu as it is today is the same menu. Fortunately we already had a healthy off-premise business so we didn't have to make a lot of changes.
Veggie Grill didn't make any tweaks to its menu when it transitioned to takeout-only.
Fritz Nelson: Yes. So, we've talked about how such a large portion was in restaurant dining, but an equally large portion was already ordering online for pickup or delivery. So, you already kind of knew what worked, and I imagine that flows through to understanding things like inventory and what to stock and what not to stock, especially when we're dealing with more perishable goods here. So that probably changed a bit as well.
Sarah Grover: It did. I would say that what we did address with the menu is making sure that we put our value offerings forward in a time where everyone is uncertain about paychecks and what's happening in the world of savings accounts and being furloughed. So we introduced a family meal that is a special price as well as featuring alcohol, which can now be sold through takeout. And this week we have our 10 items that are under $10. So we want to make sure that people remember, our guests remember that we do offer a good value at a time like this
Fritz Nelson: Who doesn't like a good bottle of wine with some fried sweet potatoes?
Sarah Grover: Right.
Fritz Nelson: In terms of what you're hearing from your customers, what's been the feedback so far?
Sarah Grover: Our customers are very loyal. It's a wonderful community in the plant-based world as well as just the general population of people that like to eat great food that's good for you. And so they're thankful that we're still able to provide their favorite menu. We did hear from a very vocal supporter a few days ago, Billie Eilish and her brother, Finneas, made a plea on her Instagram to bring back our chocolate pudding, which was taken off the menu I'm not sure how long ago. But we were able to mobilize and get it on the menu and made that family very happy. It also then introduced us to Billie and her mother's new charity called Support and Feed, which is providing plant-based meals to those in need in nursing homes and frontline responders and healthcare workers. And so we're participating with them in the coming weeks helping out with those efforts.
Fritz Nelson: Wow, that's fantastic. And I take a great segue into what are some of the things that you guys are doing outside of the normal course of business? Maybe we can start there and then we can talk a little bit about The Great American Takeout. But just generally, what is Veggie Grill's approach to these times? It sounds like you guys are very involved. Is that sort of part of the culture there?
Sarah Grover: Yes, we are very involved in each of the communities where we have a restaurant and immediately our managers and regional directors wanted to reinforce that community participation. And so they have been engaging with the local hospitals nearby. I know in Santa Monica in particular. St John's, we've been delivering on a regular basis to the ER. And I know many brands are doing that, which is fabulous. It's getting a little more difficult with how you can get through security, so they've set up a process to be able to deliver it right there at the entrance, and we're making a lot of employees and healthcare workers happy with our deliveries. So that's really been our primary focus is to find the areas that are in most need in the communities where we have restaurants.
Fritz Nelson: Tell us about The Great American Takeout, how that came into being and what Veggie Grill's involvement in it looks like.
Sarah Grover: Sure. Well it's interesting because just two and a half weeks ago this didn't exist, and we were sitting around in a brainstorm meeting trying to figure out what we needed to do to be able to reinforce Veggie Grill's value, as I mentioned earlier, and how we could just get the word out in this very difficult, crazy environment. And initially, I was noticing that there were a lot of letters from CEOs. That was the first iteration of marketing efforts, just reinforcing quality standards. And then it sort of became noise because every company in America was sending out a letter from their CEO. So I was thinking about this clearly an unprecedented situation that we're in, and I wrote up a concept basically, really that said, "If we as an industry are going to be here tomorrow, we need to band together and market ourselves as an industry, as one, really think about how we could do this in an unprecedented way."
How great would it be if Veggie Grill is supporting Blaze Pizza, and Blaze Pizza is shouting out to Lazy Dog, and it becomes this infectious community that rises together. And so I gave this brief of an idea to my ad agency, High Wide & Handsome, and they came back literally 24 hours later, maybe not even that much time with several thoughts, several different hashtag ideas and the one that just spoke to me is "The Great American Takeout." It really is a universal message that everyone in our industry can get behind. Nobody's going to eat at Veggie Grill every day. Nobody's going to eat it any place every single day, and therefore, we all will succeed if we band together. We'll all rise together. So from there really, High Wide & Handsome created the marketing materials, and we just started posting all of this on our social channels just on my LinkedIn and Facebook.
And I shared it with a lot of my restaurant industry CEO and CMO friends and asked them to share it. And the first week just exploded. We ended up getting interest from CNN and Good Morning America and the local LA TV stations, and it was really beyond our wildest imagination. And there were then restaurant companies contacting me to say are we're doing this again? Are we doing it again? So we thought about it and sales were much higher the day after we did this, and I heard that from many, many companies, and I was thinking we needed to do something a little different the second week to keep the interest. And if we were going to say, "We're all in this together," it occurred to me: Well, what about Coke and Pepsi? They are archrivals, but again, they're in this together with us as an industry. So I contacted both companies and without hesitation, they both said we're in, you can include us, we want to support this initiative.
Veggie Grill played a big role in organizing the Great American Takeout, an initiative to support restaurants.
So that's why the second week their logos were prominently featured, and they tweeted us out on their social platforms to help generate more interest and get the word out even bigger. And the second week was just incredible. So much so that now we're doing it a third and a fourth week and perhaps beyond. But also what I didn't mention is that, the first week, we had a charity contact us with a big donor and said Smithfield Foods wants to contribute a huge sum of money, and we'll base it off of the number of tweets. For every tweet or share, they will donate $5 up to $100,000, and the money that we raise will go to CORE, which is Children of Restaurant Employees, which was exactly why we're doing this to begin with, to keep our managers and our employees employed as well as help take care of the families of those that have been furloughed.
So, from there, we have had a number of companies jump on board: Ventura Foods, and this week, we have Tyson Food who is jumping in and contributing, and we also are partnering with the National Restaurant Association's employee relief fund. And more and more companies are coming out of the woodwork because they see this as something that really fits all companies within the restaurant industry.
Fritz Nelson: That's fantastic. I am really just blown away by that. And maybe we can tell our viewers here how they can get involved in sharing. What is it that they need to share?
Sarah Grover: Well, we have a website, it's thegreatamericantakeout.com, and every week we upload all of the new assets, the marketing materials, sample posts and tweets that can be easily copied and pasted anywhere and shared. We encourage anyone in the industry to help us get the word out to all of our guests that are dining out or dining in through takeout. And so it's very simple.
Fritz Nelson: Great. And I'm just wondering, it might be a little premature to ask this question, but as you see some of this take off in such a big way, are there things that you and Veggie Grill and maybe others in the industry are learning and talking about that you might foresee becoming just standard part of how you do business beyond this crisis?
Sarah Grover: Well that's an interesting question. I think when people are passionate about what they do or the brands they're connected with, they'll rise to any occasion put in front of them. And that's been the biggest, really important learning out of all of this. To see that people want to make a difference. And when you're in a situation like we are in as a world right now and here in the United States, I think we're expected to think differently. And I imagine this will extend long after we're able to get back to our somewhat-normal lives, however long that may be. I'm not sure when that is, so we need to continue to be creative to help keep what we are able to do afloat.
Fritz Nelson: Fabulous. Well, thank you for all of your work in this industry and best of luck, and thank you for coming on to talk to us about it today.
Sarah Grover: Thank you for having me.
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Una Pizza Napoletana's Anthony Mangieri Rolls Up His Sleeves in Time of Crisis


The night, and into the early morning, he used a public phone to call updates into the student radio station. He was eventually placed on the list of 21 most wanted student leaders, got arrested, and spent almost two years in prison. In 1992, became an American citizen, converted to Christianity and now works as a military chaplain.
wholesale jerseys There has been a lot written about "flipping" real estate these last two years and much of it is more fiction than fact. Some say it is great way to make money fast. Some say it is very difficult. The New Jersey race announcement did not include a specific June 2013 date, but expect the race to be paired with the Canadian Grand Prix in Montreal, Canada, which will be held in 2012 on June 10. The 2012 F1 schedule has 20 races at present, beginning with the season opener on March 18 in Australia and ending on Nov. 25 in Brazil wholesale jerseys.


One of the most serious accidents I have ever investigated was a deliberate contact with an overhead 34.5kV power line. The line was supposed to be dead before applying the safety grounds. High above the ground, the line worker confidently approached the wires unaware they were still hot! The high voltage electricity jumped out to meet the copper ground he held, instantly engulfing the man in a ball of fire! He should have checked more carefully.
The resultant power surge quickly caused the circuit breaker feeding the line to open, interrupting the flow of electricity. Fortunately, the man walked away, and his injuries were limited by layers of safety.
The question that will always haunt utility work—how to build better layers of safety?
The day before the incident, I wrote the switching order detailing the exact steps needed to take the line out of service while keeping customers' power on. I was keenly aware of the dangers. Double-checking those switching steps to verify they would kill the line was the first layer of safety. Many more layers of protection were built into the process. You can probably think of many—equipment marking, blockout/tagout, radio protocol, and personal protective equipment (PPE).
The workers were to open a pole switch numbered PS221. This would cut the feed and de-energize the line. We were working on two parallel lines on a rural right-of-way. The workers drove to a line, assuming this was the right one, and hastily opened the wrong switch. The switch they opened was numbered PS121, which was, unfortunately, similar to the number of the pole switch they were to open. One layer of safety stripped away—that's why we need many layers.
I worked with a safety officer who believes that driving is the most dangerous common work activity. We have layers of safety in vehicles too. We limit our speed and wear seatbelts. Signage and traffic laws orchestrate the flow. Paying attention, looking around, and following at safe distances are more layers of safety.
A single layer can often be violated without injury. If you don't buckle your seatbelt, you will likely make it to the store without injury. The other layers help protect you. I see drivers thoughtlessly run red lights all the time. Fortunately, most drivers look both ways before entering an intersection. If someone runs a stop light, other layers will act to protect and limit injury if there is a collision.
Every safety layer is precious. Cutting layers elevates risk; adding layers improves safety performance. Disregard more than one layer and the chances of injury skyrocket! The goal is always zero accidents. However, distractions occur, and mistakes are made. Layers that are part of the normal workflow are the best—no extra things to remember.
Today the device in a worker's pocket can add layers of safety with improved information and communication. Start with complete and detailed information about your electric system. Add real-time information about your infrastructure and its operation. Layer on outside sources of environmental information about weather, flooding, lightning, traffic, and road closures for a safer well-prepared job site. That same device can even make job safety briefings easy and help monitor the employee working alone. That device is a smartphone or tablet.
Consider how Uber routes a driver directly to where you stand, or how Dark Sky predicts when it will start raining at your exact location. Unprecedented location-aware safety layers are within easy reach. And what powers location intelligence? ArcGIS.
ArcGIS reveals unsafe conditions by helping utility workers visualize real-time hazards that threaten people, property, and the environment. ArcGIS connects mixed data sources, analyzes them, and presents insights via web maps or mobile apps. ArcGIS allows you to add precious layers of safety with reliable information and innovative communication for employees and customers.
To learn how ArcGIS helps utilities add layers of safety, visit Safety First for Utilities.
I would rather reverse the process: a mobile contactles device, with GPS, shall signal back the presence and position of the electrical field, at a safe distance from the worker.
The worker must ALWAYS approach the conductor as a live voltage. Just after grounding the line he can dare touching.
I saw people dead due to a capacitive voltage coupling (line was disconnected, but voltage was induced by a near line).


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Daniel Suarez claims Cup Series pole at Kentucky Speedway
By GARY B. GRAVES
SPARTA, Ky. (AP) — Daniel Suarez led a front row sweep for Stewart-Haas Racing in provisional qualifying at Kentucky Speedway.
The field will not be finalized until cars pass inspection prior to Saturday night's race.
Suarez turned a lap at 184.590 mph in his SHR Ford to nab the top starting spot. If it stands after inspection, it will be Suarez's second pole in 91 career starts. He bumped teammate Aric Almirola to the outside front row in Friday qualifying.
Three-time Kentucky winner Brad Keselowski completed a top-three sweep for Ford by qualifying third. Kurt Busch was fourth in a Chevrolet for Chip Ganassi Racing while SHR driver Kevin Harvick made it four Fords in the top five.
Two-time defending race winner Martin Truex Jr. was eighth and Joe Gibbs Racing teammate Kyle Busch 10th as the only Toyotas in the top 10.
More AP auto racing: https://apnews.com/apf-AutoRacing and https://twitter.com/AP_Sports


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Virtuoso Managers Make the Difference
29 November 2018 | 3 mins
Reach for an Oxford Dictionary, and you'll find that a 'virtuoso' is: 'a person highly skilled in music or another artistic pursuit'. We particularly like the second part of this definition, because we view the ability of our managers to lead, achieve and inspire as an art.
In 2017, the Impellam Virtuoso programme came into being, recognising that it is our managers who make the difference in building trust, relationships and better futures for our clients and candidates. Since the launch, around 400 managers have experienced the programme.
'Experienced' is the word; our Virtuoso programme is not about conventional, fact-driven classroom training. Jill Thornton, Director of Group Talent, explains: "The Virtuoso programme alters perspectives, helps our people to think laterally, and brings about a shift in mindsets to truly unlock potential."
"Being a Virtuoso is all about tuning into customers to uncover their real concerns and challenges. Impellam's programme enables our people to lead better conversations with all clients and candidates, conversations that matter and drive innovative, agile staffing solutions and provide good, fulfilling work," explains Jill.
Crucially, Virtuosity provides a framework that allows Impellam people to make bold, transformational promises and senior management to support them. The framework uses open communication to allow people to identify when their promise is drifting, and to ask for help and feedback without fear of failure.
Jill continues: "Over a nine-month period, Virtuosos undergo workshops and one-to-one coaching, starting with helping them to gain the clearest vision of their promise. In turn, they then work backwards to define what it will take, the skillsets needed and, critically, the infectious passion to enrol and engage their teams. Only with them on board can they deliver on their promise."
Lorien, our technology focused recruitment brand acquired in 2014, embraced the Virtuoso programme with nine managers in its first cohort. Claire Marsh, CEO, explains: "We already knew we had real talent within the business. Virtuosity has allowed us to put trust in our managers and really show what they can do to move the business forward. It gives people the freedom to take ownership for initiatives that they are passionate about."
Ashton Arnold is Client Services Director at Lorien, and she started the Virtuoso programme in June 2017. She believes the Virtuoso mindset stretched and challenged her and her team, contributing to finishing the year 92% ahead of plan. Ashton worked closely with her team, sharing the vision, gaining their buy-in and commitment, and exciting them on what could be achieved. Along the way, they saw the value of improved communication, clear milestones and individual accountability.
Ashton concludes: "The Virtuoso culture we all adopted as a team required self-reflection, belief and business acumen, and we delivered the benefit to our customers, our candidates and ourselves."
Virtuosos also own initiatives that fall outside of 'business as usual' but contribute to providing a sustainable business with fulfilling roles for its people. This includes a mentoring programme, with twelve mentees already signed up in Lorien. "Virtuoso has already helped us move beyond cost and outcome to a focus on where we want to get to. It's allowing us to better align investment to strategy," says Claire Marsh, "It's been a huge shift in realising potential and value."
Impellam Group PLC Acquires Flexy, an AI Powered Staffing Platform
Impellam Group PLC has acquired Flexy Corporation Limited, a leading flexible staffing platform based in London
When last have you reviewed your dress code policy?
Having a dress code is generally seen as bringing consistency to the workplace and there's a number of good reasons for your business to have one.


Born in Rowan County on May 19, 1951, she was the daughter of the late Howard Glenn Kerr and the late Ruth Elizabeth Kennerly Kerr.
Sylvia was a graduate of North Rowan High School and worked in the business office of Catawba College and was a lifetime member of West Innes Church of Christ.
Sylvia was preceded in death by her parents.
Those left to cherish her memory are her daughter Jennifer Berkley and husband Andy of Salisbury, son, Chris Chandler and wife Kirsten of Taylorsville, sister, Glenda Barber and husband Glenn of Salisbury, grandchildren, Alex Chandler, Kaiya Chandler and Elijah Chandler, and nephew Michael Rymer and wife Jennifer of Salisbury.
Visitation: 2:00-2:45 PM Sunday, April 7, 2019, at West Innes Church of Christ, 2975 West Innes Street, Salisbury, NC 28144.
Service: 3:00 PM Sunday, April 7, 2019, at West Innes Church of Christ with Preacher Jeff Cannon officiating.
Memorials: In lieu of flowers the family has ask for donations be made in Sylvia's memory to Trellis Hospice, 101 Hospice Lane, Winston-Salem, NC 27103.
Lyerly Funeral Home is serving the White family. Online condolences may be made at www.lyerlyfuneralhome.com.


When you were in school (or if you still are), did you enjoy or hate school picture day? Do you remember any particularly great or awful pictures of you -- what made them that way?
I've never been opposed to having my picture taken (Well not violently -- unless we've taken a bazillion or I'm hungry, jamypye or my dad would know) but I don't particularly hate it either. I'd rather be taking the photos than being in front of the camera, not that I'm any good at taking photos. But class photos were always fun.
Kindergarten, i was too innocent to care. Grade school wasn't too bad, but high school? That was awkward. I had hit puberty and gained a lot of weight relative to grade school and I just didn't feel very good about myself. I was very insecure and unsure of myself (I still am but it was worse then) so these pictures weren't particularly my favourite time.
Still, I wouldn't burn them. Looking back now, actually makes me laugh. I looked very different with my long hair in the first couple years of high school and then short towards the end but I can look back fondly now. With my high school reunion coming up end of the year (I still don't know the exact date) but it'll be nice to take more perhaps as a batch this time around.
Kinder 1 (2nd row, 4th from the right): This much I'm sure. i wasn't doing my own hair and I guess my mom wanted my bangs out of my face/forehead so she put a headband in it and pulled it back and had all my awkward baby bangs standing.
Kinder 2 (2nd row, 2nd from the right): I liked this one. This sis probably one of my most favourite class photos even if I only stole these off someone's Facebook, but I thought I looked cute enough and my hair was cooperating and being nice to me.
Freshman Year High School (2nd row, 3rd from the left if you don't count the super tall girl in between): Wow, this was probably me at my worst. I had literally gained so much weight and all my grade school teachers would say, 'wow patty, you got bigger' which isn't exactly something a freshman wants to hear. Also my hair was not being nice to me.
Junior Year High School (2nd row, 3rd from the left): Probably my favourite one of this bunch. I think I liked some grade school ones, too. But I was trying to a actively lose weight for prom and generally being less awkward. So not a bad year.
Senior Year High School (1st row, 5th from the right): The hair kind of kills it here. it's at that awkward phase. I clearly did not know what maintenance haircuts were all about back then but then again my mother was still bankrolling these salon visits so it couldn't be too frequent. Not bad for a senior photo, I suppose. not good, but not bd.


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Topic : texting
U. of Nebraska-Lincoln policy prohibits electronic device use while driving
University| January 25, 2016
New distracted driving policy prohibits drivers from "creating, sending or reviewing text messages or email, accessing the Internet for any purpose, electronic gaming and reading any printed material on an electronic device or in paper form while operating a university motor vehicle.
Utah Valley U. adds texting lane
University| June 22, 2015
The university's concept originally started as a laughing matter, but quickly went viral after the realization of how dangerous texting and walking actually is.
Bus| January 31, 2014
Kansas agency equips fleet with GPS
All city and university buses have recently been equipped with GPS tracking units, which transmit the location of all vehicles at any point in time, enabling customers to text and find out when their next bus will arrive.
Bus| November 7, 2013
S. F. Muni launches email, text real-time alerts
Provides enhanced customer information by sending real-time alerts from 5 a.m. to 9 p.m. Monday through Friday for the specific routes and lines selected by the customer at the time of day they choose.
Mobility| November 19, 2012
Mass. college, transit partner for expansion
Williams College is paying for the Berkshire Regional Transit Authority's pilot expansion of weekday bus service. The project includes a pilot texting option that lets riders notify the bus company of their presence at one of the new "On Demand" bus stops.
Rail| September 6, 2012
L.A. Metro highlights safety awareness
The Metro Blue, Red, Purple, Expo, Gold and Green line stations will be visited during rush hours, mostly in the morning hours during September.
Bus| June 3, 2011
Maine latest state to ban texting while driving
With the addition, 33 states, the District of Columbia and Guam have now banned text messaging by all drivers. Eight states, the District of Columbia and the Virgin Islands have prohibited all hand-held cell phone use while driving.
Rail| December 30, 2010
Former T rail operator pleads guilty in 2009 crash
Aiden Quinn, who admitted to texting his girlfriend before his Green Line car smashed into another car in 2009, pleaded guilty to a charge of negligence by a person in control of a train. He was sentenced to two years of probation and 100 hours of community service.
Bus| March 15, 2010
Wyoming becomes 20th state to ban texting while driving
On January 26, Sec.LaHood announced federal guidance to prohibit texting by drivers of commercial vehicles such as large trucks and buses. Truck and bus drivers who text while driving commercial vehicles may be subject to civil or criminal penalties of up to $2,750.
Bus| February 12, 2010
Winnipeg Transit launches text info service
Transit customers can use texting features on their standard cell phones or Web-enabled "smart" phones to find Winnipeg Transit stops nearest them, bus departure times at stops, or find out when the bus they are on will reach a location further along the route.


My business is quite seasonal. We have work year round, but in the off-season we don't need the same number of employees. It's just not profitable to keep everyone on the payroll 12 months out of the year. Can I drop hours? Can I lay people off and rehire? Are there things that make one option better than the other?
Seasonal businesses are common, so you're not alone in your concerns. Employees are the biggest expense in most businesses, and when you're not getting enough work, it makes little sense to keep paying people.
Laying people off isn't without costs, though. Let's explore the numerous factors you'll want to consider when crafting a hiring/employment strategy.
If your employees are exempt, you have to pay them the same amount no matter how many hours they work in a single week. So, if you have 10 hours of work during the off-season, they still get the same paycheck they would for an 80-hour week during the busy season.
Now, this may seem ridiculous, but it's part of the tradeoff for not paying overtime costs during the busy season. When you're calculating salary, you should take all those things into consideration and come up with an annual salary that makes sense and reflects the work they actually do.
If you lay off your employees, or drop their hours so low that they start looking for other jobs, there's no guarantee they will still be available when your busy season picks back up.
If, during the slow season, your non-exempt employees' hours — and thus their pay — drops too low (as determined by the California Employment Development Department), they are eligible for partial unemployment payments, which will cost you.
If you lay off your employees, they are eligible for full unemployment payments, which will also cost you. Just how much will vary based on a number of different things, but expect costs around $4,000 per laid-off employee. This is because unemployment costs from state-issued unemployment are charged back to the employer, depending on how many people are eligible and how long they receive payments. This is probably less than paying people, but it's not a negligible cost.
Don't, under any circumstances, make up a reason why the person was terminated and try to say it's a termination for cause. It's not. Not only is this dishonest, you're likely to lose the unemployment claim and have the employee receive unemployment anyway.
If you lay off your employees, or drop their hours so low that they start looking for other jobs, there's no guarantee they will still be available when your busy season picks back up. This is fine if you are running something with low-skilled labor — or it would be fine if the economy wasn't humming along right now. As of May, there were more jobs open in the U.S. than there were people looking for work.
This means you'll likely have to recruit and train new people every season. The more complex your jobs are, the more difficult this process will become. If your busy season corresponds to summer holidays, college and high school students may be plentiful. If it doesn't? It will be a lot harder.
Would Temporary Employees Be a Better Fit?
If you know people will only be working for a few months, and you're willing to train new people every busy season, then you should consider hiring temporary employees. You'll pay extra to an agency, but they'll handle everything and when the contract is finished, it's finished. You won't be dinged for unemployment or have to worry about benefits.
But, most people taking temporary jobs would prefer to be in long-term positions, so your turnover might be higher. On the other hand, if you can build a good relationship with a temp agency, this might be a great solution. Make sure you're clear about your costs ahead of time, and how overtime hours affect pay. Remember, in California, employees are due overtime pay if they work more than eight hours in any single day.
All in all, there isn't an easy answer for a seasonal business. You want to treat your employees well (otherwise, you'll get lousy work and even higher turnover), but it can be difficult when you don't have actual work for them to do.
You can probably make it work through a mix of methods — some long-term employees that you keep year round, supplemented by temporary employees, for instance. Just make sure you sit down with your accountant and your employment attorney before you make any decisions.