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The Scientific Pros and Cons of Virtual Meetings — and How They Affect Business
Professor Amit Basu is used to remote meetings.
"I work with people all over the world, so we can't always meet anyway," he says. And Basu, more than most, is familiar with virtual-meeting systems, from low-tech audioconferencing to telepresence, a kind of "videoconferencing on steroids" that creates what's called "virtual presence" through high-quality, life-size image displays installed in distant offices. "Once you start a meeting with some folks who are in a similar room elsewhere, you very quickly forget that you are in different locations," he says.
The effectiveness of these various technologies was the subject of a 2016 paper co-authored by Basu, who is the Carr P. Collins Chair in Management Information Sciences and chairman of the SMU Cox School of Business Information Technology and Operations Management Department.
At the time of the study, more and more companies were relying on virtual meetings — a trend that seemed likely to continue even before stay-at-home orders stemming from the coronavirus pandemic made it so that millions of workers could only "meet" with their colleagues via video- and audioconferencing software.
COVID-19, of course, has made meeting virtually both standard operation and the subject of much debate, from dissections of "Zoom fatigue" to questions about whether workers will opt to continue working from home after mandates are lifted — and what that would mean for businesses.
"There's a lot of speculation that even after folks are able to get back to their offices and their companies and their factories, there will be a bit of a shift in terms of the acceptance of virtual interaction," Basu says. "We may actually see more people opting to go that route rather than travel, for instance."
We met with Basu — over the phone — to discuss his findings on the limitations and benefits of meeting virtually, and what we still have to learn.
CoxToday: Many people assume that it's always best to meet in person — but is that true?
Amit Basu: There is a notion implicit to the word meeting that you have to meet. So you would assume that face-to-face interaction would be the benchmark. We define meetings in terms of the things that you can do face-to-face, but it's not really true that face to face is the best. In our study, we found that some technologies were actually more effective in a number of situations.
Look at what's happened in recent months. We're in a crisis, so people will accept all kinds of limitations. You make do. But I think as more and more people use virtual-meeting technology, some of its limitations will become more obvious and will probably drive product innovation over the longer term.
CoxToday: What are some situations where it can be better to meet virtually?
AB: In face-to-face meetings, we know side conversations can erupt easily, and people may have a hard time focusing on the agenda. This can affect outcomes. In a virtual meeting, depending on how it's run, it may be easier to maintain people's attention.
It's especially easier when everybody has to view and interact with some shared content. For example, when I work on my research, there are situations in which it's more effective for my co-authors and me to be at our respective computers editing the same document simultaneously, rather than sitting in a room where each of us is looking at pieces of paper or different parts of the document.
CoxToday: What are some of the limitations of virtual meetings?
AB: It's harder to have those side conversations. You can set up a private chat, but it's not as effective as being able to lean over and point to something on a sheet of paper. It's also sort of unnatural interacting with small images of people on a screen. There's a feeling of disconnection: the essential remoteness and distance; the sensation that you are communicating but you're not necessarily meeting. You have the problem of making sure everybody's paying attention, especially when you get into big meetings. We all know of virtual meetings where people will mute their video and their microphone, and you have no idea what they're doing.
CoxToday: So how can managers deal with those limitations?
AB: At one level, the preparation for the meeting should be the same. But you may have less flexibility in terms of how you share information. You need to have the documents and applications you want to share ready for the meeting. It becomes really important to set an agenda. Unless people know what to expect, they may not engage. They may check out more easily, and you may not realize that.
CoxToday: Is there an ideal number of participants you should keep in mind when organizing a virtual meeting?
AB: Virtual meetings tend to work well for small groups. What we found in our research is that the effectiveness of a particular meeting mode goes down quite significantly when the size of the group increases. It becomes much more difficult to communicate feelings and emotions. Then you can look at a symposium or conference, where a speaker is addressing a large audience, and again virtual-meeting technology works great. It's the middle ground of about 15 or 20 people meeting where it becomes much harder to get the full benefits. You find that even with basic audioconferencing. It's OK for a routine exchange of information, but anything more than that can become very difficult with a large group.
CoxToday: Are certain modes — videoconferencing, audioconferencing, telepresence and others — better for certain situations?
AB: In the study, we looked at precisely that question. When is each technology effective? It's clear that it's not the same for different kinds of meetings. In meetings where you need nonverbal elements — to convey body language and emotions and so on — telepresence actually matched up quite well with face-to-face meetings. But even inexpensive and simple virtual technologies like audioconferencing and desktop videoconferencing were quite effective for a number of objectives.
One really important thing that came out of the study is the fact that hybrid meetings — meaning meetings where people are interacting in different modes — don't work well. That's the case even within the same platform. If you're using Zoom or GoToMeeting, you could have a situation where some people are interacting on their laptops, others are on dedicated videoconferencing systems and still other people are on their smartphones. With those different capabilities, you're going to have less effective meetings, particularly because a large part of the motivation for meeting is to have exchange and interaction.
CoxToday: What's an aspect of virtual meetings you'd like to see studied further now that so many businesses are newly reliant on these kinds of technologies?
AB: When we emerge from this crisis, there will be a lot of studies done on this, just because there will be such rich data available. One question we keep hitting on — and it's still a very open question — is to what extent meeting virtually affects the quality and the value of meeting outcomes. I know a lot of people who say, "You know, I never imagined being able to have an effective meeting over Zoom, and now I just love it." So, I think you overcome your resistance to it. But the question is, "Are you getting some value that you didn't get in a face-to-face meeting?" I think that's going to be very interesting to find out.
Alex Macon
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Food holidays aren't hard to love because they give you a shameless excuse to eat that food in large amounts in their honor. This month is Potato Lovers' Month and we are here to celebrate Farmer Jim's favorite crop—the delicious and versatile potato. Whether you mash, smash or fry them they are a yummy addition to any meal. This month in our Farm Market we featured our own potato candy, potato pies, chocolate dipped chips and potato rolls to show you that there are many ways to enjoy this spudtacular vegetable. They are even delicious enough that they were chosen as the first vegetable to be grown in space! The world…and the universe…need these a-peel-ing veggies. Plus, they are a great source of Potassium and Vitamin C, so it's not surprising that Americans eat an average of 137.9 lbs of spuds every year making them the second most consumed food in the U.S.
Potatoes come in all shapes and sizes and never disappoint. Here on the Country Barn Farm, we don't just grow potatoes, we grow flavor. Our own potatoes are available in the Farm Market year round. Stop by for some spectacular spuds from our farm to your fork today!


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Repair PET2001 AKA CMB 3032
Project repair PET2001 (AKA CBM2032)
Een poging tot reparatie van een echte klassieker, de CBM 3032 uit 1977
Contact Mahjongg
The original first PET, for Personal Electronic Transactor (The "Blue label PET" variant with calculator keys, and a built in tapedeck) was one of the "Trinity", The three first commercial, microprocessor based, "home computers" which were released in 1977 almost simultaneously. They started the microcomputer (personal computer) revolution, and the trinity was the PET 2001 from Commodore, the TRS-80 model 1 from Tandy corporation, and the Apple ][ from Apple computers. According to some this makes the PET the first homecomputer, as it is said it arrived first on the market of these three. But in fact I know of at least several others that came before it that could be called that, for example the SOL-20 came on the market in June 1976, at least a year earlier, but yes it wasn't a mass marketed machine.
Very soon after that launch, Commodore realised they had a winner, and when they had depleted their small supply of surplus calculator keys they used for their launch machines (they were in the calculator business, but had lost out to Texas Instruments) they realised a better keyboard, and more memory was needed (the original blue Label PET only came in an 8K version that used static RAM) , so they removed the built in tapedeck to make room for a larger real keyboard, and released this improved version as the "Commodore Business Machine" or CBM in three types, one with 8K DRAM, one with 16K DRAM and one with 32K DRAM, this last one was called the type 3032, where the 32 stood for the amount of 32K RAM The 8K and 16K machines proved to be less popular, and really only were bought by people who tried to convert them to 32K machines themselves, a practice Commodore actively tried to make impossible by drilling large holes in the place on the board where the second 16K RAM bank was located! See Picture below, where you can see the four large holes drilled in a row though the unused second bank of ram chips in the front of the large PCB:
I have both the later 80-column machine (the 8032) and the original 40-column machine the CBM 3032, the first one works but not the latter one, which sucks as all the good software was written for the 40-column machine, so I'm trying to repair the defective 40-column PET.
1 repair at Revspace started 11 July 2017
2 further repair on monitor 19 July 2017
3 20 July
4 26 July SUCCESS !
5 27 July Keyboard partly works
6 29 July Repair completed, keyboard works 100%
7 Nice demo one liner
8 My PET at the SHA2017
9 November 21, 2017 PET relocated to the lounge room
10 November 28, 2017 added a CBM 8050 dual floppy to the PET
11 December 12m 2017 replaced power switch
12 Tuesday January 2, 2018 we have let the magic smoke out from the floppy unit
repair at Revspace started 11 July 2017
The symptoms are that the system when turned on gives an inverted (all white) picture with only a black blinking cursor, and the picture is very unstable, as if there are large amounts of ripple in the power supply, and it also disappears unless you tap the enclosure. So I had already replaced the massive 23000 MFD (microfarad) 15V DC "Bulk Elco" with screw terminals tie-rapped to the bottom of the case, and a slightly smaller 4700uF 25V axial elco on the main board, but without any change, So probably one of the elco's in the monitor itself has gone bad, I have now removed the monitor (head part) from the PET, and removed another elco from its PCB, next time I will bring a replacement elco, and a new fuse (large size 3/4A 250V slow blow) which I blew due to me stupidly shorting the 18V AC leads leading the the monitor from the very bulky transformer. I will also clean the brightness potentiometer as I think its causing the disappearance of the video due to a bad contact in it.
further repair on monitor 19 July 2017
I removed, cleaned and tested the 100K brightness potmeter, and it was fine, no intermittent contacts. Even though I noted that putting pressure on its axis brought back the picture, but I suspected a cold joint somewhere on the PCB, so I resoldered any and all solder joints, and in the end managed to get a stable picture out of the scope that didn't disappear all the time, but was still shaky. I noted that after a minute or so I saw black stripes in the white picture, and it seemed to become worse as time passed, I had seem this the very first time I turned on the PET too, but now the monitor stayed on it was more obvious. To me it looked like a bad chip somewhere that failed as it was warming up. I decided to do some voltage checking, and to my horror found about 7.5V on first one, and then other LSTTL chips in the from of the board. So there is a power supply fault somewhere, which may explain why when turning the PET off I see a glimpse of the *** COMMODORE BASIC *** initialisation text Perhaps that during the falling of the power voltage, for a moment the display logic starts working.... I don't know if (LS) TTL can withstand 7.5V for very long, but perhaps I'm lucky. I think the PET has two different 5V "zones" each one powered by a different 5V regulator. Perhaps the fault is only in the display logic "zone", and not in the CPU logic "zone". I have to printout the schematic (which I have in electronic form) to check this, then attempt to use a bench power supply to power the display zone. I noticed that the -5V supply voltage was okay.
I managed to acquire an LM340-5, which is the more precise version of the simple 7805 linear regulator (4.9 to 5.1 volt, instead of 4.8 to 5.2 Volt). In the PET there are two TO-3 versions of the LM340-5 used, but mine has a TO220 package. Should work, as both are 1.0A max (or 1.5A depending on who you ask). I also printed out a technical reference manual, with schematics, and saw that the two LM340-5's used both fed to a different +5V line, but nothing says which chips are fed by one regulator or by the other regulator. Stupidly the net labels are both simply called "+5", a mortal sin with modern CAD systems as CAD software will simply connect both nets together, which in this case I'm sure is NOT true (At least I hope not). Just have to find out with a multimeter which chips are connected to which "+5" net. I only ever saw a system before that used two 7805 Regulators in this way, namely the Acorn Atom, I always thought the Atom was unique in this, but perhaps not, and they stole this idea from the PET. I also noted that the very first PET used not dynamic but static RAM, only later they learned to use 16K x 1 dynamic RAM chips, for which they had to add refresh logic. The schematics of the later PETs with DRAM carry the name "Dynamic PET". LOL.
26 July SUCCESS !
After removing the LM340-5 that I thought was defective, I could connect it to a power supply on its own, and could determine it was indeed defective! So I tried replacing it with an external Lab power supply to see of the part of the board powered by this supply wasn't defective (with the normal supply generating other voltages the board needed, such as +12V and -5V) and would start to draw a lot of current, that wasn't the case, it drew a steady 1A. So I turned on the monitor too, and lo and behold I was greeted with a
*** COMMODORE BASIC 4.8 ***
31743 BYTES FREE
message! and a blinking cursor. joy!
It seems all the (video) logic, and DRAM powered by the defective LM340-5 has survived!
Unfortunately the PET does not react to keypresses, so we have to do some more work on it, but I really did make progress. The best part was that the text was completely unwavering, so my CRT repair was a good one. Next, try to replace the 6520 PIA that is used for the keyboard.
27 July Keyboard partly works
First I switched the 6520 that drives the keyboard with the one that drives the IEEE bus, it made no change. Secondly I looked and a BCD to decimal decoder that drives the 10 matrix lines of the keyboard, and at its input I saw that the keyboard was being scanned. To make a long story short, it seems the contacts of the keyboard switches have oxidised and closing the contact no longer represents a low enough impedance to overcome the eight 10K pullups. I managed to get the contact for the spacebar to lower from a few kilo ohm to a few hundred ohm by using K60 contact spray an some vigorous rubbing, and so I applied the same treatment to all other key contacts. Unfortunately I had disassembled one key so that I could press its carbonised rubber dome to the pad, and in the process I managed to loose the spring that pushed the key up again. sigh. :-(
I tested the keyboard after re-assembling it (minus the springless key) and the spacebar worked, as did a few others, but on the whole it seems rubbing K60 on the pads isn't helping enough. I guess the keypads will never become as they have once been.
I'm thinking of replacing the 10K pullups with some that are much weaker, say 47K or perhaps even 100K, these still will pull the GPIO (6520 PIA) pins up above logic high level, but even a much weaker contact closure may be enough to bring them below logic low level, not the nicest solution, but I can try if it works. Before the K60 treatment I saw that the GPIO for space only dropped halfway (to about 2.5V) so a five fold decrease in pullup strength should help there. I could also try to replace the BCD to decimal decoder with a new, stronger one, but I don't think its the problem, its just that the keys have worn out.
29 July Repair completed, keyboard works 100%
After changing the 10K pullups to 47K, most keys still would not work, and I came convinced that not only were the key-pad fingers worn, but somehow they were also contaminated with something, perhaps the original user was a heavy smoker, or some coke was dripped into the keyboard in the past. I decided to re-tin the contact fingers of the spacebar (which already worked) and the enter key which did not at all work, even with the weaker pullups, and see what the result was. It was good, both space and enter now worked reliably. So I started on the enormous job of very carefully re-tinning the tiny traces that formed interlocking fingers under each of the eighty or so carbon pads. With the help of some liquid solder flux, a soldering iron set to the exact temperature at which the solder "took" while the glue to which the pads were bonded to the PCB did not give way, and some solder wick to spread out the solder evenly. It was a difficult job, but in the end it all worked out, and after cleaning the PCB thoroughly with flux remover and isopropanol all keys worked again. I temporary replaced the lost spring with a piece of rubber tube.
Now I can start using the PET! Lets see if I can find a commodore cassette player for it.
I do have a dual floppy unit that I can also try now, I don't know if it works, but we will see. I will also re-assemble the original speaker system that the previous user had built in.
Nice demo one liner
It draws what strongly looks like a labyrint on the screen, but in reality it is just one line of BASIC, which randomly prints slashes or back slashes:
10? CHR$(205.5+RND(1));:GOTO 10
Thanks whoever entered this one-liner.
My PET at the SHA2017
Well, I brought my PET to the SHA2017, and it was worth it! It massively attracted attention, although it was in a bit of a hidden location on the "Flowers" field. Whenever I came back to my tent there were always people sitting in my chair working with it, sometimes they had entered simple "hello world" programs, but I have also seen them editing an existing demo program to calculate primes during the pause in the scrolling demo. It must have been photographed a hundred times while it was there, and appeared on twitter, like with this picture:
When I wanted to go to my tent at 2 AM at night there would be some people there which wanted me to explain bit about the PET, and I often showed them the inside, which always drew amazement when I lifted it open like a car hood. They were also amazed to hear it was from the year 1977, so its 40 years old! which is older that most of its visitors. Such sessions could last for an hour or so, until I became too tired and wanted to go to sleep, although such sessions also happened early in the morning when I carried it out of my tent. Very often someone offered to lift it into or out of my tent, which I truly appreciated because the thing is quite heavy, but I could not leave it outside in the morning dew. I also really appreciated all the help I got, for example when I hurried to my tent because it had started to rain, I found that some kind soul had put my folding chair upside down over it to protect it from the rain, but also when carrying it to and from the luggage trolley pickup point I've got help almost immediately (to my great relief).
The PET worked great, for most time, although I noticed one evening that it seemed to have become a bit "demented" and for example started to ignore some goto statements, and do other seemingly strange things, probably because it was a bit moist at the time, later that behaviour disappeared again.
The Revspace sticker on the PET also drew attention, and many people asked what Revspace was, and if my PET could be seen there. I think we could expect some people to come visit us in the near future.
In short bringing my PET to the SHA was not easy, and a bit crazy, but totally worth it!
November 21, 2017 PET relocated to the lounge room
My PET is now moved to a rack in the lounge room, I hope to add a dual floppy disk unit which so far is still untested next to it, now there is room there to do so next to it.
November 28, 2017 added a CBM 8050 dual floppy to the PET
Brought the dual floppy unit for the PET I have, to RevSpace, unfortunately I have never before tried it, and it doesn't turn on :-( . Oh well another repair job then. I also need some 5 1/4 " floppies for it, preferably formatted for these drives, perhaps floppies from a C64 will work, and I might be able to get some of these. it will be hard to port some software from the net to it, perhaps with a cassette unit, (a C64 unit will work) and a cassette injector (a cassette without tape, but with a magnetic-tape-head) so I can play some wave files into it from my laptop using a .TAP player.
Unfortunately the drive did not turn on, and some heavy disassembly brought to light that the power switch was broken, I tried to replace it with one I found at revspace, which *almost* fitted, but even though I tested it before I tried to put it in after soldering wires to it it started failing too. :-(. I found a new one from farnell, and am now awaiting delivery.
December 12m 2017 replaced power switch
Bought a new switch, and installed it, after blowing a few fuses, because I connected to the wrong primary winding connections (that what you get if you rely only on memory, and it lasts two weeks before you can continue) it worked. The blinking leds on the drive indicated the two (!) 6502 microprocessors in the CBM8050 were still working. So I connected it up to the PET, and tried if I could somehow prove it was working, without having a floppy. So I tried commands like LOAD"$",8,1 but got no reaction, also not with the more correct LOAD ¨$0",8. I did notice that turning the PET on and off seem to reset the CMB 8050, have to organize a floppy (which I did in the mean time) and try to format it. The command DCLEAR 0,0 should do so (according the commodore 1541 manual, which I presume is still valid for the 8050)
Tuesday January 2, 2018 we have let the magic smoke out from the floppy unit
Not as serious perhaps as it sounds, but after a few hours of being turned on suddenly there was a bang, and smoke came out of the floppy unit. After fearing the worst, we concluded that it was just the mains filter that had given up the ghost. Probably just because it was so ancient. I have looked at a replacement filter, but nothing like it (small cylinder with wires protruding from it) is made these days, they are either embedded in a schuko power entry, or large block like modules. I think if I want to replace it I have to make one myself, from a couple of 500V 470pF caps, and a common mode choke.
Retrieved from 'https://revspace.nl/index.php?title=Repair_PET2001_AKA_CMB_3032&oldid=17742'

redpajama_set_name: RedPajamaCommonCrawl


I tried to download the smiths torrents but my slow computer and internet connection was taking way too long!
So, i was wondering, can anyone burn me some performance dvds? I'll willing to pay a price for them!
You could add your name to this list though i think you'd download them before that drive gets sent out!
Alternatively seeing as you're in the UK, and if you have a Paypal account, i might be persuaded to send you a few select ones for the cost of the blank DVDs and postage and packaging though that'd be a big favour and you'd definitely not get fancy covers or labels thrown in!
Hi, you could get in touch with me.


Newcastle United effectively ensured Premier League survival by defeating Leicester City 1-0 on Friday night at the King Power Stadium.
The Foxes dominated possession but ultimately failed to put their stamp on proceedings and could not penetrate the black and white wall that stood firm in front of the away goal.
Ayoze Perez scored the decisive goal after 32 minutes; Matt Richie got his 17th league assist for Newcastle with a delightful cross to the front post. Spaniard Perez made an incisive run, showing great strength to outmuscle Wes Morgan and guide a header across the goal into the far side past a sprawling Kasper Schmeichel.
Brendan Rodger's side continued to dominate control of the ball, but Newcastle sat deep, asking Leicester to play through them, which the hosts were unable to do. The Foxes appeared blunt going forward with no space in behind to attack, but their Northern Irish manager will persist with his attempts to adapt his side's style.
Rumours have circulated that Rafel Benitez – whose contract expires at the end of the season – is edging closer to securing an extension to keep him in charge at St James' Park.
The Spanish tactician reached the 38 point mark on Friday night, with Newcastle's third away victory of the season. That figure is essentially the holy grail with regards to securing survival, and it's highly unlikely both Southampton and Cardiff City will better that figure.
What this means for next season though is that if Benitez is to be in control, Mike Ashley must meet the manager's demands for improvement and dip into his pocket once more if he wishes to keep his most vital asset.
As an incredibly ambitious figure who has achieved the pinnacle of footballing success, Benitez will not want to be languishing near the foot of the table for another season. He must see the potential for progress to continue investing his faith into the North East club.
After spending three years garnering owner Ashley's trust, there can be no doubt that any investments will be recruited wisely, with an intention to breach the upper mid-table. Though if such assurances cannot be made, don't be surprised to see Benitez leave with a heavy heart during the summer and join a club that matches his ambition.
In the opening 45 minutes, the hosts had three times as many passes as the visitors but few – if any – inflicted damage. In stark contrast, Benitez deployed an extremely vertical and direct strategy that targeted his opponent's lack of pace at centre back.
Rodgers was unable to combat his counterparts tactical strategy, with the Foxes only starting to create clear openings as the game opened up towards the final ten minutes.
Newcastle can consider themselves slightly fortunate as Jamie Vardy skewed a close-range effort, one on one with Martin Dubravka, that the Englishman would have typically finished instinctively.
Other than that though the host's created very few clear goalscoring opportunities, and James Maddison, who has had a breakthrough season, was uncharacteristically quiet.
It may have been an off day for the Midlands Club, but if they are to seriously compete with Wolverhampton Wanderers and Everton for seventh place next season, these are the games they should win, and comfortably.
Morgan is synonymous with Leicester City, having been there for seven years, and making over 700 total career appearances, although it's beginning to show.
At 35, time is running out and more often than not the Jamaican international appeared out of his depth on Friday night. Firstly giving away the free-kick Salomon Rondon thundered against the crossbar and later failing to prevent Ayoze Perez's goal.
He has never been blessed with pace, and Miguel Almiron outstripped the defender on multiple occasions. However, in the past Morgan was able to use his strength and positioning to mask his flaws, that is no longer the case, Perez was not only able to hold him off, but beat him in the air for his headed goal.
Even more worryingly though were the occasional lapses in concentration and number of occasions Leicester's captain was caught out of position.
Brendan Rodgers has a wealth of young talent at his disposal, and it seems to be just a matter of time before Morgan becomes another victim of the Foxes regeneration, replaced by a more reliable, sharper protégé.


This updated four bedroom, three bath home on a quiet, oversized lot is private and serene yet close to everything in Boulder. Bright and open floor plan with recently remodeled kitchen and baths. Kitchen has custom cherry cabinets with slab granite and Kitchenaid appliances. Spacious main floor master bedrooms with vaulted ceilings and walk in closet. Finished basement with theater and office. Lush landscaping and new brick paver patio. Tons of room for outdoor living and entertaining. Listed by Heron Realty.


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FUNERALS ARE FOR THE LIVING
Funerals have long been part of how we say goodbye to someone we love. Just about every depiction movies make of funerals has mourners in black, standing by a grave, often in the rain, surrounded by headstones and overlooked by trees with a man in robes reading aloud: "Ashes to ashes, dust to dust…" It is far from the reality of how funerals really are today.
My favourite movie funerals are the ones that take place on the road in the wild where one of the party dies. There is sadness at their passing, combined with the practical necessity of disposing of the body by burning or burying, stopping and saying a few words of acknowledgement and then continuing on with their journey, the purpose and urgency of which remains unchanged. That may sound hard and harsh but the absolute simplicity of it is in stark contrast to the complication that can come with funerals today.
In a few short generations death has become most likely to occur in a medical environment and the funeral service taken by a celebrant rather than a clergy person, in a chapel rather than a church, if there is a funeral at all.
In this change we have untethered the funeral service from its religious moorings and this has left many of us feeling all at sea when it comes to knowing what to do when someone dies. In the absence of the formal ritual around death that religions offered, we are now making our own and in the process opening up opportunities for feelings of grief, sadness and joy around death to be expressed in a funeral service that can take place in a back yard, on a beach, in a garden or at a chapel or church depending on the wishes of the person and the family involved.
Funerals honour and remember the person who died. They also surround us with the care and support of friends and family. If you've been to a special birthday party, wedding or funeral, you've experienced the shared beauty of ceremony and the way it allows us to acknowledge milestones in life and also in death through elements and rituals that help us to express what everyday words and actions cannot.
The remembering, deciding, and reflecting that take place in planning a funeral service are part of the process of grief and mourning. And ultimately, this process of contemplation is what leads to a personalised funeral experience offering people the opportunity to express their feelings about the person who has died, to acknowledge them and their life and to let them go.
"With regard to our loved ones who are either passing over or have passed over; may it be affirmed that : Love is unending. The love you hold for another is greater than the physical body you know them by. Of course we will miss their physical presence and our every tear can represent that. However, love transcends the anguish, it will eternally hold all that was into all that is and will be". Serge Benhayon , Esoteric Teachings & Revelations Vol.II, page 344
A funeral ceremony:
helps us acknowledge that someone we love has died,
fosters our memories of the person who died and encourages us to share those memories with others,
offers a time and place for us to talk about the life and death of the person who died,
provides a social support system for us and other friends and family members,
allows us to search for the meaning of life and death and
offers continuity in the midst of new beginnings for the living.
The funeral director:
helps to to put it all together before and on the day of the funeral,
assists with legal document – like an agent you engage to buy a house – who knows the processes and procedures involved and supports with expertise and experience and
provides facilities, staff, equipment, vehicles and expertise to care for the deceased.
The funeral celebrant
meets with the family to plan the service and organise the different roles people will perform during the service from reading a eulogy to saying a few words, placing a flower, lighting a candle, playing a song, compiling a slide show, making up booklets for the service to carrying the coffin,
supports with bringing the elements of the service together, as they would do for a wedding and
at the funeral is like the Master of Ceremonies or the 'MC' keeping everything flowing.
All these rituals and activities bring people together in a ceremony that honours the passing over of someone they have loved, and supports the living to accept this cycle of life and to move forward in their own lives without the weight of unexpressed grief and in the lightness of feeling and knowing that 'love is unending'.
Adrienne H., Funeral Director, Australia


One of the greatest discoveries on the international choreographic scene, Marlene Monteiro Freitas fascinates audiences with her language of abundant vitality, her strong imagery and her wealth of references. In her works characterised by excess and expressivity, heterogeneous, disturbing and funny elements are combined with limitless creativity, like parts of a spectacular machine producing sensations. Her latest work, coproduced by the Kunstenfestivaldesarts, is also her most ambitious. Based on Euripides' The Bacchantes, twelve dancers and musicians tackle the Greek tragedy – for Nietzsche, summoned here, the very illustration of the metaphysical function of art. Marlene Monteiro Freitas' Bacantes are a war between the Apollonian and Dionysian, reason and intuition, form and dissolution of the form, individuation and self-denial. They also question art, life and art as the affirmation of life.
You were born in Cape Verde where you started dancing at a very young age. What training did you have back then? Do you remember anything from that time that made an impression on you?
I started dancing with friends when I was young. At the age of fourteen, we decided to stage some shows. We chose a name for our group, Compass, and performed shows in cinemas or outdoors, exploring all kinds of music and dance. Our curiosity was very eclectic; from the film Jesus Christ Superstar to hip-hop clips, by way of images of samba, salsa and Cape Verdean dances… We looked at videos and magazines and we used to design and make our costumes. We learned about styles of dance that we didn't really know and then came up with our own ideas. And then there was a very significant moment: a Portuguese choreographer, Clara Andermatt, came to Cape Verde for a residence. She gave a workshop, where I was able to take some lessons, and she presented a piece that she was in the middle of creating. I remember being completely moved by it, I felt like a sack of bones that had been completely shaken. That was when I must have told myself that I, perhaps, could do the same thing.
At 18, you left Cape Verde to study in Lisbon.
As a part of a scholarship programme I went to physical and sports education university that had a dance department, but I realised straight away that the dance lessons at this school weren't what I was looking for. I finished the first year so that I could keep the scholarship and then enrolled at the Escola Superior de Dança in Lisbon.
Back then in Lisbon, there was an established choreographic scene already, with artists like Vera Mantero, João Fiadeiro, Clara Andermatt, Paulo Ribeiro and Francisco Camacho… Did you have any contact with those dancers and choreographers?
Not really, no. I only started to come in contact with them, particularly Clara Andermatt and Francisco Camacho, when they were invited to the school. I remember seeing a piece by Francisco Camacho, GUST, which made a big impression on me. After which I worked for him, as a stand-in for one of his performers in a show. But I did have contact with a Cape Verdean choreographer that I already knew, António Tavares.
After the dance school in Lisbon, you continued your training at P.A.R.T.S. between 2002 and 2004. What took you to P.A.R.T.S. and now, some ten years later, what do you remember of it?
What took me to P.A.R.T.S.? A combination of luck and desire to live inanother European city. I wanted to have a better understanding of whathigh-quality training in contemporary dance could be like, but it wasclear for me that P.A.R.T.S. wasn't a school in the classic sense of theword. In any case, I never thought that you had to expect everything froma school. School is a place of transition, a passage that you should benefitfrom as much as possible. It is a place to be confronted by differentaesthetics. Going to P.A.R.T.S. gave me very important working tools andideas for compositions… It was a site to collect information so that somethingelse could emerge. What I didn't know was that it was up to me toundertake this work.
After I left P.A.R.T.S., I did a few auditions in Portugal, but I wasn't offered anything. In the end, I replaced a dancer in the Contemporary Dance Company of Angola for a tour in India and then I replaced someone else in a show by Tânia Carvalho without really knowing what I was going to do afterwards. Then I took a choreography course at the Gulbenkian Foundation in which Loïc Touzé was involved. I was very shy, we hardly talked, but then Loïc Touzé invited me to do a project with him. In the beginning, I understood very little and the way of thinking about things and tackling them was different from what I'd experienced up until then. Without doubt, this was the first time I realised that there was some sort of common within this idea of contemporary dance in Europe, but that it could be expressed very differently depending on the country and depending on the school… All the choreographers I've worked with have inspired me hugely. Even when with someone or in certain situations where I could potentially feel very distant it seems that when 'sympathy' and 'antipathy' are present, images and ideas do emerge.
In 2011, you created (M)imosa, which is the result of a choreographic collaboration between you, Trajal Harrell, Cecilia Bengolea and François Chaignaud based on the New York culture of voguing. It's quite an astonishing piece where the things that make you stand out from one another coexist very powerfully. What was the creative process behind it like?
It was very clear at the start of the project that the four of us would be co-authors. We went down a common path towards the idea for the project, but each of us had our vision and our own way of working. Each of us had propositions and tried to take the others in that direction. Then we understood that the piece should really be like a four-headed animal with none of us 'making room' for the others (I really don't like this idea of trying to make room…). Instead, we wanted to allow for a reciprocal confidence to emerge. So it was about being able to perform with a certain freedom, each in our way, and that led us to intensify each of the four contrasting propositions.
Why don't like the idea of 'making room'?
I've got a problem with the performance of generosity. This idea of 'making room for the other person' has a moral side to it, a rhythm that worries me a bit. In my work, I prefer the idea of fiction. It's rhythmically more uncertain, freer. Like in dreams where despite ourselves, the images, gestures, attitudes and their organisation escape us.
When did this idea of fiction really start to make itself felt?
I think it came from a piece called A Seriedade do Animal that I made in 2009-2010. It is based on a text by Brecht called Baal. Even though we didn't say the words, we followed the framework of the piece from start to end, and the rhythm of the show came from a certain idea of its oral character. But it was with Guintche (a solo created in 2010) that I actually had to start formulating this notion of fiction. I was asked a lot of questions when Guintche was performed, then close friends of mine came up and told me that I was very different, that they didn't recognise me… But in fact, without having given it a name at that point, this idea of constructing fictions was already present. Guintche combines a work on movement, with a very sustained rhythmical foundation, and the construction of a character (perhaps this 'fiction' you're taking about).
What took priority when you were developing this solo: the movement or the character?
'I prefer to talk about 'figures'. A character summons up a certain context, whereas a figure can imagine its context. I like situations, not stories or narration. A painter like Francis Bacon works on the figure and situation, but not the narration. He says: "The moment the story enters, the boredom comes upon you." It's the same for me. I've never been preoccupied by this question of abstraction and narration, which is very present in dance. Perhaps that's why I look beyond dance for inspiration. It opens up other ideas, other images than those that you share in dance and call 'abstraction' or 'expressionism'. You asked me how I start a work? With lots of things all at the same time. Images that are without me knowing exactly why, but nevertheless, I take them into account. It's always a bit chaotic and a bit methodical; I have an idea of the direction to take – that the music is going to intervene in a particular way… And then in the studio, a certain number of transformations occur.
Don't you feel a need to position yourself among contemporary choreographers, to be influenced by a particular trend?
You have a taste for hybrids and metamorphoses. Where does this come from?
I really don't know. In fact the hybrid is not an end in itself, but more so a way of achieving a certain intensification of the form. The organisation of very diverse, even contradictory things produces emotion. Often in the pieces there are images in the process of becoming something else. This has to do with the fiction, with the transformation. Very simple ideas and images often constitute the starting point, but we work on it a lot to draw out something like power. In the end, something comes out of it that is still recognisable, in which you could identify a starting point, but perhaps notice that it has profoundly changed. That's the key driver behind the work. You could say that metamorphosis has a transgressive side, but it's not the transgression as such that interest me, it's more so a way of achieving a certain overflow.
Marlene Monteiro Freitas (b. 1979) was born in Cape Verde where she was co-founder and member of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at Escola Superior de Dança and at the Calouste Gulbenkian Foundation (Lisbon). She has worked with Emmanuelle Huynh, Loïc Touzé, Tânia Carvalho and Boris Charmatz to name just a few. Her creations include Jaguar (2015) with the collaboration of Andreas Merk, of ivory and flesh – statues also suffer (2014), Paradise – private collection (2012-13), (M)imosa (2011) co-created with Trajal Harrell, François Chaignaud and Cecilia Bengolea, Guintche (2010), A Seriedade do Animal (2009-10), Uns e Outros (2008), A Improbabilidade da Certeza (2006), Larvar (2006) and Primeira Impressão (2005). The common denominators in these works are openness, impurity and intensity. She is the co-founder of P.OR.K, a production organisation based in Lisbon.


"These kids need to get outside more!" should never be uttered by a cranky old man after reading something like this. Police in a Detroit suburb arrested a very, very young man twice in two days for riding around with car thieves in stolen vehicles.
The Macomb Daily reports that officers in Warren pulled over a car that had a screwdriver in its ignition. A 12-year-old boy was riding in one of the passenger seats. After a failed car chase, all of the occupants were apprehended and taken into the custody.
The 12-year-old passenger was taken to a youth home and released to his mother. The very next day, police pulled over another stolen vehicle — this time driven by a 13-year-old with the same 12-year-old from the previous day's events in the passenger seat.
Police were able to arrest the two boys after the car struck a curb. The 12-year-old, who was accompanied by a 13-year-old Detroit boy, had a "very real looking airsoft gun" in his waistband, according to police. "This was not a kid out joyriding," [Warren Police Deputy Commissioner Louis] Galasso said. "This kid was being groomed to be a car thief."
The 12-year-old was returned to the youth home, where he is still being held; the police department plans to issue citations to the boy's parents.


Access to banking services just got easier and more inclusive with Shoprite Money - a new mobile transactional banking service which is available to everyone, even those without existing bank accounts.
Using their Shoprite Money mobile wallet, this new service will enable customers to deposit, withdraw or send money as well as buy groceries at any of the till points in all Shoprite, Checkers, Checkers Hyper or Usave stores. Customers can also send money and buy electricity or airtime from the comfort of their own homes, provided they have funds in their Shoprite Money account. All transactions are FREE with the exception of a R9.95 fee that only applies to cash withdrawals.
Shoprite Money is set to roll out in multiple countries in Africa over the next 12 to 18 months, which will hold additional benefits for customers including seamless and cost-effective cross-border remittance.
Shoprite Money is available to users aged 18 years and older with a valid SA ID document, irrespective of their mobile network, device or connectivity. Users can register for an account free of charge by dialing *134*3534# or by visiting the Money Market counter in any Shoprite, Checkers, Checkers Hyper or Usave store.
The Shoprite Group has partnered with global fintech company Celbux, Google and Standard Bank to launch this new service.
The Coca-Cola Company celebrated its global 132nd birthday and 90 years of operation in Africa.
Ninety years ago, in 1928, the first Coca-Cola was sold on the continent, in Cape Town, Western Cape South Africa. "For 90 years in Africa we've been part of our customer's lives – we've been there with them on their first date, to celebrate their first job offer and refresh their first football game. We have built taps and toilets for mothers and fathers and taught their sons and daughters how to recycle. We have empowered their aunts and sisters to build their own businesses," says Maserame Mouyeme, the public affairs, communications and sustainability director for Coca-Cola Southern & East Africa.
Having always been an integral part of communities across the continent, the Coca-Cola Company believes that creating sustainable communities through shared value not only strengthens its own business, but enables it to build a stronger, more prosperous Africa. That is why job creation and empowerment, particularly women empowerment, is integrated into the company's business model.
Cheers to the past 90 years. Here's to the next 90!
Africa's largest retailer is set to reach its target of empowering more than 12 000 youths (aged 18-29 years) to enter the retail sector or start their own business.
"South Africans with matric can apply for the programme at our recruitment centres in Cape Town, Johannesburg and Pretoria," said Moga Pillay, the Shoprite Group's spokesperson on skills development.
This programme is a direct challenge to the crippling effects of youth unemployment. More than half of young South Africans are unemployed. Participants of the programme are provided with the basic business principles to understand the financial, legal and business requirements of setting up and running a small to medium enterprise in conjunction with a large retailer. Three weeks of theory is followed by five weeks of in-store training in various departments like the deli, bakery, as well as fruit and vegetables. Participants are paid a weekly stipend during their time in the store.
Shoprite's implementation partner is OMNI HR Consulting, which not only presents the classes (in the first three weeks), but also ensures that a workplace coach is on hand during in-store training.
To apply for this opportunity, dial *120*446# and follow the prompts (network rates apply) or visit www.shoprite.jobs. At present, this training opportunity is only available in Gauteng and the Western Cape.
Ask Afrika announced the winners of their annual Kasi Star Brands Awards 2018/2019, recognising those brands that are most loyally used by South Africa's township consumers and highlighting key trends emerging in what is rapidly becoming an ever more prominent market for South African brands.
Kasi Star Brands focuses particularly on solus usage – brands that consumers will not choose an alternative for. To put this in perspective, Kasi Star Brands evaluated 145 categories and 720 brands within the township sector, across the country. This year, only 32 leading Kasi Star Brands met the criteria to qualify as a truly Kasi brand – ones that have a loyal consumer following and have a sound commitment from consumers to buy only these brands within each category.
This year, they are proud to announce that Kiwi has come out as the overall winner, giving the Kasi market real value for money and delivering on their promise of quality and excellence across their product range.


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BookTrib's Bites: A Wide Selection of Exciting Summer Reads
Posted Thursday, June 30, 2022 8:28 am
Via NewsUSA - Human Interest
(NewsUSA) -
"Free the Animals – 30th Anniversary Edition"
by Ingrid Newkirk
Oliver Stone calls "Free the Animals" "a moving story about extreme cruelty and extreme courage and an inspirational and practical guide for anyone bent on challenging the system." Told as a thriller, it a classic work of radical popular storytelling, in the mold of Edward Abbey's "The Monkey Wrench Gang."
It is the story of Valerie, a young police officer whose world is turned upside down when she learns about the abuses of animals in laboratories. The book describes how this law-abiding woman comes to challenge the system by taking direct action and examines why ordinary people are moved to do extraordinary things on behalf of animals. Full of fascinating characters, vivid descriptions and thrilling incidents.
Purchase at https://amzn.to/3JWo0hE.
"Solitario: The Lonely One"
by John Manuel
River guide Robbie Ducharme seeks to recover his business and sanity after the tragic events described in the author's previous novel, "The Lower Canyons." Ducharme hires as his assistant 18-year-old Lara Hart, herself seeking to find direction as the product of a broken family and a survivor of the Lower Canyons debacle.
On the eve of a trip down the Rio Grande, heavy rains send that river into flood and persuade Ducharme to divert his group to a never-before-run desert arroyo. The clients are at first thrilled to enter this awe-inspiring landscape, but soon enough run into trouble.
The novel poses the ultimate question: Are we right to be bold with our lives and the lives of others when the potential rewards are great?
Purchase at https://jsmanuel.com/books/solitario-the-lonely-one.
"The Last Lumenian"
by S.G. Blaise
A rebellious and heroic princess chasing after destiny. Menacing villains around every corner. All happening within a galaxy created by S.G. Blaise. "The Last Lumenian" is a wonderful science fiction, fantasy adventure book tastefully garnished with charming alien romance. It's a coming-of-age story of Lilla. She is a not-your-average princess and a rebel-in-disguise, fighting for the refugees' freedom.
The arrival of the mysterious and ruggedly handsome Callum brings news of a bigger battle -- the Era War between the two ruling archgods -- that threatens not only Lilla's home world but everyone else's in the Seven Galaxies. Lilla must learn to control her magic and defeat the dark god before he finds her -- the last Lumenian.
Purchase at https://sgblaise.com/the-last-lumenian.
"A Moment of Change"
by Edgar Nguyen
What can make a sudden change in a young boy? A white boy feels unhappy with his Christian mother who is disciplined, strict and determined. He decides to leave home and swears that he will never come back.
He falls in love with a Korean immigrant girl who saves his life. But in American society, which remains controversial regarding issues about racism, will their families accept their love story? Would they come to a true love and interracial marriage such as in fairy tales?
Purchase at https://bit.ly/3xSOvSK.
NOTE: BookBites is presented by BookTrib.com.
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text:
Q: sdl_net The application was unable to start correctly (0xc000007b) I'm trying to compile and run the following code:
#include <iostream>
#include <SDL.h>
#include <SDL_net.h>
#include <cstring>

using namespace std;

int main(int argc, char **argv)
{
    printf("result of SDL_Init is: %i\n",SDL_Init(SDL_INIT_EVERYTHING));
    printf("result of SDLNet_Init is: %i\n",SDLNet_Init());
}

The code compiles fine, but when I run it I get an error:

The application was unable to start correctly (0xc000007b). Click OK to close the application

I've successfully compiled and run SDL code before, but this is my first time trying out SDL_Net.
I'm using Code::Blocks on Windows with MinGW GCC compiler, I'm using the x86_64-w64-mingw32 libraries for SDL, and these are my linker settings (some of which are not immediately necessary, I know):
-lmingw32 -lSDL2main -lSDL2 -lSDL2_image -lSDL2_ttf -lpthread -lSDL2_net
Does anyone know what's going on here?
//ETA:
How can I resolve this issue without switching all my stuff over to 32-bit?
Thanks,

A: I solved the issue by the following:

*

*Installed mingw-w64 instead of mingw32 and set that as my compiler. I had to change most of the toolchain executables so that they pointed to files with "x86_64-w64-mingw32-" in the name (for example, "gcc.exe" was changed to "x86_64-w64-mingw32-gcc.exe"). the Resource Compiler and Make program names were unchanged.

*Using the binaries in the x86_x64-mingw32 folder of the SDL_Net development library did not work. I had to replace them with the SDL2_net-2.0.1-win32-x64 runtime binaries that you can download directly on the SDL_Net homepage.
//Note: Maybe the "i686-w64-mingw32" development library binaries would have worked... I didn't test it. I always get confused when "64" is prefaced by "86" and "686", and in the case of these dev libraries, the other option is "x86_64-w64-mingw32".... so which one is really x64, and which one is x32? Not sure.

*After I made that change, I stopped getting the titular error in my original post. Instead, now when I try to run the compiled program, I would get errors about missing DLLs. Further, these errors only happened when I ran the program via the executable in "debug"; the errors didn't happen when I ran the program by pressing the "play" button in Code::Blocks. After some hunting, I solved this problem by changing my linker options to the following:

-lmingw32 -lSDL2main -lSDL2 -lSDL2_image -lSDL2_ttf -lSDL2_net -static-libgcc -static-libstdc++ -Wl,-Bstatic -lstdc++ -lpthread -Wl,-Bdynamic

//Note: I don't actually fully understand what "-Wl,-Bstatic" and "-Wl,-Bdynamic" do. I wish someone would explain that to me.
I hope this helps somebody!

redpajama_set_name: RedPajamaStackExchange


There are traces of the ancient history of the planet on lake Janisjarvi. Cape Kintsiniemi is announced to be the monument of a federal value. It is formed of fossilated organic remnants of the most ancient algaes of the planet (their age is approximately 2 billion of years). There is no analogues to these fossils on the planet. Here, on the shores of Sovanjoki river, on the area of more than 50 hectares is a strata section of pink, dark grey, light grey and green rocks (dolomites, shales, sandstones); the thickness of their layers varies from 0.4 to 40 meters.


text:
Escudilla Mountain je s nadmořskou výškou 3 326 metrů třetí nejvyšší horou Arizony. Leží na východě státu, v těsné blízkosti hranice s Novým Mexikem, na jihovýchodě Apache County. Escudilla Mountain je součástí pohoří White Mountains, nejvyšší vrchol pohoří Baldy Peak leží přibližně 40 kilometrů západně. Hora je rovněž součástí jižní části Koloradské plošiny.

Název
Název hory Escudilla pochází ze španělštiny a značí menší mísu. Hora tak byla pojmenovaná pravděpodobně prvními španělsky mluvícími osadníky v oblasti.

Vegetace
Hlavními stromy v oblasti hory jsou topoly a řada jehličnanů, především smrk Engelmannův, douglaska tisolistá a jedle ojíněná.

Reference

Třítisícovky v USA
Geografie Arizony

redpajama_set_name: RedPajamaWikipedia


text:
Mary K. Tilghman writes
History and ❤
Pandemic Romance
INSPIRATION: Finding the magic
Tag Archives: Champagne Books
Editors untangle my muddled thinking
On the tenth day of Christmas… Instead of counting the official twelve days of Christmas, I'm counting down the twelve days before Christmas to offer my gratitude for the people and things that make the writing life possible for me. Today it's editors. I need to give a shout-out to the wordsmiths who make my writing stronger,…
December 21, 2021 in Editing, Fiction, Modern love story, Writing.
Mind if I brag?
Since I've been a reporter for the past 40 years, I am usually the person doing the questioning. But recently an online magazine known as Voyage Baltimore asked me questions about my writing life. I'd never heard of them but since I usually like it when people agree to answer my questions, I decided to…
December 7, 2021 in Inspiration, Reading, Writing.
A proper launch for my romance at sea
THE LAST GIFT, now in paperback, attracted a nice bit of attention on Nov. 26, for its launch at The Greyhound, an indie bookstore in Berlin, Md. I am grateful to Susan and the staff at this charming little shop who love books in "America's Coolest Small Town" for inviting me to bring this and…
November 30, 2021 in Book stores, Fiction, Inspiration, Modern love story, Reading.
THE LAST GIFT now in paperback
I'm thrilled to announce that my latest PG-rated modern love story, THE LAST GIFT, is now available in paperback. THE LAST GIFT was inspired by my very real vacation on a sailing ship that cruised the Dalmatian Coast. That is, I learned, the mountainous region of Croatia and Montenegro, an ancient land brimming with romance.…
September 11, 2021 in Fiction, Modern love story, Writing.
Donna sits down for an interview
I had the option of talking about my writing style and habits with Betty—but Donna insisted she wanted to be the star of this blogpost. Donna is a bit headstrong and ambitious so I moved over so she could answer Betty's questions.
July 21, 2021 in Fiction, Modern love story, Promotion and marketing, Writing.
Day One of INN's book tour
I was running late. My first event of the book tour for INN BY THE LAKE, set for Swallow Falls State Park on Friday afternoon, and I wasn't going to make it on time. I could tell as soon as I got near the entrance it was a busy day at this gorgeous state park.…
June 19, 2021 in Fiction, Inspiration, Modern love story, Promotion and marketing, Writing.
A little press about my book tour
Brenda Ruggiero of the Garrett County Republican has written a lovely story about my upcoming visit to the Deep Creek Area. I'm looking forward to my visit to Garrett County where a lot of INN BY THE LAKE takes place. Ms. Ruggiero included all three of my locations, including the Deep Creek Lavender Farm, whose…
June 3, 2021 in Modern love story, Promotion and marketing, Reading, Research, Writing.
Introducing THE LAST GIFT
It's never hopeless to be a romantic, is it?
May 20, 2021 in Modern love story, Promotion and marketing, Travel writing, Writing.
Now available in paperback
March 31, 2021 in Modern love story, Promotion and marketing.
Paperback of INN BY THE LAKE now on sale
I have now held my new modern love story in my hands. The paperback edition went in to production last Monday and I quickly ordered mine. But I wasn't as quick as my daughter who already has received hers. She rushed over to my house with a copy for me to see. And to sign.…
March 20, 2021 in Fiction, Modern love story, Promotion and marketing, Reading, Writing.
Comfort and Joy: Part V
Comfort and Joy: Part IV
Comfort and Joy: Part III
Comfort and Joy: Part II


Thanks to Frank and Ian Clegg the smell of leather is in the air today at Adams & Sons. Custom made for one of our Louisville clients this particular duffle was crafted with chestnut colored tumbled leather, brass hardware, and a Sunbrella lining. A monogram adds a final personal touch.


Shannon Whirry and Steven J. Scally play people with problems in Bug.
I could see from the promo photos that iTheatre Collaborative's production of Bug re-uses Christopher Haines' evocative cheap-motel box set from Eat the Taste earlier this season, which is great by me. I can think of several other plays that would also look terrific in that little outpost of hopelessness, so I'd hold on to it as long as possible. Besides, when you've got a set with several working doors, it's hard to say goodbye to it.
The current resident is Agnes White (Shannon Whirry), a wounded but good-hearted Oklahoman who, despite violence, loss, and other kicks in the pants, has not yet given up on life. Alcohol, country music, and the occasional line of coke help keep her spirits up.
Director Michael Traylor's deft hand with Tracy Letts' tricky script kept things from going too far into either melodrama or mayhem, as far as I'm concerned. Whirry is a versatile and dynamic actress, and Lutz brings a consistent pathetic energy to a very difficult role. A few other characters slip in and out of the room, failing at every attempt to change anything, and leaving Agnes and Peter to their claustrophobic plunge.
Bug continues through Saturday, May 16, at the Performance Outreach Theater on the north side of the Herberger Theater Center, 222 East Monroe Street. For tickets, $16 in advance and $20 at the door, call 602-347-1071 or order here.


text:
PLAYING FOR FC BARCELONA WAS A DREAM FULFILLED: LUIS SUAREZ
by admin/ January 5, 2017/ news/ No Comments/
SPORTS LIBRO FOOTBALL- FOOTBALL NEWS:
1 SPORTS LIBRO FOOTBALL- FOOTBALL NEWS:
1.0.1 The Uruguay international and former Liverpool FC's star forward Luis Suarez, who is currently playing for the Spanish Champions FC Barcelona has recently admitted that playing for FC Barcelona was a "dream fulfilled".
LATEST FOOTBALL NEWS:
The Uruguay international and former Liverpool FC's star forward Luis Suarez, who is currently playing for the Spanish Champions FC Barcelona has recently admitted that playing for FC Barcelona was a "dream fulfilled".
Stats show Luis Suarez was Europe's most complete footballer in 2016https://t.co/jxuLTzpBaH pic.twitter.com/Otr2IDmnEN
— Mirror Row Zed (@MirrorRowZed) January 2, 2017
The 29-year-old Uruguay international Luis Suarez is currently in his third season with Barca after arriving from Liverpool in 2014 and has already scored 68 goals in his 77 appearances.
And according to the star forward it was always his dream to play for the club like FC Barcelona and playing for FC Barcelona was a "dream fulfilled".
FOOTBALL MATCH:
As in a recent interview with El Espectador Suarez said, "I dreamed about things, but everything went very fast until I got to the team I always dreamed of being with (Barcelona)."
Suarez also admits he always loved the city, even when with Ajax.
"When I was in Holland, I would regularly come to visit and grew to love the city. I've fulfilled a dream coming here."
MESSI RENEWED HIS CONTRACT SIX MONTHS AGO: HRISTO STOICHKOV
Manchester United News- Sprus Game is not for Sanchez- Mourinho
NEYMAR: I WANTED A BIGGER CHALLENGE AT PSG THAN AT BARCELONA
Sunil Chhetri and other Indian footballers wants a single long run football league in India


Mammalian mitochondrial transcription is executed by a single subunit mitochondrial RNA polymerase (Polrmt) and its two accessory factors, mitochondrial transcription factors A and B2 (Tfam and Tfb2m). Polrmt is structurally related to singlesubunit phage RNA polymerases, but it also contains a unique N-terminal extension (NTE) of unknown function. We here demonstrate that the NTE functions together with Tfam to ensure promoter-specific transcription. When the NTE is deleted, Polrmt can initiate transcription in the absence of Tfam, both from promoters and nonspecific DNA sequences. Additionally, when in presence of Tfam and a mitochondrial promoter, the NTE-deleted mutant has an even higher transcription activity than wild-type polymerase, indicating that the NTE functions as an inhibitory domain. Our studies lead to a model according to which Tfam specifically recruits wild-type Polrmt to promoter sequences, relieving the inhibitory effect of the NTE, as a first step in transcription initiation. In the second step, Tfb2m is recruited into the complex and transcription is initiated.© The Author(s) 2014. Published by Oxford University Press.


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text:
Richard Gädke (* 19. Oktober 1852 in Spandau; gestorben 26. April 1926 in Lugano) war ein deutscher Oberst, Schriftsteller, Journalist sowie antimilitaristischer und sozialdemokratischer Aktivist.

Leben

Militärische Karriere
Er diente als vor 1890 als Hauptmann im 1. Posenschen Feld-Artillerie-Regiment Nr. 20. Am 23. Mai 1890 wurde Gädke zum Major der Feldartillerie befördert. 1891 wurde er in den Generalstab abkommandiert. Er wirkte seit 1892 bis 1894 im Generalstab der Kommandantur Königsberg unter Generalleutnant von der Knesebeck, sowie nachfolgend unter Generalmajor Eugen Keyler. 1895 wechselte er als Kommandeur der 2. Abteilung zum 1. Thüringischen Feldartillerie-Regiment Nr. 19 in Erfurt.

Gädke wurde am 25. März 1899 zum Oberst befördert. Ab dem 1. Oktober desselben Jahres diente er dann als Kommandeur des 2. Niederschlesischen Feld-Artillerie-Regiment Nr. 41, welches zu seinem Patentdatum errichtet wurde und im niederschlesischen Glogau stationiert war. Bis dahin war er Träger des Roten Adlerorden IV. Klasse, des Eisernen Kreuzes II. Klasse, dem Dienstauszeichnungskreuz und dem königlichen Kronen-Orden III. Klasse.

Zeit als Journalist
Gädke schied 1901 aus der preußischen Armee aus.

Im Jahre 1903 veröffentlichte er einen Artikel im Berliner Tageblatt, in dem er die Mörder des serbischen Königspaars Aleksandar Obrenović und Draga Mašin, nämlich den serbischen Hauptmann Dragutin Dimitrijević und seine Geheimorganisation Schwarze Hand in Schutz nahm, da sie laut ihm die Verfassung des Monarchen verteidigten. Dieser Artikel verwickelte ihn in einen öffentlichen Streit mit dem Chefredakteur der Kreuzzeitung, dem Professor Hermann Kropatscheck, der schließlich in einer Beleidigungsanklage endete, da Kropatscheck die Haltung Gädkes für einen preußischen Offizier nicht würdig hielt. Beide Beleidigungsanklagen scheiterten schließlich und hatten ein ehrengerichtliches Verfahren gegen ihn zum Nachspiel, die ihm das Recht auf Tragen der Uniform und die Aberkennung des Offizierstitels effizierten.

1904 reise er nach Ausbruch des russisch-japanischen Krieges als Kriegskorrespondent des Berliner Tagesblatt zum russischen Hauptquartier bei Mukden. Sein Urteil über das russische Offizierskorps war vernichtend; er argumentiert unter anderem dass kein Zusammenhalt zwischen den Offizieren und kein Gefühl gemeinsamer Ehre bestehe. Gädke nahm als Zuschauer an einigen Gefechten zwischen den zwei Armeen teil. Nach Rückreise im Dezember 1904 weilte er kurzweilig in St. Petersburg und berichtete von dort weiter aus. In Deutschland wieder zurück, versuchte er seinen Titel des Oberst wieder zurückzuerlangen, da er die Kabinettsorder die ihm den Titel aberkannte wegen seiner Zeit in der Mandschurei nie ausgehändigt wurde. Das Kriegsministerium weigerte sich aber seine Ansicht zur Durchführung zu bringen, woraufhin er sein Urteil ignorierte und weiterhin den Titel, z. B. in Zeitungsartikeln, führte um das Kriegsministerium zu einer Reaktion zu zwingen.

Er geriet im Jahre 1905 ein weiteres Mal in Kritik, da er einen Artikel in der französischen Zeitung Echo de Paris veröffentlichte, in dem er die französische Militärführung stark kritisierte. Seine Gegner argumentierten dass er mit dem Artikel die französische Armee auf mögliche Fehler und Mängel aufmerksam machen könnte, was Deutschland massiv schaden könnte. Er kritisierte in einem Zeitungsartikel den Deutschen Flottenverein, da er fürchtete dass im Verein der Gedanke der Weltherrschaft Tatbestand geworden wäre.

Da die Miltiärverwaltung ihn bis 1906 weiterhin ignorierte, denunzierte er sich bei der Staatsanwaltschaft Berlin und musste sich somit vor Gericht wegen der unbefugten Führung des Titel Oberst a. D.verantworten. In letzter Instanz musste er sich vor dem Kammergericht Berlin verantworten, da er in beiden Vorinstanzen ein freisprechendes Urteil erzielt hatte. Er konnte erfolgreich damit argumentieren dass ihm die Kabinettsorder die ihm den Titel aberkannte nicht zugeteilt wurde, weshalb er schließlich freigesprochen wurde. Der Fall erlangte national Bekanntheit und wurde auch im Reichstag behandelt. Gädke wurde Sinnbild für das Gegenteil eines Patrioten und preußischen Offiziers. Im September 1907 wurde er ein weiteres Mal wegen der Führung des Titel des Oberst vor Gericht gestellt. Diesmal wurde die Titelsführung für unrecht erklärt und er wurde zu einer Geldstrafe von 150 Mark verurteilt. Somit wurde er nach vier Freisprüchen das erste Mal strafrechtlich verurteilt, was erneut im Reichstag Beachtung fand.

Er ließ sich 1908 erfolglos als Landtagskandidat für die Freisinnige Vereinigung im Landtagswahlkreis Teltow-Beskow aufstellen. 1909 hielt er im Breslauer Konzerthaus eine Rede gegen den Katholikentag. Er geriet im Jahre 1910 erneut in den öffentlichen Diskurs, nachdem er in einem Zeitungsartikel des Berliner Tageblatt enthüllte, dass die Kaiserliche Marine nicht wie offiziell angegeben 38 Linienschiffe baute, sondern 58. Diese Enthüllungen erhielten im British Empire größte Aufmerksamkeit und war auf der Titelseiten von zahlreichen englischen Zeitschriften, so unter anderem im Daily Mail, Daily Express und The Standard. Der konservative Reichstagsabgeordnete Wolfgang Gans zu Putlitz urteilte über Oberst Gädke, dass ihn kein vernünftiger Mensch Ernst nehmen kann. Gädke setzte sich gegen den Antisemitismus ein verurteilte den Vorwurf der "militärischen Untüchtigkeit der Juden" scharf.

Gädke kommentierte auch die Harden-Eulenburg-Affäre damit dass:"Nicht Maßregeln brauchen wir, nicht Kabinettsorders, sondern Männer, andere Männer, ganze Männer!" Bei der Reichstagswahl 1912 kandidierte Gädke im Wahlkreis Berlin 1, zu dem das Berliner Schloss und das Ministerviertel gehörten, für die Demokratische Vereinigung und erreichte einen Stimmanteil von 12,5 %. Es kam zu einer Stichwahl zwischen dem sozialdemokratischen Außenseiter Wilhelm Düwell und dem renommierten fortschrittlichen Abgeordneten Johannes Kaempf, der den Wahlkreis äußerst knapp mit nur neun Stimmen Vorsprung gegen Düwell behaupten konnte. Da Gädke Düwell unterstützte, das Tageblatt aber Kaempf, kam es zu einem Streit, der schließlich mit der Kündigung von Gädke endete. Er wechselte daraufhin mit Wirkung vom 1. März desselben Jahres zum Kleinen Journal. Auf ihrem vierten Parteitag in Nürnberg wurde Gädke am 27. Mai 1912 zum stellvertretenden Vorsitzenden der Demokratischen Vereinigung gewählt.

1913 wurde er vor der 3. Strafkammer des Landgerichts Berlin zu einer Geldstrafe von 300 Mark verurteilt wegen eines im Jahre 1912 erschienen Artikels im Kleinen Journal namens "Ein deutscher Thronfolger und die Ehrengerichte", welches sich mit dem Thronfolger von Schwarzburg-Rudolstadt, Prinz Sizzo von Leuchtenburg, befasste.

Laut dem Handbuch der Friedensbewegung von 1913 trat er für internationale Verständigung und vertragsmäßige Rüstungsminderung ein. Er schrieb auch für die Friedens-Warte. ""

Erster Weltkrieg
Im späten Ersten Weltkrieg erlangte Gädke nochmals Aufmerksamkeit durch einen Zeitungsartikel in der Hohenzollerischen Volkszeitung im späten Oktober 1918, in der er damit argumentierte dass der Krieg noch nicht verloren und unbedingt weiterzuführen sei. Seine "flammenden Durchhalteparolen" besaßen dieselbe Argumentationslinie wie die Dolchstoßlegende der Weimarer Republik. Nach Kriegsend lebte er weitestgehend unbeachtet in Lugano in der Schweiz.

Schriften

 Kriegsbriefe aus der Mandschurei. Luckhardt, 1905
 Japans Krieg und Sieg: politisch-militärische Beschreibung des Russisch-Japanischen Krieges. A. Schall, 1907
 Krieg oder Frieden? Unsere Aussichten in einem künftigen Krieg. Concordia, 1907
 Wie der Krieg verloren wurde. 1919

Einzelnachweise

Oberst (Preußen)
Träger des Roten Adlerordens 4. Klasse
Träger des Eisernen Kreuzes II. Klasse
DV-Mitglied
Deutscher
Geboren 1852
Gestorben 1926
Mann


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