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Warrick County Court Cases (Indiana)
Warrick County
Warrick County Courts are judicial bodies that operate at the federal, state, and local level to resolve legal disputes, including both criminal and civil charges in Warrick County, Indiana. Courts also create and preserve records about the cases they hear. Many types of courts, including criminal, civil, family, and traffic courts, provide online access to Warrick County court case records. These public records may provide information about the defendant and plaintiffs in a case, the charges brought against an individual, the outcome of a trial, any sentences, court decrees, or probation orders, and more. Warrick County Court records also have records on divorces, probate for wills and estates, lawsuits filed against businesses, and complaints about sexual harassment or discrimination in Warrick County. Court databases often allow the public to search Warrick County court cases by the names of people involved.
Warrick County Circuit Court Boonville IN 1 County Square 47601 812-897-6130
Warrick County Superior Court Boonville IN 1 County Square 47601 812-897-6140
Warrick County Police Departments protect the community by stopping crimes and performing investigations in Warrick County, Indiana. As part of their law enforcement responsibilities, Warrick County Police Departments maintain court case records for any cases in which the police were involved. This can include records on criminal prosecutions for misdemeanors and felonies, police records introduced during the Warrick County court case, details about the police investigation, and any convictions or sentences. These court cases contain important information about an individual's criminal history, making them a key part of performing a Warrick County background check. These records also list whether an individual is on the Indiana sex offender registry. Warrick County court case records can be accessed directly from the Police Department, and some departments provide online request forms.
Booneville Police Department Boonville IN 121 East Locust Street 47601 812-897-6550
Chandler Police Department Chandler IN 417 East Jefferson Avenue 47610 812-925-6898
Elberfeld Town Marshal Elberfeld IN 175 Sycamore Street 47613 812-983-4365
Newburgh Police Department Newburgh IN 527 State Street 47630 812-853-1723
Tennyson Town Marshal Tennyson IN 112 North Main Street 47637 812-567-8816
Warrick County District Attorneys prosecute cases on behalf of the public in Warrick County, Indiana. This can include both criminal and civil cases. The Warrick County DA's Office maintains public records on ongoing cases as well as prior cases. These records include prosecutions for criminal felonies and misdemeanors such as assault, homicide, battery, and robbery, as well as civil cases against businesses or individuals who have violated the law. A Warrick County court record search can identify litigants in a case and determine if an individual has any criminal convictions, making it an important part of a Warrick County background check. District Attorneys may provide searchable databases of Warrick County court cases on their websites.
Warrick County Prosecuting Attorney Boonville IN 1 County Square 47601 812-897-6199
Warrick County Sheriff's Departments help maintain safety and order by stopping crimes and conducting investigations in Warrick County, Indiana. As part of their role in law enforcement, the Warrick County Sheriff maintains court case records for cases in which their office was involved. This can include records on criminal prosecutions for misdemeanors and felonies, investigation records introduced during the court case, and the outcome of a trial, including convictions, sentences, and incarcerations. These Warrick County court cases contain important information about an individual's criminal history, and checking court cases is an important step in conducting a thorough Warrick County background check. Sheriff's Departments may provide online access to their court records.
Warrick County Sheriffs Office / Warrick County Security Center Boonville IN 100 Indiana 62 47601 812-897-6180
Court Cases near Warrick County
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Vanderburgh County
Gibson County
Daviess County
Dubois County
Posey County


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Ronda has designed original Limoges boxes for such notables as talk show host Kathie Lee Gifford, radio personality Dr. Laura Schlessinger, singer Reba McEntire, television personality Barbara Walters, Hall of Famer and Congressman Steve Largent, former Prime Minister Margaret Thatcher, Bishop Desmond Tutu, General Colin Powell, Queen Rania of Jordan and the late Charles Kuralt and Pamela Harriman. Ronda's work has also been featured in several national Publications of Better Homes and Gardens as well as Architectural Digest.
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The Ronda Roush Studios continues to expand its specialty line of commemorative Limoges boxes, exclusively designed china, fine Christmas ornaments, silk scarves and neckties. Whether it is a one-of-a- kind keepsake or commemorative corporate gift, Ronda Roush crafts with the same integrity she observed in her grandmother's prized china many years ago. That same memory of heart can be found in each new design from the Ronda Roush Studios.
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Extra Extra: Are You The Caroline Calloway Of Journalism? Be Honest
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Classic quid pro quo: William B. Taylor Jr., the United States' top diplomat in Ukraine, told impeachment investigators that Trump held up vital security aid for the country and refused a White House meeting with Ukraine's leader until he agreed to make a public pronouncement pledging to investigate the Bidens.
Here are some sensible rules about when to have a Halloween celebration.
Journalist Gwen Ifill will be memorialized with a USPS stamp.
Will Netflix start cracking down on sharing account passwords?
This piece in The Guardian is all about the increasingly thin line between journalists and influencers/lifestyle celebrities: "it struck me that there is functionally little difference between a lauded writer with a recognizable avatar and a prominent social-media influencer. The only difference is in the way each metabolizes the experience of influence."
The author of an anonymous column in the NY Times in 2018, who was identified as a senior Trump administration official acting as part of the "resistance" inside the government, has written a tell-all book to be published next month.
Why do Renaissance Fairs remain so popular?
Jimmy Kimmel, who is in Brooklyn all week, surprised taxi riders with a video prank.
Kimmel also interviewed Bruce Springsteen about the NJ exhibit on his life, his new movie Western Stars, going through old home videos, what his kids think of his career, people yelling BRUCE at him and more.
Lee Pace & Jared Harris will star in an Apple+ adaptation of Isaac Asimov's Foundation.
An adult film star got a private tour of The NYPD's police hub last week.
And finally, dogs definitely know what they're doing:


According to Virginia law, all motorcycle riders must wear helmets. Two motorcyclists unfortunately did not obey that law when one died and the other suffered serious injuries last month in Middletown. According to the Winchester Star, the motorcycle accident happened when the driver and her passenger crashed their motorcycle into a utility pole around 4:15 p.m.
The 38-year-old victim was operating the 2007 Suzuki when it veered off the road into the pole. Emergency responders rushed her to Warren Memorial Hospital where she succumbed to her injuries about one half hour later. A 28-year-old man was a passenger on the motorcycle and rescue workers transported him to Inova Fairfax Hospital by helicopter. Doctors said the man is in critical condition.
A Virginia State Trooper said neither rider was wearing a helmet at the time of the motorcycle crash. Authorities have not yet filed charges in connection with the accident. An investigation is ongoing.
Mandatory helmet laws save lives and reduce the risk of traumatic brain injury in the event of an accident. Motorcycle riders expose themselves to the elements and direct contact with the road. Regulation protective gear is crucial when riding a motorcycle.


Composed by Franz Lehar; arranged by Artie Shaw.
Recorded by Artie Shaw and His Orchestra on January 17, 1939 for RCA-Bluebird in New York City.
Artie Shaw, clarinet, directing: John Best, first trumpet; Chuck Peterson and Bernie Privin, trumpets; George Arus, first trombone; Les Jenkins and Harry Rodgers, trombones; Les Robinson, first alto saxophone and clarinet; Hank Freeman, alto saxophone and bass clarinet; Tony Pastor, tenor saxophone and clarinet; Georgie Auld, tenor saxophone and clarinet; Bob Kitsis, piano; Al Avola, guitar; Sid Weiss, bass; Buddy Rich, drums.
By the time Artie Shaw recorded "Vilia," in mid-January of 1939, he was finally tasting the first sweet nectar of success, after two and a half years of hard and sometimes frustrating work as a the leader of a touring band. Shaw's career as a bandleader began quite unexpectedly after he appeared at the famous Imperial Theater Swing Concert, which took place on May 24, 1936 in New York City. That event was a benefit concert for New York Musicians Local 802. Prior to that (and indeed after it for awhile), Shaw had been either a sideman in someone else's band, or a studio musician. At that concert, he presented a type of music that was somewhat related to the swing idiom, but clearly off the beaten path. It was called "Interlude in B Flat," and it was played by Shaw on clarinet, supported by a string quartet plus guitar, bass and drums.
It is now a part of the standard Shaw mythology that he played "Interlude in B Flat" at that concert, was astonished by the massive positive reaction of the audience to it, and having no encore, played it again for the now rapt audience. As Shaw was wont to say, "…long before (the classic film) Casablanca, the audience shouted for us to play it again."(*) He also explained the title many times between 1936 and his death at age 94 in 2004: "it was to fill an interlude (tearing-down from one musical act behind the curtain, and setting up for another), and it was in B Flat." The contrast between what Shaw did and what most other groups did at the concert was large, and he did indeed garner strong applause at the end of his presentation.
Artie Shaw at the Imperial Theater swing concert.
The play it again, Artie story is clever, no doubt, but was it true? We have learned that Artie Shaw, despite his retirement from performing in the mid-1950s, continued to burnish his image as a legitimate icon of the swing era for decades after, especially starting in about 1970. The historical record however, sometimes presented facts that were different from Shaw's recollections. An article about the now famous Imperial Theater concert appeared in Down Beat soon afterward it took place. It reported, in relevant part, that Shaw played a…"second selection … 'Japanese Sandman,' and (it) proved that (Shaw's) idea could be adapted to (a) popular selection with plenty (of) guts".[i] Did Shaw really play "Interlude in B Flat" twice, and then play "Japanese Sandman"? Or did he play "Interlude in B Flat," and "Japanese Sandman," and then play "Interlude in B Flat" again? Either possibility would have resulted in poor showmanship. If the audience response was as overwhelming as Shaw reported, he should have dispense with "Japanese Sandman" entirely, played "Interlude in B Flat" again as an encore, and left it at that. Also, he was part of a huge program that had to be kept moving. It contained…"nearly twenty acts, from solo pianists to big bands, on and offstage could have ended in chaos. But a combination of quick, efficient staging and smooth master-of-ceremonies work kept things moving".[ii] The inevitable conclusion to be drawn from this is that Shaw played both "Interlude in B Flat" and "Japanese Sandman" once, was applauded, took his bows, and left the stage to keep a very crowded program moving.
In the wake of these events, agent Tom Rockwell, partner with Cork O'Keefe in the Rockwell-O'Keefe booking agency, that was then a relatively minor competitor against the gigantic and monopolistically inclined Music Corporation of America (MCA), was looking for new bandleader clients around whom bands could be built and then sent on tour to compete with MCA's clients, which then included Benny Goodman and Tommy Dorsey. Rockwell convinced Shaw, who was a first-class musician and a successful free-lance in New York, to form his own band. Shaw had all of the musical qualifications to do this, for in addition to being an excellent instrumentalist (and he would get even better playing seven days a week in front of a big band), Shaw possessed exceptional communication skills that enabled him to work very effectively and efficiently with musicians in rehearsal and performance. He was also 26 years old and very handsome, and Rockwell knew that audiences listened with their eyes in addition to their ears.
Shaw was ambivalent about becoming a bandleader, at least at first. But after he started to actually be a bandleader, he found the entire musical process of leading a band to be exhilarating. (So was applause, which Shaw's music at first didn't receive much of.) In fact, he was so obsessive about creating the best music he could with his band, that he worked himself to the point of collapse in doing so. In later years he recalled quite accurately that he had no personal life when he was leading his various bands. There simply wasn't time to have a personal life and lead a band the way he had to lead a band. This extreme state of affairs would underlie Shaw's eventual decision to depart the music business as a performer in the mid-1950s.
In retrospect, Artie Shaw's creation of a small swing band (two trumpets, one trombone, one tenor sax, and a four man rhythm section) in the summer of 1936 built around a string quartet, regardless of this band's musical merits, was a mistake. At a time when audiences were demanding louder and louder swing bands, it made little sense to try to compete with them with the band Shaw put together in the summer of 1936. I strongly suspect that Shaw, who could be quite convincing in discussions, persuaded Rockwell that his idea was worthwhile both musically and economically. Nevertheless, this band existed only until early 1937, when it was disbanded because it was not pulling in enough paying customers.
Regardless of this false start, Shaw had been bitten by the bandleading bug, and he soon formed what was a more conventional swing band consisting of three trumpets, two trombones, four reeds and four rhythm, to back his solo clarinet. The going with this band through 1937 was rough because Shaw was now clearly challenging fellow clarinetist Benny Goodman in a swing market that he (Goodman) was dominating via a successful sponsored network radio show (the Camel Caravan), two Hollywood feature films (The Big Broadcast in 1937 (produced in 1936),and Hollywood Hotel in 1937), and a series of good recordings made for Victor. In addition, throughout 1937, the Goodman band did great business in all of its personal appearances. Goodman achieved an early peak in his career with his famous Carnegie Hall concert in January of 1938.
Despite many challenges through 1937 and well into 1938, Shaw worked without let-up to improve the quality of the music he and his band were presenting. Then, gradually through the spring of 1938 and into the summer, everything seemed to come together for him. (The great vocalist Billie Holiday was featured with Shaw during this period.) His band was working continuously, and making more money on each date. They had good arrangements, mostly written by Jerry Gray, who was developing into one of the best arrangers of the swing era, Shaw's clarinet playing was constantly getting better, especially in the altissimo (highest) register, where he was beginning to have extraordinary facility. By late 1938, there were two spectacular clarinet virtuosos in the kingdom of swing: Benny Goodman and Artie Shaw.
The release in late summer of Shaw's recording of "Begin the Beguine," his first for RCA-Bluebird, caused great excitement among swing cognoscenti. By the winter of 1938-1939, it was a runaway hit, soon to become one of the best selling records in American pop music history. This led directly to a sponsored network radio show for Shaw (Melody and Madness on CBS, with comedian Robert Benchley), a prime extended engagement at New York's Hotel Lincoln, with very frequent nationwide NBC broadcasts, and a contract to make a film in Hollywood. As 1939 dawned, Artie Shaw and his band were riding high.
[i] "'Jitter-Bugs' Thrill at N.Y. Jam Session," Down Beat, June, 1936.
[ii] Lost Chords, White Musicians and Their Contribution to Jazz – 1915-1945, by Richard M. Sudhalter, Oxford University Press, 1999, page 576.
Artie Shaw and his band at Hotel Lincoln-January 1939.
Although Artie Shaw was well-known during the swing era for his virtuoso clarinet playing, he was also a capable arranger. He rarely had the time when he was leading his various bands to sit down and write an arrangement from beginning to end. The results when he did were often not particularly remarkable. There were a few exceptions however, and his arrangement on "Vilia" is certainly one of them. His arrangement, and his and his band's performance of it in this recording resulted in one of the best recordings of the swing era. The pacing, color, contrast, and exuberant swing in this performance are remarkable. This arrangement had been in the Shaw book since the previous fall, having been broadcast on October 28, 1938 from the Blue Room of Hotel Lincoln. Shaw preferred to allow arrangements to be played for awhile before dancers before he recorded them. That allowed him and his band to really become familiar with and bring maximum life to all of the musical nuances in them. This arrangement is full of them: hear the many scoops, bending, and strategic glissing (use of glissandi) of notes by the reeds and the brass.
The cup-muted trumpets start it all, playing atop drummer Buddy Rich's closed high-hat cymbals through the four bar intro. Then the entire brass sextet (three cup-muted trumpets and three cup-muted trombones), state the melody against a background of three B-flat clarinets and one bass clarinet (played by Hank Freeman). (Query: does Shaw also play his clarinet in this passage?) The piano, guitar and bass are supporting this with a 4/4 beat, while drummer Rich plays in 2/4 on his high-hats, creating an exciting two-against-four rhythm. This continues through the first chorus.
Then a colorful transition begins as the reed players quickly switch to their saxophones, and then John Best's open lead trumpet starts to build an eight bar dynamically upward sonic pyramid, which gradually includes all the open brass and the saxophones. This provides a perfect prelude to the entry of Shaw's solo clarinet, played against the rhythm section and the provocatively oo-ahing brass. Shaw paraphrases the melody brilliantly, and he swings it. After his solo, the saxophone quartet comes forward with a superb soli segment, led by first alto Les Robinson, that is a perfect example of swinging ensemble playing. Shaw must receive full credit for writing this passage. It sounds like a jazz solo being played by four saxophones, and he frequently wrote similar saxophone section soli which were incorporated into arrangements written by Jerry Gray, his chief arranger. Then the bright open brass have their say, there is a break in tempo, a four-bar interlude played by the three open trombones for contrast, followed by the concluding saxes and brass, with Artie's clarinet. Note how the brass snap into their one-bar set-up for Shaw's descending solo clarinet finale. Once again first trumpeter John Best must be singled out for this beautifully played nuance (and his sterling first trumpet playing throughout) that add greatly to the overall swing of this performance.
(**) Recently, in preparing for this post, I came across this photograph. It was tucked into a book in my library. I received it some years ago as an attachment to an email, but I cannot recall who sent me that email. Shaw archivist and historian Reinhard Scheer-Hennings, upon seeing this photo, told me that he purchased the original some twelve years ago. Therefore, I want to give him full credit for rescuing this photo from oblivion.
Shaw's version of "Vilia" has been a favorite of mine since I bought the Bluebird "78" at a Goodwill store in the 1960s when I was a teenager. For trivia buffs, Shaw's "Vilia" can be heard playing in the background for several minutes in the 1991 movie "The Rocketeer." Shaw's "You're a Sweet Little Heartache" with Helen Forrest singing can be heard in another scene (although you might be distracted by Jennifer Connelly putting on a silk stocking!) The movie also features a Shaw-like clarinet playing bandleader in some nightclub scenes. Although the score for the movie was written by James Horner, the big band scenes were arranged by Billy May. The clarinet playing in those scenes is unmistakably by Abe Most, whose unique tone resulted from using plastic reeds on his clarinet.
I'm guessing here, but Shaw's decision to arrange and record the somewhat obscure "Vilia" may have been inspired by Paul Whiteman's 1934 recording of the tune. Although not very similar, both recordings have a singing quality and are played at a similar dance tempo. Its clear Shaw greatly admired the "King of Jazz," as reflected in his use of former Whiteman arrangers Lennie Hayton, Bill Challis and William Grant Still for his early 1940s orchestra.
When Artie recorded this, he was still using a cane reed. He switched over to plastic in the summer of 1940, and continued using a plastic reed until at least 1946. Unlike the wonderful clarinetist Abe Most, who got a somewhat shrill sound using a plastic reed, Shaw somehow minimized that shrillness. In fact, Shaw was renowned for his lovely clarinet sound.
Don't really know how much the shrillness can be "credited" to the Brilhart Enduro reed as much as (obviously) the player themselves and of course the mouthpiece. Don't know what type of synthetic/plastic reed Abe Most was using, but it sure could've been something different than an Enduro.
I've also noticed in looking at many pictures of Artie playing (and posed) with his clarinet, I've seen the mouthpiece to be a Brilhart Ebolin (with the white tooth plate) as well as many pics clearly without the white tooth plate, meaning it could've been a Brilhart Ebolin "Special" or honestly anything else!
I personally play on a Brilhart Artie Shaw model clarinet mouthpiece (modified) and use a standard cut Legere synthetic reed but my understanding is Arnold Brilhart didn't make those 'pieces until '41 or '42, making it impossible for Artie to have been playing his "signature" mouthpiece. Actually, I have no idea if he ever played on of them.
Bottom line: Artie was simply just amazing and probably could've put a tin cup on the top of his clarinet and made it sound great.
LOVE the blog, Mike and I'm glad I found it!


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The Renewable Energy Limits
By Larry Huss
In: Energy, Green Energy, Green New Deal, Liberalism, Natural Resources, Political Correctness, Progressivism
I love Texas. If we had spent our winter getaways in Texas rather than Arizona we would be living northwest of Dallas today instead of Phoenix. So when the latest kerfuffleI over the beloved green, renewable energy collapsed much of the Texas power grid, my normal mirth over such mishaps was greatly reduced. In this case it was the beloved wind energy that left Texas high, dry and colder than Hillary Clinton's heart.
Texans know that during the winter months Texas can be, and regularly is, cold. Cold enough to cause black ice. Cold enough to snow. Cold enough to last for short periods. And apparently cold enough to freeze wind generators. Well, not all Texans. There is a coven of liberals/progressives centered in Austin (the state capital for those of your forced to endure a teachers union led education in the Portland public schools) who, like their brethren elsewhere, regularly reject established facts in preference to "politically correct" thought – green energy over common sense.
In this case, it is the Texas Public Utility Commission which sets rates and requirements for public utilities for power production and distribution. It is the Texas Public Utility Commission that has imposed the requirement to utilize renewable energy sources (wind and solar) without regard to whether they are reliable, inexpensive or regularly available. But the Texas Public Utility Commission does not stand alone.
The Electric Reliability Council of Texas (ERCOT) is a non-profit corporation and managed by a board consisting of suppliers and users of electricity and subject to oversight by the Texas Public Utility Commission. Almost all electricity generated and consumed by Texans passes through the ERCOT grid, which charges about 55.5 cents per megawatt hour for the use of the grid. My understanding is this agency contracts with generator companies on the basis of the price of electricity delivered but does not require these generator companies to deliver any particular quantity of electricity. It is in essence a bastardized form of a "free market" with multiple sellers but only one buyer.
And the Texas legislature has aided and abetted this by granting generous tax incentives (deductions and credits) for renewable energy production, distribution and use.
This means when the wind generators failed because some moron didn't ask whether they were winterized, there was insufficient back up service that could be accessed on demand. Only a government could design a system with such a gigantic hole in it. But the point is made best in an article in the Wall Street Journal on Wednesday, February 17, 2021:
"The problem is Texas's overreliance on wind power that has left the grid more vulnerable to bad weather. Half of wind turbines froze last week, causing wind's share of electricity to plunge to 8% from 42%. Power prices in the wholesale market spiked, and grid regulators on Friday warned of rolling blackouts. Natural gas and coal generators ramped up to cover the supply gap but couldn't meet the surging demand for electricity—which half of households rely on for heating—even as many families powered up their gas furnaces. Then some gas wells and pipelines froze.
"In short, there wasn't sufficient baseload power from coal and nuclear to support the grid. Baseload power is needed to stabilize grid frequency amid changes in demand and supply. When there's not enough baseload power, the grid gets unbalanced and power sources can fail. The more the grid relies on intermittent renewables like wind and solar, the more baseload power is needed to back them up.
"But politicians don't care about grid reliability until the power goes out. And for three decades politicians from both parties have pushed subsidies for renewables that have made the grid less stable."
As usual there are age-old lessons to be learned from these catastrophes.
1. California is moving towards banning coal, oil and natural gas for heating. It does so in deference to the renewable energy lobby and its woke concern with carbon emissions. It will suffer the same fate as Texas, as will other states yielding to the renewable energy lobby without regard to a sufficient and efficient baseload power supply from hydro, natural gas, coal or nuclear power sources.
2. Among the several alternative carbon free powers sources, wind generation is the least reliable but seemingly the most frequently used. Wind generators require high maintenance in remote areas. Drive by a wind farm like the pass between Palm Springs and Riverside and on any given day you may see half of the wind generators idled or under repair – massive blades made of concrete can be regularly seen littering the ground. There are areas in the United States where the wind reliably blows. It is seldom near the major power grids and the same people who are pushing for renewable power sources are the same people who are objecting to the construction of additional power lines to bring the power from where it is generated to where it is used. And where the wind is intermittent at best you will see large swaths idled or abandoned but still creating an ugly car against the skyline and the otherwise pristine wild.
3. Solar energy is proving to be more and more reliable and cost effective but it only works if the sun shines – that leaves out places like the Willamette Valley, Washington west of the Cascades and virtually all of New England and the Upper Great Lakes where the clouds cover the sky for much of the late fall, winter and early spring.
4. Nuclear energy is the red-headed stepchild. Nuclear power is a "for profit" business and, therefore, draws the ire of the liberal/progressives despite the fact that it is virtually carbon free generation. The American public remains skeptical because of events like Three Mile Island and Chernobyl. A part of the problem is that nuclear power plants are constructed for gigantic operations and utilize a one-off designed which means that access to spare parts is neither timely nor inexpensive. In contrast France uses basically the same design for each power plant and parts are easily and regularly interchangeable. Portland has one of the oldest and safest nuclear power plants housed at Reed College smack dab in the middle of a residential neighborhood populated by one of the most liberal bodies of students, teachers, and residents in Oregon. A press release from Oregon State University championed a new style of nuclear reactors which have gained federal approval:
"Over the last decade, Oregon State University and NuScale Power™ have worked together to tackle an important challenge: developing the next generation of nuclear reactors. Clean, reliable and economical nuclear power generation can replace coal power plants, reduce carbon emissions and meet rising demand for electricity in the U.S. and around the world.
"In the early 2000s, scientists at Oregon State developed passive safety systems that use natural circulation to provide cooling for a nuclear reactor. Their design for a scalable, modular nuclear reactor led to the launch of NuScale Power, with Oregon State granting the spinoff company the exclusive license to commercialize the technology through what is now the Office for Commercialization and Corporate Development (OCCD). The university and NuScale have continued to use Oregon State's one-third-scale electrically-heated version of the reactor as a test facility.
"The reactor — specifically known as a Multi-Application Small Light Water Reactor (MASLWR) — offers several advantages over conventional nuclear power that also make it cost competitive with other sources of baseload electricity generation. The NuScale reactor is far less complex, reducing the costs to fabricate, install, operate and maintain. Passive safety features allow the reactor to shut down automatically through gravity and convection, with no operator action, no AC or DC power and no external water required. These features are designed to ensure the plant can withstand incidents like the 2011 earthquake in Fukushima, Japan."
But the biggest lesson is simply a reminder – government is the least efficient decision maker precisely because it shifts and changes based on a whole lot of factors that ignore economic reality. In the Texas case government subsidies tied to "green politics" drove decisions that ignored both the reliability of wind generators and the over dependency on them. If energy production is intermittent, you need to seriously pay attention to baseload requirements and they did not. Who suffered? Not the decisions makers but rather the taxpayers of Texas. It is always the same.
Portland's 100% Renewable Energy Claim Is "Greenwashing"
Surprise! Renewable Energy Mandates Are Actually Fossil Fuel Mandates
Portland's Renewable Energy Pipe Dream
Think renewable energy is infallible? Michael Moore's film Planet of the Humans says to think again


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Q: Custom category listings Maybe the question is stupid sorry - I'm a beginner when it comes to WordPress.
But...
What do I have to do to have a separate page listing for articles from a given category?
Do I need a special theme for this? Is the OceanWP theme allows this?

A: WordPress automatically creates an archive for each category. If you look in wp-admin, under Posts > Categories, you can click "view" to view a category and that will show you what it looks like and what the URL is.
It is possible that a theme could override this functionality, but it's unlikely. Most themes have a template to display this type of automatically-created page - either a category.php specifically for categories, or an archive.php which covers not only categories but other archives.

redpajama_set_name: RedPajamaStackExchange


Over the years, I have come to realize that banana bread is a very forgiving recipe. I keep the total amount of wet ingredients approximately the same but otherwise am not particularly fastidious. The only thing I am fastidious about is the ripeness of banana. I always go for the ripest version. Otherwise, a little less sugar, a little more espresso, a little more banana, a little less yogurt…. I am a lazy baker. The end product is always moist, always super banana-y, super chocolate-y.
And yes, I went with the water/sugar topping. It tastes perfectly fine.
This was inspired by banana pecan cake with maple glaze recipe from Clotilde.
40g whole almond or walnut butter (fresh butter available from Whole Foods, ~ 2 scant Tbsp).
Growing up in India, soft ripe bananas usually translated to sweet and savory banana fritters. Now, they also end up in banana bread.
Yesterday, instead of the tried and tested banana bread recipe from Joy of Cooking, we decided to go for a new one. So, we substituted whole wheat pastry and buckwheat flour in David Lebovitz's banana bread recipe, and added 1% homemade sour yogurt instead of sour cream.
Result: A dark, nutty and moist banana bread with only 120 calories per generous slice.


Lost cost, highly stable and produces in bulk, this is a SHT20 humidity and temperature sensor IC for precision measuring of temperature and humidity.
This small IC finds application on user's customized development / special application board demand. Output of the sensor is calibrated and linearized in digital and I2C format.


Airline tickets sold by U.S.-based agencies increased 11.22 percent year-over-year for the first two months of current year, and a 26 percent increase over the same period in 2009, a report released by the Airline Reporting Corporation (ARC) said Tuesday.
According to the report, January-February ticket sales totaled $13.5 billion, compared to $12.2 billion during the the same months in 2010, and $10.7 billion in 2009.
Year-to-date passenger traffic for the year was down slightly at 54.1 million flyers compared to 54.6 million in 2010, while reflecting a 6 percent increase over the same period in 2009.
Furthermore, ARC's report showed that passenger traffic for one of the busiest airports in the United States, John F. Kennedy International in New York, grew by 14.25 percent for January-February compared to the same period in 2010, while the overall passenger traffic volume for the top 10 busiest airports in the United States on average was slightly down.
Other important U.S. airports and their volume change include: San Francisco International (+0.44 percent), Atlanta Hartsfield-Jackson (-1.12 percent), Los Angeles International (-1.17 percent), Houston George Bush Intercontinental (-1.54 percent), Denver International (-2.29 percent), Las Vegas McCarran International (-2.76 percent), Chicago O'Hare International (-3.13 percent), Phoenix Sky Harbor International (-3.65 percent), and Dallas-Fort Worth International (-5.56 percent).
America's major airports have gotten a bad rap for aging, outmoded facilities. However, many airports have made large investments to meet the ever increasing demand for air travel.
What is it like going from being a lifelong #avgeek to actually making it your profession? Gordon Gebert takes us through his transition.


text:
Canadian Theatre: The Shift
Margaret E. H.
Experiencing Breathexperience
A little while ago, I attended a day-long workshop in Toronto led by one of the four founders of Breathexperience Canada, inspired by the work being done at the Middendorf Institute for Breathexperience in Berkeley, CA. I had some prior exposure to bits and pieces of this work from a recurring instructor of mine (another founder of Breathexperience Canada), and it was enough to make a little click somewhere inside me and I approached her at break time (this was during another workshop into which she had integrated some of her breath work) to talk more about the foundations of Middendorf. As my instructor described to me the ethos of the practice, I heard a lot of my own thoughts and intuitions echoed back to me: the notion that voice, breath, and body are all pieces of a larger whole that is ever-changing and constantly reacting to the world around it; the notion that the breath should never be "forced" anywhere, but simply allowed and encouraged from a sense of curiosity and kindness. "Your breath is like a small child," she often says during guided practice. "You have to be gentle with it and encourage it slowly otherwise it will get shy and not want to follow you."
In my experience, I have found that a lot of vocal training is very static. Since our bodies as performers are almost constantly in motion, this poses a problem: a moving body means moving breath. Our ever-changing physiological state is always affecting the breath which, in turn, affects the voice and often not in the way we expect—especially if the way we have learned to support our voices outwards is by standing perfectly still and breathing very specifically. The other problem I've had with a lot of voice training is that there always seems to be an element of shame that grows out of the notion that there is a "right" and a "wrong" way to breathe. But breathing is not something that we "do." It's an autonomic response, it "does" itself, and however that "doing" manifests is in direct response to a number of different factors including emotional state, physical state, physiological state, etc.
Middendorf, and by extension Breathexperience, acknowledges the autonomy of the breath and takes a kinder more self-nurturing approach. It acknowledges that we—by "we" I moreso mean our nervous systems—develop holding patterns in our bodies in response to stress, trauma, and general need for survival. A holding pattern, or habitual tension, is a muscle group (or multiple groups) that perpetually remains in a state of low-level engagement even in a state of rest. These holding patterns have a significant role to play in our breath's ability to inhabit our bodies and can restrict the flow of breath into and out of the torso. The best way to "unlearn" these holding patterns is to focus our attention inward on the breath and, with curiosity, find out where the breath wants to go and follow it. Left uninhibited, the breath will inhabit us however our body needs it to in any given moment. "No two breath cycles are the same," our instructor said. In Breathexperience, the breath is just that: experienced. By making the conscious decision to turn our attention inward and witness our breath in the comfort of its home, our Self's home, we can begin to understand our body's natural rhythm and work from a place of totality.
Inhale, exhale, pause. Inhaaaaale, exhaale, pause. Inhale-exhale, paaaaause.
Before Breathexperience, I was really only aware of my inhale which is, I suspect, common for many people since the inhale feels like the most active of the three cycle stages. The exhale and the little pause at the end of the breath cycle were just incidental to me. But being able to spend time with the whole breath cycle, like a ball being tossed up and down, I began to realize that all three stages of the cycle are equally important and inform one another. In one cycle, my inhale would be extended and feel powerful. The next would provide a winding-up sensation with the exhale carrying a propulsion forward and a desire to give sound to the sensation I was experiencing. Breathexperience work incorporates the body in motion, allowing us to observe how the body and breath inform one another and to help us better understand and trust our organism.
When we are fully engrossed in this work, we can experience ourselves from within through the sensation of our own breath. It is in this state that we can pass through vulnerability into power fed by empathy and Self-awareness rather than greed or insecurity.
Just Listen to Yourself


Take on Europe's biggest open-water swim in the stunning Lake District!
If you would like to swim for Leeds Cares you can do so by booking a guaranteed charity place for £15.
By purchasing one of our charity places, you agree to pay a £15 registration fee and fundraise a minimum of £250.
Alternatively, if you already have a place in the Great North Swim, you can still fundraise for us, simply by choosing to raise as much as you can in support of Leeds Cares.
Please contact fundraising@leeds-cares.org or call 0113 206 8620 for more details.


text:
describe("jasmine-test-injector", function() {
    "use strict";

    beforeEach(function() {
        spyOn(window, "$inject");
    });

    it("$inject should be a global function", function() {
        expect(typeof $inject).toBe("function");
    });

    it("$inject should call through", function() {
        $inject();
        expect($inject).toHaveBeenCalled();
    });

});

// setup $inject to use jasmine
$inject.use.jasmine();

$inject("http://localhost:8080/joker-map/assets/map.js", function() {
    "use strict";

    // Suite
    describe("Map module tets", function() {

        // Test
        it("the foo function should return a value === 1", function () {
            expect(foo()).toEqual(1);
        });

        it("the bar function should return the passed parameter", function () {
            expect(bar('Going Back to Tally!')).toEqual('Going Back to Tally!');
        });

        //it("the getNum() function should return an empty string if it is passed 'undefinied'", function(){
        //    expect(getNum(undefined)).toEqual('');
        //});
        //
        //it("the getNum() function should return an empty string if it is passed 'NaN'", function(){
        //    expect(getNum(NaN)).toEqual('');
        //});
        //
        //it("the getNum() function should return the passed parameter if is not 'undefined' or 'NaN'", function(){
        //    expect(getNum(-80)).toEqual(-80);
        //});

    });

});

redpajama_set_name: RedPajamaGithub


text:
namespace media {

class MockDemuxer : public Demuxer {
 public:
  MockDemuxer();
  virtual ~MockDemuxer();

  // Demuxer implementation.
  MOCK_METHOD3(Initialize,
               void(DemuxerHost* host, const PipelineStatusCB& cb, bool));
  MOCK_METHOD1(SetPlaybackRate, void(float playback_rate));
  MOCK_METHOD2(Seek, void(base::TimeDelta time, const PipelineStatusCB& cb));
  MOCK_METHOD0(Stop, void());
  MOCK_METHOD0(OnAudioRendererDisabled, void());
  MOCK_METHOD1(GetStream, DemuxerStream*(DemuxerStream::Type));
  MOCK_CONST_METHOD0(GetStartTime, base::TimeDelta());
  MOCK_CONST_METHOD0(GetTimelineOffset, base::Time());

 private:
  DISALLOW_COPY_AND_ASSIGN(MockDemuxer);
};

class MockDemuxerStream : public DemuxerStream {
 public:
  explicit MockDemuxerStream(DemuxerStream::Type type);
  virtual ~MockDemuxerStream();

  // DemuxerStream implementation.
  Type type() const override;
  Liveness liveness() const override;
  MOCK_METHOD1(Read, void(const ReadCB& read_cb));
  AudioDecoderConfig audio_decoder_config() override;
  VideoDecoderConfig video_decoder_config() override;
  MOCK_METHOD0(EnableBitstreamConverter, void());
  MOCK_METHOD0(SupportsConfigChanges, bool());

  void set_audio_decoder_config(const AudioDecoderConfig& config);
  void set_video_decoder_config(const VideoDecoderConfig& config);
  void set_liveness(Liveness liveness);

  VideoRotation video_rotation() override;

 private:
  Type type_;
  Liveness liveness_;
  AudioDecoderConfig audio_decoder_config_;
  VideoDecoderConfig video_decoder_config_;

  DISALLOW_COPY_AND_ASSIGN(MockDemuxerStream);
};

class MockVideoDecoder : public VideoDecoder {
 public:
  MockVideoDecoder();
  virtual ~MockVideoDecoder();

  // VideoDecoder implementation.
  virtual std::string GetDisplayName() const;
  MOCK_METHOD4(Initialize, void(const VideoDecoderConfig& config,
                                bool low_delay,
                                const PipelineStatusCB& status_cb,
                                const OutputCB& output_cb));
  MOCK_METHOD2(Decode, void(const scoped_refptr<DecoderBuffer>& buffer,
                            const DecodeCB&));
  MOCK_METHOD1(Reset, void(const base::Closure&));
  MOCK_CONST_METHOD0(HasAlpha, bool());

 private:
  DISALLOW_COPY_AND_ASSIGN(MockVideoDecoder);
};

class MockAudioDecoder : public AudioDecoder {
 public:
  MockAudioDecoder();
  virtual ~MockAudioDecoder();

  // AudioDecoder implementation.
  virtual std::string GetDisplayName() const;
  MOCK_METHOD3(Initialize,
               void(const AudioDecoderConfig& config,
                    const PipelineStatusCB& status_cb,
                    const OutputCB& output_cb));
  MOCK_METHOD2(Decode,
               void(const scoped_refptr<DecoderBuffer>& buffer,
                    const DecodeCB&));
  MOCK_METHOD1(Reset, void(const base::Closure&));

 private:
  DISALLOW_COPY_AND_ASSIGN(MockAudioDecoder);
};

class MockVideoRenderer : public VideoRenderer {
 public:
  MockVideoRenderer();
  virtual ~MockVideoRenderer();

  // VideoRenderer implementation.
  MOCK_METHOD9(Initialize,
               void(DemuxerStream* stream,
                    const PipelineStatusCB& init_cb,
                    const SetDecryptorReadyCB& set_decryptor_ready_cb,
                    const StatisticsCB& statistics_cb,
                    const BufferingStateCB& buffering_state_cb,
                    const PaintCB& paint_cb,
                    const base::Closure& ended_cb,
                    const PipelineStatusCB& error_cb,
                    const TimeDeltaCB& get_time_cb));
  MOCK_METHOD1(Flush, void(const base::Closure& callback));
  MOCK_METHOD1(StartPlayingFrom, void(base::TimeDelta));

 private:
  DISALLOW_COPY_AND_ASSIGN(MockVideoRenderer);
};

class MockAudioRenderer : public AudioRenderer {
 public:
  MockAudioRenderer();
  virtual ~MockAudioRenderer();

  // AudioRenderer implementation.
  MOCK_METHOD7(Initialize,
               void(DemuxerStream* stream,
                    const PipelineStatusCB& init_cb,
                    const SetDecryptorReadyCB& set_decryptor_ready_cb,
                    const StatisticsCB& statistics_cb,
                    const BufferingStateCB& buffering_state_cb,
                    const base::Closure& ended_cb,
                    const PipelineStatusCB& error_cb));
  MOCK_METHOD0(GetTimeSource, TimeSource*());
  MOCK_METHOD1(Flush, void(const base::Closure& callback));
  MOCK_METHOD0(StartPlaying, void());
  MOCK_METHOD1(SetVolume, void(float volume));

 private:
  DISALLOW_COPY_AND_ASSIGN(MockAudioRenderer);
};

class MockRenderer : public Renderer {
 public:
  MockRenderer();
  virtual ~MockRenderer();

  // Renderer implementation.
  MOCK_METHOD7(Initialize, void(DemuxerStreamProvider* demuxer_stream_provider,
                                const PipelineStatusCB& init_cb,
                                const StatisticsCB& statistics_cb,
                                const BufferingStateCB& buffering_state_cb,
                                const PaintCB& paint_cb,
                                const base::Closure& ended_cb,
                                const PipelineStatusCB& error_cb));
  MOCK_METHOD1(Flush, void(const base::Closure& flush_cb));
  MOCK_METHOD1(StartPlayingFrom, void(base::TimeDelta timestamp));
  MOCK_METHOD1(SetPlaybackRate, void(float playback_rate));
  MOCK_METHOD1(SetVolume, void(float volume));
  MOCK_METHOD0(GetMediaTime, base::TimeDelta());
  MOCK_METHOD0(HasAudio, bool());
  MOCK_METHOD0(HasVideo, bool());
  MOCK_METHOD2(SetCdm,
               void(CdmContext* cdm_context,
                    const CdmAttachedCB& cdm_attached_cb));

 private:
  DISALLOW_COPY_AND_ASSIGN(MockRenderer);
};

class MockTimeSource : public TimeSource {
 public:
  MockTimeSource();
  virtual ~MockTimeSource();

  // TimeSource implementation.
  MOCK_METHOD0(StartTicking, void());
  MOCK_METHOD0(StopTicking, void());
  MOCK_METHOD1(SetPlaybackRate, void(float));
  MOCK_METHOD1(SetMediaTime, void(base::TimeDelta));
  MOCK_METHOD0(CurrentMediaTime, base::TimeDelta());
  MOCK_METHOD0(CurrentMediaTimeForSyncingVideo, base::TimeDelta());

 private:
  DISALLOW_COPY_AND_ASSIGN(MockTimeSource);
};

class MockTextTrack : public TextTrack {
 public:
  MockTextTrack();
  virtual ~MockTextTrack();

  MOCK_METHOD5(addWebVTTCue, void(const base::TimeDelta& start,
                                  const base::TimeDelta& end,
                                  const std::string& id,
                                  const std::string& content,
                                  const std::string& settings));

 private:
  DISALLOW_COPY_AND_ASSIGN(MockTextTrack);
};

class MockDecryptor : public Decryptor {
 public:
  MockDecryptor();
  virtual ~MockDecryptor();

  MOCK_METHOD2(RegisterNewKeyCB, void(StreamType stream_type,
                                      const NewKeyCB& new_key_cb));
  MOCK_METHOD3(Decrypt, void(StreamType stream_type,
                             const scoped_refptr<DecoderBuffer>& encrypted,
                             const DecryptCB& decrypt_cb));
  MOCK_METHOD1(CancelDecrypt, void(StreamType stream_type));
  MOCK_METHOD2(InitializeAudioDecoder,
               void(const AudioDecoderConfig& config,
                    const DecoderInitCB& init_cb));
  MOCK_METHOD2(InitializeVideoDecoder,
               void(const VideoDecoderConfig& config,
                    const DecoderInitCB& init_cb));
  MOCK_METHOD2(DecryptAndDecodeAudio,
               void(const scoped_refptr<media::DecoderBuffer>& encrypted,
                    const AudioDecodeCB& audio_decode_cb));
  MOCK_METHOD2(DecryptAndDecodeVideo,
               void(const scoped_refptr<media::DecoderBuffer>& encrypted,
                    const VideoDecodeCB& video_decode_cb));
  MOCK_METHOD1(ResetDecoder, void(StreamType stream_type));
  MOCK_METHOD1(DeinitializeDecoder, void(StreamType stream_type));

 private:
  DISALLOW_COPY_AND_ASSIGN(MockDecryptor);
};

}  // namespace media

#endif  // MEDIA_BASE_MOCK_FILTERS_H_


text:
Home > Business > Artur Veeroja: The Ace Entrepreneur and Social Media Marketing Whizard
Artur Veeroja: The Ace Entrepreneur and Social Media Marketing Whizard
News India Plus March 2, 2022 March 2, 2022
Entrepreneur Artur Veeroja is a whizard social media marketing manager who has been working as a social Media coach for a while and teaching people how to use Instagram properly. Ever felt like through some magic your Social Media presence magically gets a boost? You might definitely want to consider being supported by a social media coach like Boros Malu who can help you turn things around. Yes, you read that right! For increasing engagement, growing your community and driving more conversions, A coach may be just everything you need.
A coach is familiar with all the various social media platforms and has proven to generate conversions that can help guide you to the same results. After all, you want social media to make money for you, right? And it all starts with developing a strong connection, which a social media marketing manager can help you do.
Why a social media marketing coach?
Entrepreneur Artur Veeroja told us that the answer is simple – Because you don't have to figure everything out on your own. When it comes to social media things are always dynamic and you just can't excel at social media and your work together. That's just too overwhelming and you have other tasks to focus on within your business. Wouldn't it be better to work with someone who can help you gain clarity around your online presence so you'll know where to direct your focus? Absolutely!
How can working with a social media marketing manager really help a person?
Entrepreneur Artur Veeroja shared with us that- Yes!! You'll get Personalized Advice on Using Social Media for Your Brand. Searching the web for tips and tricks is great, but sometimes the advice for the masses just doesn't cut it. That's because every business and every audience is different. If you want a strategy that's tailored to your unique business, it can be really helpful to work with an expert social media coach that knows what they're doing.
Civil engineer by profession, Entrepreneur Artur Veeroja always believed in working hard for his dreams but enjoying and living life to the fullest. Artus says "If you are serious about your career and business, hard work is a must but it doesn't mean you'll stop enjoying and doing fun in your life. That's life, we get it for once". Artur's policy says "Customer's satisfaction is a true reward" he believes that his products and services should provide 100% to his customers without any financial worries. Arur himself is a man filled with a positive attitude, he is confident and optimistic towards his life and we believe this is a secret behind his successful and growing entrepreneurship.
You can connect with Entrepreneur Artur Veeroja on his Instagram where he has more than 48k followers and take help under his guidance to skyrocket your Social Media marketing strategy.
Entrepreneur Mohammed I H Al Kandari – The Music Maestro from Kuwait
Entrepreneur Hamza Samara is stealing the show from the shark influencers at the young age of 22


Why this workshop and why now..?
Many organisations today are concerned with how to attract, engage and retain talented people. This is because most recent research shows that people who are both talented and engaged typically contribute most to an organisation's success. People who are talented in this sense are those with high potential who are not only knowledgeable and skilful but have the ability to learn quickly and apply what they bring to fresh, challenging and changing circumstances. People who are engaged in this sense tend to be prepared to go the extra mile, can't imagine wanting to leave and instinctively encourage others to join in.
Similarly, the church has historically sought to nurture and sustain high levels of engagement – with God and the church in the context of wider community. These things are at the heart of what we might describe as Christian commitment. The church's view of talent has been, however, similar in some ways and different in others. On the one hand, Christians believe that everyone has particular God-given gifts and talents that should be invested for kingdom purposes (e.g. Mt 25) and on the other, that everyone is valuable – i.e. not just those with 'high potential' in a utilitarian sense – and should be honoured as such (e.g. 1 Cor 12).
Churches and Christian organisations alike have struggled with some of the practical challenges this latter tension creates, especially when operating with strong mission mandates, trying to apply professional standards and having to compete with others for scarce resources. The tension is particularly acute when we depend on volunteers with a variety of motivations and a relative ease to leave. The question becomes how to get the job done well through people whilst, at the same time, valuing everyone's contribution, keeping the right people involved in the right ways and helping release God-given potential.
This demands prayerful, insightful and skilful leadership – and that's the reason for this workshop today. We will start by looking at what motivates people, explore ways to develop your own management and development approach, move onto how to handle some of the difficult performance conversations these tensions can create and end with prayer and personal planning as you leave – hopefully feeling refreshed, inspired, with renewed confidence and with new tools in your hands..!
What motivates people? Is everyone motivated by the same things? Do motivations change over time or in different circumstances? What de-motivates people? How can we engage and retain people by ensuring that, as far as possible, 'rewards' match motivations?
There are lots of secular theories about what motivates people – and they don't all necessarily agree. However, some of the most common theories about what motivates people at work are outlined below.
You may find it helpful to look at each theory in turn and ask (a) in what ways it could help you understand the different motivations of people you work with and (b) what you could do to practically to ensure you take individual motivations into account when managing and developing staff and volunteers.
You may also find it helpful to compare and contrast these theories with biblical theology; e.g. the Christian ideal (e.g. what should motivate people), the reality and influence of sin (e.g. what does often motivate people), the redeeming work of the Holy Spirit, the role of the leader/manager in influencing motivations.
Maslow initially proposed that first order needs (e.g. physiological) must be addressed before higher level needs (e.g. self-actualisation) could be satisfied. This 'hierarchical' element of the model has been widely challenged but the model does, nevertheless, differentiate between different kinds of need and how they might be addressed.
Herzberg's theory proposes that the things that positively motivate people ('motivating factors') are different to the things that negatively demotivate people if not addressed ('hygiene factors'). For example, this theory proposes that people don't tend to be motivated by salary (except, perhaps, when applying for a job) but do tend to feel demotivated if they don't think their salary level is fair or sufficient.
This model includes categories similar to Maslow's (above) and incorporates an additional interesting perspective – avoidance – pointing to the notion that people are sometimes motivated by something because it helps them avoid having to face or do something else.
What motivated you to get involved in this field of work? What motivates you to stay involved?
What motivated you to get others involved, whether staff or volunteers? What is it that you want from and for them?
How can you tell what another person is motivated by? What signs might you notice? Think of actual people in your workplace – what motivates them?
What could you do practically to motivate a person motivated by each of the motivations you have identified? Apply to actual (or key) individuals in your own work environment.
The idea of managing people can feel alien to people in some churches and Christian organisations where words such as lead, guide or nurture feel more familiar. If you feel uncomfortable with the word 'management' because of unhelpful connotations it carries for you, we are using it here simply to mean something along the lines of 'making best use of the resources God has made available to us to achieve the things God has called us to achieve'. In particular, we are thinking about human resources – that is the people whom God has entrusted to us and for whom we hold leadership responsibility.
In this workshop, we will focus primarily on the first agenda above because that is where the need for good management is most paramount, whilst recognising the second agenda is also very important. We will focus on employees (i.e. paid staff) and volunteers (i.e. unpaid staff) who carry a substantial on-going role in the church or organisation. We will not be thinking primarily of those people who provide occasional albeit valuable support, although some of the same principles would still apply.
A summary statement describing the role and its purpose.
Name of whom the person reports to.
Key task areas the person holds lead responsibility for.
Key knowledge, skills, attitudes, behaviours needed to perform the role well.
Any other requirements relevant to the role (e.g. availability to travel).
Draft a job description for each person for whom you own leadership responsibility, using the list below to create a template.
Share what you have drafted with another person – is each section specific, clear and unambiguous?
When you return to the workplace, discuss with the person(s) for whom the job descriptions have been drafted and see whether what you have described fits with what he/she understands of the role too. Alternatively, ask the person to draft his or her own job description first and see if what they describe fits with what you think their role is. Make sure you communicate the job description with wider colleagues so everyone is clear about what the person's role is and where it fits within the wider team.
Goals should be motivating. Motivating goals are those that have an element of stretch or challenge and contain within them the possibility to do something beyond the horizon of what one would have ordinarily thought possible. The real skill in goal-setting involves helping a person to set their own goals, and this is often best achieved through a coaching approach (see next section). The risk is that when a manager sets goals for someone, they can be experienced by that person as imposed (demotivating), under-stretching (boring) or over-stretching (demoralising).
Although working through this process to articulate each goal so clearly can take some time, the advantages of working each section with the person to ensure mutual clarity and buy-in can well outweigh the costs. This will be particularly important when the leader moves onto the next steps of providing coaching, monitoring progress and evaluating performance.
Create a 'goals' table as below for each of your own goals for the forthcoming year. You should focus on 3-5 key goals that you plan to achieve – by God's grace – by the end of the next 12 month period.
Coaching and supervision are at the heart of good performance management and development. They are about working with, enabling, walking alongside, ensuring accountability, providing support. At heart, coaching and supervision are about establishing a special quality of relationship and conversation that engenders awareness-raising, learning, responsibility and commitment that extends well beyond simple task achievement. It demands conscious attention to personal intention, ethos, empathy and relational climate.
Whereas coaching is concerned primarily with goal achievement, supervision is concerned with making sense of one's experience in order to learn and develop through it. We will look at coaching and supervision separately below but, in practice, they often draw on the same skills and often intertwine. As a broad principle, it is helpful to set aside special time with each staff member (e.g. once a week for one hour) specifically for coaching and supervision. Although this can feel like a heavy time commitment for busy managers, the benefits in terms of motivation, engagement, development and effectiveness invariably outweigh the costs.
It is also valuable to engage in supervision as a manager in order to develop your own insights and skills in this area. This could be with your own manager, a professional and experienced peer, a respected mentor or with an independent consultant with expertise in this area.
Without the safe environment of a genuine and positive relationship, it is hard for people to address fears or weak areas that may be blocking personal effectiveness, even when highly-refined coaching skills are deployed. In this respect, coaching is at its best when informed by psychological, emotional and spiritual insights reflected in other related fields such as counselling and mentoring. Short and longer-term courses in these fields are often available through local education colleges and universities.
generalities with no clear vision or outcome in sight.
will need to be overcome to achieve them.
first that could prove more successful.
It can be helpful to discuss each step with another person, asking them to act as coach – posing questions (e.g. 'what would that look like..?'), challenging assumptions (e.g. 'does it necessarily follow that…?', helping you look at the situation differently (e.g. 'how would it be if…?') etc. You may need to revisit and revise the goal if you can't find a way forward that will realistically work for you. Pray for God's leading, wisdom and discerning throughout. Once again, the discipline of goal-setting using this process can sound like hard work but our experience suggests it significantly increases staff motivation and the possibility of achieving successful outcomes.
In routine supervision, it can be valuable to ask the staff member to describe a particular experience during the week; e.g. one they found particularly exciting, challenging or stressful, and then to explore it using this model to see what can be learned from it that will help develop the staff member's future practice. The discipline of working through the 'understanding' phase rather than jumping from 'exploration' to 'action' helps the staff member grow as a reflective practitioner and, thereby, as a wise and increasingly effective professional in his or her field. This approach is valuable for difficult performance conversations too (see next section).
It can be helpful to think of evaluating performance in two separate ways: on-going monitoring incorporating periodic performance review (e.g. "How am I doing..?"; "Am I on track…?") and overall evaluation (e.g. "How well did I perform against agreed goals..?"; "What does my overall performance say about my career potential..?" etc.). On-going monitoring is best carried out as part of on-going coaching and supervision where the manager helps the staff member reflect on his or her work, progress, issues arising etc. and provides feedback. The best feedback is clear and specific and, although some managers are reticent to give it for fear of offending or demotivating, most staff say they find it helpful and motivating - if delivered in a clear, fair and affirming way.
Managers should start periodic (e.g. 3-monthly) performance review conversations with prompts that create space for the staff member to offer their own comments first; e.g. "What have you enjoyed most over the past few months?"; "What have been the greatest challenges?"; "What did you do to overcome them?"; "How would you rate your own performance so far?"; "What would you like to focus on development-wise to enhance your own performance?" This provides a basis for the manager to offer his or her own comments too, adding to the staff member's perspective or challenging it where needed.
well, what his or her development priorities are for the future.
member's performance – what they find helpful about his or her approach, what specifically would improve it.
development priorities for the future.
In handling difficult performance issues, e.g. when a staff member has failed to live up to expectations in spite of repeated corrective or developmental support or behaved badly, it can be helpful to use Egan's model (above) to explore together what has happened, what its consequences have been, what specifically changes need to happen etc. Opening by asking the staff member to describe what they believe happened, what they believe was behind it, what they believe they need to do next to resolve it can be a motivating and fair way to start the conversation.
If you have a very different view as manager to that of the staff member, don't shy away from the issue but be clear about what message you want the person to hear and ensure they have heard it. You may want to practice rehearsing beforehand so that your message doesn't get lost in conversation. For example, having listened to their view: "My own view is that… and, as a result, I want you to…" Be specific and, if necessary, ask the person to summarise what they have heard to check they have heard and understood what you intended.
Do you have proper evaluation meetings (on-going/overall) with those members of staff for whom you hold responsibility? If not, what do you need to do?
Think of a difficult performance conversation that you need to have with a member of staff, perhaps one you have been putting off or avoiding. Jot down notes below on what you need to address, how you could go about addressing it and what the key message is you want him or her to hear.
Which aspects of this approach to management and development do you find most exciting and inspiring?
What will you do to apply them?
will you do to address them?
development of staff and volunteers?
Which of your own management and development knowledge or skills do you need to develop as priority?
What will you do to develop them?


A single variety extra virgin olive oil with an exceptionally low acidity , produced from the Makri olive, which has unique characteristics thanks to the local microclimate and the estate's soil structure, and is harvested in the middle of October. Characterized by fruitiness of mid to high intensity with enhanced tones of fresh green olive and green banana, artichoke and freshly cut grass. The oil is extracted within 4-8 hours of harvest and cold pressed under optimal conditions. Complex in taste, yet delicate with moderate bitter and spicy tones, it is best consumed raw as a finishing touch to all your dishes.


One thing I can always count on from Warren or Government Mule is each release is going to be different than the last one. This is the sign of a genuine accomplished musician. I have just about every Government Mule and Warren Haynes solo cd that's been released. I couldn't wait for Ashes & Dust to come out and purchased a deluxe cd from the website. I'm not a big fan of blue grass music, however, if every bluegrass band sounded like this, I'd become a regular listener. The cd is amazing. It's been in my automobile stereo for a month and a half and I listen to it every day. I was also amazed to hear a few blues tunes as well and can't wait for Warren or Government Mule to do a blues cd. I particularly enjoyed the various tracks with Warren playing solo and the same songs with the band. In addition to the deluxe cd set I bought from the website, I bought two copies at my local Barnes & Noble music section to send to two music loving cousins to introduce them to Warren. They also loved the cd. Do me a big favor, tell Warren, my wife and I loved him at his brother's city council benefit in Asheville. We live in Asheville and have attended several Christmas Jams, saw him twice in Raleigh and once in Atlanta. Looking forward to the next release.
The unknown side of Warren. Ashes & Dust is simply amazing, it sorround me in an emotional twister. I cant stop playing. Thanks Warren.
Awesome album. Warren is the man!
Excellent album, it showcases once more the diversity of Waren Haynes, well produces and excellent musicians!!
Great solo album, though having Railroad Earth backing Warren technically voids that thought. We love the sound and hope to hear it at Christmas Jam this year. If RRE is unavailable maybe the "local" guys in Steep Canyon Rangers would be willing to fit in! Can't stop listening to it and the 2 additional discs I got with it. All the highest quality and what I've come to enjoy from Warren Haynes. The "Americana" sound of it is very unique to all the other recording of Warren we have. Looking forward to seeing you and Mule and all your friends again this year!
Another 5-star album from Warren. Love the blend of styles.
Another great disc from Warren. His and the Mule releases are always different and wonderfully refreshing. There was a glitch in production which held delivery up but I took advantage of the download offer, great stuff! Well done guys roll on the next one!
Brought a smile to my face and at times a tear to my eyes. The China Doll on the bonus CD was just awe inspiring. Thank you Warren!
AFTER NUMEROUS CD SETS FROM WARREN, I JUST WOULD LIKE TO ADD, THAT I PERSONALLY BELIEVE THAT MR. HAYNES HAS FINALLY FOUND A MOST WELCOMED HOME. ASHES TO DUST, HIS LATEST RECORDED CD SET, WITH RARE EARTH, HAS ABSOLUTELY BROUGHT SOUNDS AND TONES THAT ONLY THIS GROUP COULD PROVIDE. BEING FROM N. CAROLINA, THE MIX OF COUNTRY ALONG WITH SOUTHERN ROCK HAS FINALLY JIVED TOGETHER. THIS BRAND NEW CD SET, IS BY FAR , THE TRUE FEELING OF MR. HAYNES. NOT ONLY IS THIS NEW RECORDING ADDICTING, BUT I JUST CAN'T SEEM TO HEAR IT ENOUGH. FROM SOLO ARTIST TO THE ALLMAN BROTHERS BAND, TO GOVERNMENT MULE, TO EVEN THE WARREN HAYNES BAND, WHICH RECORDED LIVE IN AUSTIN, TEXAS, WAS MOST OFTEN PLAYED IN MY STUDIO, THIS NEWLY BEST, CANNOT BE HEARD ENOUGH BY ME! WELCOME HOME, WARREN.
Everything Warren has ever associated himself with has always been top quality and top service. Ever since the days of the beginning of the Mule Warren himself has made everything very personable and made time for his fans and went above and beyond to insure satisfaction.
Oh that's a Great Album i like it very mutch it's good Musi with Railroad Earth toghter i know a lot of CD of RE! Every Guy in the World buy it and flow a way befor You do it have a kind of Smoke by the Way!
Exceptional Music from an amazing player and band! Wonderful to hear the musical diversity of all the players and the soulfulness of Warren's Voice and playing!!
Great album! A great mix of Warrens stellar first playing, classic lyrics, and the Railroad Earth ambience! Add this one to your collection.


Prepare for Battle and Rub elbows with the biggest names in gaming and show off the G2X!
Grand Prize: A VIP trip to Los Angeles to attend E3 Expo, $2,500 spending cash, and a T-Mobile G2x. Trip includes airfare, hotel accommodations, exhibitor badge for admittance.
Second Prize is a T-Mobile G2X.
Third Prizes are an EA video game.


The Relevance 2050 Committee of the American Academy of Clinical Neuropsychology (AACN) is pleased to announce a request for proposals to be considered competitively for funding available through a one-time AACN grant award. A single one-year grant of up to $10,000 is available for an innovative project that supports the mission of the Relevance 2050 Committee. By the year 2050, 60% of the American population will not be testable with our current neuropsychological toolkit of instruments normed primarily on mono-linguistic/mono-cultural English-speaking European American populations. The Relevance Committee seeks to help maintain the relevance of clinical neuropsychology as a healthcare specialty in this rapidly diversifying landscape. The primary goal of this award is to facilitate the development of an interactive platform for multi-cultural/multi-linguistic norms for open access cognitive tests.
Be a current active, affiliate, or student member of AACN.
Develop a project that is innovative, feasible, and has demonstrable potential to meet the need of providing multi-cultural/multi-linguistic norms.
Commit to presenting the awarded project at the annual AACN meeting within two calendar years of the award date.
Brief abstract (max. 400 words) of the proposed project.
Detailed project plan, not to exceed four pages, including (as applicable) specific aims, background, significance, innovation, design, methods, project timeline, and bibliography.
Significance – does the project meet the need of providing an interactive platform of normative data where clinicians from around the country and internationally can both contribute to and access a broad base of cultural/ linguistic/age/education norms for a common set of neuropsychological measures?
Qualifications of Applicant(s)/Group – does the applicant(s)/group have the appropriate experience and training to lead the project?
Innovation – does the project challenge or seek to shift current research/clinical paradigms by utilizing novel theoretical concepts, methodologies, or instrumentations?
Approach – is the project feasible? Are the overall strategies, methodology, and analytic plans well-reasoned and appropriate? Are potential problems and alternative strategies presented?
Budget – is the budget appropriate to the proposed study?
Deadline for Receipt of Applications: 11:59 PM (Eastern Time), December 1, 2017.
Anticipated Notice of Award: January 10, 2017.
Award Duration: January 10, 2018 – December 30, 2018.
All application materials, including supporting letters, must be submitted electronically as a single PDF file. See contact information below and in accompanying Application Form.
Any scientific or fiscal overlap with other projects should be clearly delineated in the budget and associated budget justification.
Each grant will be reviewed by 2-3 individuals (none of whom are current AACN Board of Directors members) who will evaluate the application using the criteria outlined above.
The grant review panel may elect not to fund any application should no meritorious proposal be received.
Indirect costs are not allowed. Prior to submitting an application, applicants should contact their institution's Grants Management Office to verify that this stipulation will be observed.
Award recipients will be expected to submit a semi-annual progress report summarizing the study's progress and accounting for the use of funds.
Projects not completed by the term date of the award may request, in writing, a no-cost extension.


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How to Celebrate the Holidays After Divorce
Home » How to Celebrate the Holidays After Divorce
It's another hard truth of divorce: a normally joyous season can take on a sense of sadness in the first year following a divorce. While it's important to check in with your feelings of loss and trauma as you heal after the end of a marriage, it's equally important to find ways to still celebrate this time of year. So, how can you celebrate the holidays after divorce?
An expert divorce lawyer can offer valuable advice and tips to make the holidays enjoyable this year. Here are some of our tips for navigating the holidays after a divorce:
Navigating the Holidays
Divorce isn't easy. If you have joint custody of a child this can be even more difficult. The first holiday after a divorce is often the most difficult one for you and your family - especially if you have young children. Sometimes it helps to consult a divorce attorney to help mediate tension or build a healthy child custody schedule.
Here are some of our tips for navigating the holidays after a divorce:
Set new expectations
The holidays and expectations go hand in hand—we spend the entire year building up our hopes and dreams for this short period; looking forward to traditions, making plans, and picking gifts out months in advance. One of the most important things to keep in mind this time of year is that it will be different.
That doesn't mean it will be worse, or that there won't be just as much love and joy as there was before. But you do need to check in with your expectations, and recognize that it will not be exactly the same. If you have children, make sure to thoroughly communicate the schedule of the holidays and what is happening during this time, and check in with them about how they're feeling. This time of year tends to put a lot of pressure on us, so remind yourself and your children that it's ok to feel a sense of loss, but there is an opportunity to create new memories in its wake.
Set the holiday schedule ahead of time
If you have worked out a co-parenting or split custody plan with your ex-partner, the holidays can feel like a bump in a road you are still learning to navigate. For instance, what happens if a holiday falls on one of your scheduled weekends, but your ex has family in town and they would like to celebrate with your children? Or, what if you have a tradition of going to an annual Christmas recital with your kids, but it falls on a day slated for your ex to be with them? You may need to work out an agreeable alteration to the schedule to make sure your kids get to see their extended family and still feel included in their traditions.
Eventually, you may even be able to celebrate the holiday together, rather than splitting time between the two. This of course depends on the conditions of your divorce, how comfortable you feel with this, and your current and future relationship with your ex.
Discuss gifts
If you are still in touch with your ex and are sharing custody of your children, even the simplest part of the holidays, like gifts, can get complicated. To avoid both getting your child the same gift, or to make sure one parent doesn't have to purchase everything on the children's wish list. Instead, discuss who will be giving what gifts and when.
Create new traditions
One of the hardest parts about navigating the holiday season after a divorce is the sense of loss for old traditions that used to bring you comfort and happiness. While it's important to mourn those, it is just as important to remind yourself that there is joy and life to be found after a split. One of the best ways to do this? Create new traditions.
You have more freedom now to make the most of the most wonderful time of the year. Have you always wanted to celebrate abroad? Plan a trip to a dream city. Love Christmas movies? Host a screening for friends and family, complete with hot cocoa and freshly baked cookies. You can even reclaim traditions that you had with your ex to make them your own and find new comfort in them.
Surround yourself with a support system
No one wants to be lonely when the holidays roll around, and when you are fresh out of a marriage, it can be hard to combat those feelings. Divorce proceedings, paperwork, and legal discussions can also feel alienating and unfamiliar, and make that sense of loneliness even more acute.
To combat this feeling, make an effort to make plans with friends and family to remind yourself that you are still part of a community, and have a support system.
Final Word: Celebrating the holidays after a divorce
Divorce proceedings and child custody cases are hard enough all year round, but especially difficult when the holiday season rolls around. Creating new traditions, emphasizing clear communication, and finding your support system are all vital to getting yourself in the spirit even in a difficult time.
If you need a little guidance in that communication, or if you just need some help navigating the process of a split from an experienced divorce or child custody attorney in North Carolina, Van Camp, Meacham & Newman are here to help.
Schedule your free consultation with Van Camp, Meacham & Newman today.
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My 95-year-old grandmother Sarah Alexander Pearce recently died. She was the genealogist of our family, leaving me big shoes to fill (and lots of research to review). Here are some photos from her funeral as well as her obituary.
Greensboro: Sarah Alexander Pearce, age 95, died Thursday, April 30, 2015. She was predeceased by her husband, Elbert Plummer Pearce, Jr. in 1993.
A celebration of her life will be held Thursday, May 14, 2015 at 2 p.m. in the chapel of First Baptist Church, Greensboro, NC. Interment will follow at Westminster Gardens. The family will receive friends at 303 Meadowbrook Terrace from 5 until 7 p.m. following the services.
Sarah was born in Charlotte, NC on August 4, 1919 to Naomi Booe Alexander and Samuel Irvin Alexander. She was predeceased by her parents and her siblings, James Ijames Alexander, Kathryn Alexander Pittman and Mary Alexander Murray Tate.
Sarah graduated from Central High School in Charlotte, and then attended Erskine College in Due West, S.C. before transferring to Muskingum College in Concord, Ohio. After graduation in 1940, she went to the University of North Carolina in Chapel Hill for further study in the field of Education, where she met her future husband "E.P." only 150 feet from the building where her mother and father had met!
In the fall of 1940, she began her year of teaching at Fayetteville High School, after which she returned to Chapel Hill to teach at the High School in 1941 on a university grant. She and E.P. married on August 28, 1941. She had her first child, Eddie, in 1942 in Chapel Hill. Her second son, Irvin, was born in Boston in 1945 while her husband was stationed there during WWII. After the war, E.P. became the principal at the High School in Sanford, NC where their first daughter, Sarah, was born in 1947. The family moved to Greensboro in 1949, when E.P. became the director of Instructional Services for the Guilford County Schools. He was promoted to Superintendent in 1959, serving in that capacity until his retirement in 1978. Their fourth child, Susan, was born in 1955.
Sarah returned to the field of education in 1963 after devoting herself to motherhood for 21 years. She became a Home/School coordinator for the Guilford County Schools through the federally funded Title I program. In this position, she was the liaison between the schools and the children in need. Through donations, she helped acquire glasses, shoes, and supplies for those who otherwise could not afford them. When the federal program ended, she returned to the classroom, teaching math at Jamestown Middle School until her retirement in 1986.
Sarah was a member of First Baptist Church for 65 years. She belonged to the Love Sunday School Class, the WMU and taught Girls Auxiliary and Training Union Classes. She was a member of a teacher's sorority, Delta Kappa Gamma. Her greatest passion was researching family genealogy. She was a member of the Daughters of the American Revolution, Guilford Battle Chapter, and served as its Registrar. She also enjoyed working in her yard and was a member of the Westridge Garden Club.
She is survived by four children: Edwin Plummer Pearce (Sandy) of Denton, Texas; Irvin Alexander Pearce (Ann) of Raleigh; Sarah Booe Pearce Landry Golden (Coker) of Greensboro; and Susan Maske Pearce Locke (Tommy) of High Point. Her grandchildren are: Christopher Edwin Pearce, Cory Alexander Pearce, Jason Alexander Pearce, Cameron Andrew Pearce, Patrick Gay Landry III, Pearce Armstrong Landry, Alexander Coker Golden, Erik Pearce Sommers and Devon Michelle Sommers Edmonson; and great-grandchildren: Jordan, Payton, Pearce II, Robert, Marshall, and Elanor.
The family thanks Bland Whitley and Brittney Sigmon for their loving care given to Sarah in her home. Appreciation is also extended to the staff at Camden Place Health and Rehab for the help and attention given to her in the last six months of her life.
In lieu of flowers, memorial contributions may be made to the American Heart Association, 202 Centreport Dr., Greensboro, NC 27409; First Baptist Church, 1000 Friendly Ave., Greensboro, NC 27401; or to Hospice and Palliative Care, 2500 Summit Ave., Greensboro, NC 27405.


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ASTM International elects new chair for Committee D19 on Water
U.S. Geological Survey hydrologist G. Douglas Glysson was picked to chair the critical committee, where he'll lead 400 members who are responsible for close to 300 standards mainly related to sampling and analysis of water, waterborne materials, and water-formed deposits. Glysson, who joined ASTM in 1983, serves on several D19 technical standards-writing committees and, outside ASTM, is secretary of the Board of Registration for the American Institute of Hydrology...
• USGS hydrologist G. Douglas Glysson, P.E., P.H., who is also secretary of the board of registration for the American Institute of Hydrology, to lead the influential committee.
W. CONSHOHOCKEN, PA, Nov. 14, 2006 -- G. Douglas Glysson, P.E., P.H., a hydrologist for the U.S. Geological Survey, Reston, Va., has been elected chair of ASTM International Committee D19 on Water, ASTM reported Nov. 8. In this position he leads the committee of 400 members who are responsible for close to 300 standards mainly related to the sampling and analysis of water, waterborne materials, and water-formed deposits.
Glysson, who joined ASTM International in 1983, serves on several D19 technical standards-writing committees. He is also a member of Committee D18 on Soil and Rock, and outside ASTM, is secretary of the Board of Registration for the American Institute of Hydrology.
Author of more than 35 publications on sediment data collection, analysis and transport, Glysson has more than 36 years of experience working with the USGS as a hydrologic engineer, hydrologist and supervisory hydrologist. He has taught the USGS Sediment Field Data Collection Techniques and Sediment Records Computation and Interpretation courses as well as numerous short courses.
Glysson has served as chair of two Federal Interagency Sedimentation Conferences and recently chaired the Joint 8th Federal Interagency Sedimentation and 3rd Hydrologic Modeling Conferences. He has been the USGS representative on the Subcommittee on Sedimentation of the Advisory Committee on Water Information (an advisory committee to the Secretary of the Interior) and has chaired the group several times, and he has been involved with the technical committee that oversees the Federal Interagency Sedimentation Project.
A graduate of the California State University, Sacramento, where he earned his B.S. in civil engineering, Glysson received an M.S. in engineering administration from The George Washington University in Washington, D.C.
ASTM Committee D19 on Water is one of 139 technical standards writing committees. Established in 1898, ASTM International is one of the largest standards development and delivery systems in the world. ASTM standards are accepted and used in research and development, product testing, quality systems, and commercial transactions around the globe.
ASTM International (www.astm.org) is one of the largest standards development and delivery systems in the world. For over a century, ASTM has met the technical needs of commerce. The organization provides a forum in which stakeholders from both the supply and demand sides of the marketplace come together and produce documents for trade and best business practices that are used around the globe. ASTM's market relevance is evident in over 100 industrial and management sectors, ranging from construction materials and environmental assessment to medical devices and property management systems. Over 100 nations are represented in ASTM International.
EPA awards $130,000 to improve water quality in Oklahoma
East County Advanced Water Purification Program gets $9.4M in interim funding
USDA invests in rural water, wastewater infrastructure in 29 states
Illinois American Water invests over $1.8M in City of Farmington Water System
More in Infrastructure Funding
EPA awards $2,451,000 to Minnesota to protect public drinking water systems
EPA awards $3.9M for PFAS research
EPA announces availability of $87M to improve drinking water for schools, small and disadvantaged communities
Bluefield Research: $25B in government funds deliver critical dollars for water infrastructure in 2018
US Water Alliance, Council of State Governments release State Policymakers' Toolkit for Water
Applications open for Utility of the Future Today recognition program
Miami-Dade County receives nearly $100M in WIFIA funding
Majority of voters support increasing federal investment in water infrastructure
New WIFIA Funding available for water infrastructure projects


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Modern Family Fan Site
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ABC announces Modern Family series finale
ABC announces Modern Family series finale Posted March 23 2020
ABC has issued the press release for the hour-long series finale of Modern Family, which airs Wednesday, April 8 at 9/8c on ABC. Elizabeth Banks and Chris Geere guest star.
Finale Part 1 / Finale Part 2 - In part 1 of the series finale, Mitchell and Cam settle in on their new normal, and Phil and Claire decide that one of the kids needs to move out in order to take control of the house again. Meanwhile, as Gloria becomes more successful at work, she notices Jay, Manny and Joe don't seem to need her as much. In part 2 of the series finale, the entire family discovers saying goodbye is much harder than it seems on "Modern Family," WEDNESDAY, APRIL 8 (9:00-10:00 p.m. EDT), on ABC. Episodes can also be viewed the next day on demand and on Hulu.
A special retrospective, "A Modern Farewell", will air at 8/7c that night.
"A Modern Farewell" - In anticipation of the "Modern Family" series finale, ABC is giving viewers a heartfelt look back at one of television's most culturally defining series. The one-hour documentary will explore the 11-year run of this iconic series, from the writing and casting of the pilot, all the way up to the final table read. Through exclusive interviews and reflections with the cast and crew, this documentary will examine the show's origin story and unprecedented success, and revisit many of the hilarious, warm and sometimes twisted moments of this modern family on "A Modern Farewell," airing WEDNESDAY, APRIL 8 (8:00-9:00 p.m. EDT), on ABC. The special can also be viewed the next day on demand and on Hulu. Special appearances by Ed O'Neill, Sofia Vergara, Julie Bowen, Jesse Tyler Ferguson, Eric Stonestreet, Sarah Hyland, Ariel Winter, Nolan Gould, Rico Rodriguez, Aubrey Anderson-Emmons, Jeremy Maguire, Reid Ewing and Benjamin Bratt.
Episode: Finale Part 1 Tags: episodes, Season 11
More about the episode
Finale Part 1
Season 11, Episode 17 - Aired April 8, 2020
Mitchell and Cam settle in on their new normal, and Phil and Claire decide that one of the kids needs to move out in order to take control of the house again. Meanwhile, as Gloria becomes more successful at work, she notices Jay, Manny and Joe don't seem to need her as much.
Modern Family: Season 11 quotes
Modern Family bows out to biggest audience in three years
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