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Вршац је градско насеље у саставу града Вршца у Јужнобанатском округу, један од најстаријих банатских градова који се налази на југоисточном рубу Панонске низије, у подножју Вршачких планина. Према попису из 2011. било је 36.040 становника. По овоме је Вршац други по величини град у округу, после Панчева, и највећи град у Војводини без статуса средишта округа.

Називи
Град је познат по још неким називима на другим језицима: , , , .

Географија
Вршац се налази североисточно од Београда на 83. километру Државног пута I реда М10 према Румунији, од које је удаљен 14 км. Вршац одликује добра повезаност са околним местима, као и градовима у овом делу Војводине, и то како друмским тако и железничким саобраћајем. Раскрсница је Државног пута I реда 10, Државног пута I реда 18 и Државног пута другог реда 126. У самом Вршцу налази се железнички гранични прелаз према Румунији, а друмски код Ватина. Овде се налази Железничка станица Вршац.

Вршац лежи у самом подножју Вршачких планина. У његовој непосредној близини налазе се депресије Великог и Малог рита, поточне долине, лесне заравни, а на невеликој удаљености налази се и Делиблатска пешчара, специфичан географски комплекс и једно од највећих пешчаних пространстава у Европи. Вршачке планине, на крајњем југоистоку Баната, заузимају површину од око 170 km². Имају претежно одлике брдско-брежуљкастих предела чији централни део има планински карактер. Почињући са брдима Капела (252 м) и Кула (399 м) над самим градом, простиру се на истоку све до речице Черне у Румунији, на северној страни оивичене су Марковачким потоком и Малим Ритом у који се стрмо спуштају. Са јужне стране благо опадају и завршавају се долинама потока Месића и Гузајне. У уздужном профилу, на правцу исток-запад налазе се највећи врхови, међу којима доминира Гудурички врх (641 м), уједно и највиши врх у Војводини. Јужна и северна подгорина испресецане су вододеринама и поточним долинама.

Клима је умерено-континентална, са следећим обележјима: дуга и топла лета, нешто хладније, а понекад хладне и снеговите зиме, свежија и краћа пролећа, док су јесени дуже и топлије. Посебну специфичност Вршцу даје кошава. Најчешће дува у рано пролеће и позну јесен, односно у хладнијој половини године. Брзина кошаве је променљива и креће се од 18 до 40 км на сат, а поједини удари и до 140 и више км на сат. Осим кошаве дува и северац и северозападни ветар.

Вршачки предео је прилично сиромашан водотоковима природног порекла. Једина река је Караш, који извире у Румунији и протиче недалеко од Вршца. Месић, највећи од неколико потока, извире у брдима изнад истоименог села и протиче кроз сам град. На територији јужног Баната изграђена је од 18. века до данас, читава мрежа канала за одвођење атмосферских и подземних вода. Највећи је канал Дунав—Тиса—Дунав, који пролази на око десетак километара од Вршца. У самом граду је вештачко језеро које је уређено као градско купалиште, а у близини, у Великом Риту постоји рибњак површине 906 хектара, познат и као станиште великог броја врста барских птица и друге дивљачи.

У животињском свету Вршачких планина има срна, дивљих свиња, зечева, дивљих мачака, лисица, а у пролазу се задржавају и вукови. Из птичјег света заступљени су: дивља патка и гуска, дивљи голуб, јаребица, фазан, велики и мали детлић, крагуј, пуповац, а од грабљивица, јастреб, мишар, орао, сова, соко. На подручју Вршца живе: веверица, шумски пух, сива и црна врана, гавран и многе друге врсте ретких птица. Јединствено гнездиште у нашој земљи има у Малом Риту барска шљука бекасина. Од змија најзаступљенија је белоушка, ређе шарка, а има слепића и смука. Једна врста зеленог гуштера сматра се да је раритет у Војводини. У речним токовима и у каналима има разних врста риба: штуке, шарана, сома, кечиге, караша и ситне беле рибе.

Биљни свет је веома разнолик. Највише је трава од којих посебан значај има кострика. На Вршачким планинама расту: смрека, црни бор, павит, пољски и брдски брест, буква, питоми кестен, више врста храста, бели граб, више врста липа, купина, шипак, пољска ружа, дивља јабука и крушка, бели и црвени глог, брекиња, оскоруша, рашљика (трн), дивља трешња, руј, клокочика, клен, млеч, жеста, дрен, свиб, бршљан, курика, пасрден, бели и црни јасен, обична калина, црвена зова, веприна. Све су то аутохтоне биљне врсте. Накнадно унете дрвенасте врсте су: багрем, јасика, бела и црна топола, врба ракита, дивљи кестен и разни четинари. На Вршачким планинама има 1.024 врста дрвећа, шибља и зељастог биља. Зна се за 22 биљне заједнице (фитоценозе) и то 10 степско-ливадских и 12 шумских.

Општини Вршац припадају села: Ватин, Мали Жам, Велико Средиште, Гудурица, Марковац, Месић, Павлиш, Сочица, Јабланка, Влајковац, Ритишево, Куштиљ, Уљма, Избиште, Војводинци, Потпорањ, Стража, Мало Средиште, Шушара, Орешац и Загајица.

Историја
Први трагови насеља на Вршачком брду потичу из времена праисторије. Подграђе испод Вршачке куле (средњовековно утврђење) високо је 21 м, са зидовима дебелим 2,5 м. Подручје данашњег града и околине било је такође насељено у давној прошлости.

Насеље на овом месту развило се у сенци средњовековног града који је подигао угарски краљ Жигмунд почетком XV века на врху брда да би заштитио јужне границе своје државе од сталних турских упада. Ускоро је град предат српском деспоту Ђурђу који га је повезао са својим главним утврђењима јужно од Дунава у чврсти одбрамбени систем

Феликс Милекер је сматрао да су године 1425. српске избеглице са југа настаниле у подножју брега и да су своје насеље назвали Подвршац. Ипак, у настојању да пронађе податке о средњовековном Вршцу у историјским изворима, а не знајући да је Вршац у ствари Ершомљо, Феликс Милекер је насеље -{Podwersa}-(-{Poduersa}-)у Крашовској жупанији идентификовао са Вршцем, односно вршачким подграђем. Он је сматрао да је правилна транскрипција имена овог насеља Подвршан, што је потом прихваћено и у српској историографији, што се данас зна да је грешка. Већ тада ова област била је позната по својим винима која су била међу најтраженијима на угарском двору. Након што су опустошили читаву област, Турци су град заузели 1552. али је Вршац и даље остао настањен Србима. Ово се променило након 1594. када су Срби, у нади да ће се ослободити у садејству са аустријском армијом, подигли Банатску буну: првобитно су имали много успеха и између осталих градова ослобођен је и Вршац, међутим, крајем лета Турци су удруженим снагама потукли устанике и започели са осветом. Већина Срба побегла је у Ердељ, а Вршац је у потпуности попримио оријентални изглед.

Аустријски царски ревизор Ерлер је 1774. године констатовао да је Вршац седиште истоименог округа и дистрикта. Ту се тада налазио управни уред, управни подуред, коњичка касарна, пошта, римокатоличка црква и царинарница. Становништво је било измешано, швапско, српско и влашко.

Године 1716, Турке је из града протерао војсковођа Еуген Савојски чиме је отворио нову епоху у историји града. У град су ускоро колонизовани Немци из области око реке Мозела који су собом донели нове виноградарске технике које ће Вршац брзо претворити у једно од средишта винарства Хабзбуршка монархија. Брзи привредни успон крунисан је добијањем повеље слободног краљевског града 1817. Град је знатно назадовао за време револуције 1848. када су се око њега борили Срби и Мађари. Остатак XIX века протекао је у миру и напретку који је пресекла зараза филоксере која је запретила уништењем све винове лозе. Ипак, катастрофалне последице филоксере брзо су поништене у овој области планским сађењем америчких сорти лозе.

Године 1858. наводи се да у Вршцу има 10.000 православних Срба, девет српских школа, Богословија српска и румунска, ту је столица вршачког епископа, 11 адвоката и других представника интелигенције.

Највећа етничка промена наступила је у току Другог светског рата када су нацисти, махом домаћи Немци, протерали у концентрационе логоре и тамо усмртили готово целокупно јеврејско становништво града, док је након 1944. године целокупна немачка заједница која није избегла пред Црвеном армијом протерана из својих кућа и смештена у сабирне логоре у којима су услед изузетно лоших животних услова и лишени свих грађанских права, страдали од глади и болести, док су се преживели након 1948. године уз прећутну сагласност власти почели исељавати у Аустрију, Немачку или прекоморске земље. Тада долази до систематске демографске и политичке промене у граду. Осамдесетих година двадесетог века Вршац почиње да излази из привредне таме и развија имиџ успешног града.

Култура
Вршац има знамениту историјску прошлост, са споменицима од праисторије до данашњег доба. Многобројне карактеристичне грађевине из XVIII и 19. века, Градска кућа, стара апотека (1783), барокна зграда "Два пиштоља", кућа у којој је живео и умро Јован Стерија Поповић, Владичин двор, цркве (римокатоличка црква св. Герхарда од Сагреда је највећа римокатоличка црква у Србији, а била је друга по величини у СФРЈ, одмах после загребачке катедрале. Довршена је 1863. године и има функционалне оргуље на којима се редовно одржавају концерти. Капела св. Крста је најстарија римокатоличка богомоља у Банату, чију градњу су започели досељеници 1720, а завршили 1728. године. Православна црква св. Оца Николаја саграђена је 1785. године и тада је била највећа српска православна црква северно од Саве и Дунава.), Вршачки градски парк са споменицима, Народни музеј (основан 1882. — најстарији музеј у Војводини), а главно обележје града је Вршачки замак на Вршачком брегу из раног средњег века, симбол града и најстарији замак на територији Војводине. Све то је вредно помена, а нарочито Манастир Месић из XVII века. У овом граду рођени су отац српске драме Јован Стерија Поповић и један од наших најпознатијих сликара Паја Јовановић. Град има професионално позориште и развијену издавачку делатност, у којој предњачи КОВ — Књижевна општина Вршац. У граду се одржавају Јесењи позоришни фестивал и Међународни фестивал фолклора.

Овде се налазе Градска библиотека Вршац и Народно позориште "Стерија" (Вршац).

Привреда
Данас су од значаја виноградарство, занатство, трговина и индустрија. Вршачка вина су позната широм земље. У околини Вршца има доста излетишта и ловишта. У граду је и познати Центар за спортско једриличарство с аеродромом. Осим тога ту су и излетишта Ритишево, Стража, Парта, канал ДТД и вештачка језера која обогаћују изванредну околину града.

Спорт
Вршац је данас један од најзначајнијих спортских центара у Војводини и Србији. Градски клубови такмиче се у најјачим лигама у одбојци, тенису, стоном тенису, кошарци, теквондоу, шаху... Развијен је параглајдинг, оријентационо трчање, спортски риболов, планинарство, атлетика, бициклизам.

Најпознатији и најтрофејнији је женски кошаркашки клуб Хемофарм са шест освојених титула шампиона државе. Вршац има леп градски стадион са око 10.000 места, модерни спортски комплекс центар Миленијум са око 3.500 места, неколико мањих спортских сала, терена и игралишта.

Године 2012. играле су се, у препуном Миленијуму, утакмице Д групе Европског првенства у рукомету. Овде су наступали: Хрватска, Словенија, Исланд и Норвешка.

Овде постоји Градски рагби клуб Вршац.

Демографија

Главни чланак: Демографска историја Вршца
У насељу Вршац живи 29.843 пунолетна становника, а просечна старост становништва износи 40,0 година (38,4 код мушкараца и 41,4 код жена). У насељу има 12.893 домаћинства, а просечан број чланова по домаћинству је 2,79.

Ово насеље је углавном насељено Србима (према попису из 2002. године), а у последња три пописа, примећен је пад у броју становника.

Градови побратими
  Бањска Бистрица, Словачка
  Крива Паланка, Северна Македонија
  Лугош, Румунија
  Требиње, Босна и Херцеговина
  Хелвеција, Мађарска

Познате личности
У основној школи "Вук Стефановић Караџић" налазе се две табле са по 12 имена знаменитих Вршчана.
 Јован Стерија Поповић — књижевник и комедиограф
 Паја Јовановић — сликар
 Јаша Томић — новинар, политичар и књижевник
 Бора Костић — шахиста
 Драгиша Брашован — архитекта
 Борисав Атанасковић — југословенски и српски књижевник, драмски писац за децу и одрасле, глумац у Народном позоришту »Јован Стерија Поповић», редитељ, новинар, драматург радио драме за децу на српском и уредник радио драме за децу на српском, мађарском, словачком, румунском и русинском језику у Радио Новом Саду 1.
 Феликс Милекер — оснивач и кустос Градског музеја
 Рада Ђуричин — глумица
 Лаза Нанчић — социјалиста, новинар, писац и оснивач Вршачке читаонице
 Јосиф Јовановић Шакабента — епископ СПЦ
 Теодор Несторовић — вођа Банатског устанка
 Душан Станков — конструктор авиона
 Милан Јовановић — фотограф
 Никола Нешковић — сликар
 Недељко Поповић — сликар
 Властимир Перичић — композитор
 Султана Цијук — оперска певачица
 Зорана Тодоровић — највиша светска кошаркашица (2,09 -{m}-)
 Радован Бранков — новинар РТС-а
 Теша Тешановић — новинар и водитељ на каналу Балкан инфо
 Тихомир Пауновић - Тика — глумац

Галерија

Види још
 Град Вршац
 Аеродром Вршац
 Градски музеј у Вршцу
 Родна кућа Јована Стерије Поповића
 Зграда "Стара апотека" у Вршцу
 Градска кућа у Вршцу
 Кућа звана "Код два пиштоља" у Вршцу
 Зграда "Конкордија" у Вршцу
 Зграда бившег градског народног одбора у Вршцу
 Зграда дечјег вртића "Анђа Ранковић" у Вршцу
 Зграда на Тргу победе бр. 5 у Вршцу
 Зграда у ул. Жарка Зрењанина бр. 21 у Вршцу

Напомене
* Подаци за површину и густину насељености дати су збирно за катастарску општину Вршац, на којој се налазе два насеља, Вршац и Вршачки Ритови.

Референце

Литература

Спољашње везе

 Говор слике — вршачки сајт
 Мапе, аеродроми и временска ситуација локација (-{Fallingrain}-)
 Сателитска мапа (-{Wikimapia}-)
 Гугл сателитска мапа (-{Maplandia}-)
 План насеља на мапи (-{Mapquest}-)
 Званична презентација града
 Презентација града
 Вршац — град три стреле ("Глас јавности", 9. март 2001)
 Владичански двор у Вршцу

 Град у коме бар половина становништва живи од вина ("Политика", 25. март 1935)
 Сељаци који дању ору и сеју, а ноћу свирају у саксофон ("Политика", 1. април 1935)

Град Вршац
Насељена места у Војводини
Википројект географија/Насеља у Србији


Another card featuring SAB freebies! Painted Seasons DSP and Hello Cupcake stamp set. It also features the new Story Label punch introduced this month as a coordination item.
What size is your DSP piece. Lovely card, thanks for sharing!


The conference was organised in the framework of the European Project INWORK – Meaningful work and (re)integration for marginalised and vulnerable groups, which is supported by the Life Long Learning Programme of the European Commission.
The Rainbow Group - an NGO committed to people with social problems, such as homelessness, drug and alcohol abuse and psychiatric disorders, based in Amsterdam (NL).
De Omslag - an independent, non-profit networking organization working on the issue of participation and work, based in Amsterdam (NL).
APDES (Piaget Agency for Development) - a non-profit association In Porto (PT), founded in 2004 to promote integrated development.
Social Firms UK's - primary purpose is to strengthen and grow the Social Firm and work integration social enterprise sector across the UK in order that more disabled and severely disadvantaged people can gain employment, re-integrate and play their full part in society.
Společnost Podané ruce o.p.s. (SPR) - an NGO in Brno, Czech Republic, providing a network of complex services to assist people at any stage of their drugs problem or, alternatively, to prevent the problem from happening.
Contact Netz – an NGO , based in Bern (CH) is dedicated to the prevention of drug addiction and supports young people and their families on this issue.
Sociedade Portuguesa de Inovação (SPI) - is a knowledge management oriented company with the mission to manage projects that foster innovation and promote international opportunities.


For several years I have been giving lectures about Bartolomeo Cristofori, about his work at the Medici court in Florence, about Cristofori's instruments and especially about his hammer action. Since I have built the Silbermann piano copy I have enlarged the subject of my lectures to include the influence of Cristofori's invention in Germany and the pianos of Gottfried Silbermann.
Overview of the presentations, some can be read in PDF format.
"Die Erfindung des Klaviers" Lecture during the festival Flügelschläge on the 10th November 2018 at the church Bühlkirche in Zurich.


Brie and Camembert are bloomy rind cheeses characterized by their edible, downy white rinds. Our internationally recognized, gold medal Comox Brie has a buttery soft interior and a gentle, creamy flavour.
Our Comox Brie & Comox Camembert are delicious served on their own or topped with chutney or tart jam. For optimal flavour, serve at room temperature. Get melt-in-your-mouth cheese when baked in oven at 325°F for 10 minutes. Lovely with baguettes, crackers, toast or in a grilled cheese (especially with fruity bread!). The perfect traditional classic for your cheese plate. Good with white or red wines.
Our famous Comox Brie exemplifies the traditional, gentle flavour of a superb, bloomy rind cheese. Slight buttery taste and a delightful, creamy texture.
What does the bloomy rind of Brie and Camembert tell you about the cheese?
A rind can protect a cheese, promote ripening, augment flavour, and provide a visual and textural contrast to the paste. When expertly made, the bloomy rind should be thin and moist enough to appear smooth with no cracks. Often these rinds will smell of fresh mushrooms. The downy covering is created from the addition of a mould called penicillium candidum, which causes the cheese to ripen from outside in.
Our creamy, rich Camembert has a delicate note of mushroom and a tender bloomy rind.
The rind should be fine and off-white rather than like thick white velvet, and the presence of some reddish-brown pigmentation indicates the cheese is nearly ripe. Too much pigmentation, especially around the edges, means it is on the downhill slope. The aroma should be mushroomy with a yeasty, almost meaty taste. A whiff of ammonia is acceptable; a strong, discernable smell of ammonia means that the cheese has gone too far. It should feel supple from edge to centre and should not feel runny or uneven.
Indulge in a decadent, smooth, richer version of our award winner. A creamy finish complements the delicate note of mushroom.
Seasonal only. Watch for it in stores every Fall.
According to Cynthia Gold, a tea sommelier in Boston, soft, mild, creamy cheeses pair well with bright and crisp black teas. Look for an astringent first flush Darjeeling or a clean, fresh green tea such as Japanese sencha.
An exotic twist on our world champion Comox Brie, our new Buffalo Brie is the very essence of traditional and inspired cheesemaking. Rich water buffalo milk from the Island transforms this cheese's texture and allows your taste buds to explore new pathways.
Water buffalo milk is so rare in these parts that we had to wait until two more water buffalo dairies opened (for a grand total of three) to expand our line of water buffalo products. At one of these new dairies, McClintock's Farm in the Comox Valley, all of the 15 new calves one spring had names that started with 'A,' like Annie. You can read more about McClintock's Farm in this article from InFocus Magazine (June/July 2013).


The most magical night of the year is coming! Christmas season is the best opportunity to gather your family and spend some quality time around the fireplace, enjoying a special dinner and sharing meaningful presents with your loved ones.
This table lamp is a spot-on interpretation of the atomic age design. A set of round spotlights mixed with golden and black balls, all arranged in an abstract organic composition to enhance non-conventional molecular forms. Each shade evokes an amazing effect on the surface. Conceived for modern settings, this striking piece can be ideally placed in a modern living room to surprise your guests this season. A breathtaking design inspired in the 50's legacy that will make your Christmas Gifts Selection more Atomic.
Ella suspension is a design masterpiece; with its sober lines it has surpassed the test of time. A style icon of the fifties and sixties suitable for any living room or dining room. A unique ceiling fixture handmade in brass and with its lampshades in aluminum reinvented with today's technical components and finishes. Ella suspension lamp will the perfect touch to your Christmas dinning area.
After the presentation of the VELLUM Suspension Light and the huge success of the VELLUM Wall Light in the Hollywood Blockbuster Fifty Shades of Grey, BRABBU releases the VELLUM Table Light and the VELLUM Floor Light! With this elite furniture family, you can create a unique and exquisite ambiance full of light and good vibrations for your Christmas Eve!
The MAA Armchair, one of BRABBUs most appreciated pieces, has now an addition to its family – the MAA Bar Chair! The combination of its shape with its singular color and the twill delicacy brings the details that will make every room speak harmoniously.
Did you like our Christmas Season selections?
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text:
Q: validation file size does not work in Yii client vallidation I dont understand why the file size rule is not working in Yii.  I've followed instructions of the official documentation. I've checked the questions in stackoverflow but I did not find any response.
My form contains:
<?php
    $form = $this->beginWidget('CActiveForm', array(
        'id' => 'posts-form',
        'enableAjaxValidation' => false,
        'enableClientValidation' => true,
        'clientOptions' => array(
            'validateOnSubmit' => true,
        ),
        'htmlOptions' => array(
            'enctype' => 'multipart/form-data',
        ),
    ));
    ?>
.....

<div class="row">
        <?php echo $form->labelEx($model, 'image'); ?>
        <?php echo CHtml::activeFileField($model, 'image'); ?>
        <?php echo $form->error($model, 'image'); ?>
    </div>

my rules the model is this
array('image', 'file',
                  'maxFiles'=>1,
                  'maxSize'=>1024 * 1,
                  'tooLarge'=>'Not more than 1MB'),

If I want to upload a file with a size > 1Mb  ,  no errors is displayed and the file is saved in file system.  Why the error message is not displayed?
I must add that I have a rule on the same field (image) which test by reg expression the file type,  and it works fine,  it displays the error message when file format is wrong.

redpajama_set_name: RedPajamaStackExchange


text:
Q: What does it mean to "Change DATA_ROOT to point to the PASCAL images" I'm going through an installation of https://github.com/TheLegendAli/DeepLab-Context and got this instruction.
Here is the how-to-install info:
Performance
DeepLab currently achieves 73.9% on the challenging PASCAL VOC 2012 image segmentation task -- see the leaderboard.
Pre-trained models
We have released several trained models and corresponding prototxt files at here. Please check it for more model details.
The best model among the released ones yields 73.6% on PASCAL VOC 2012 test set.
Python wrapper requirements
Install wget library for python
sudo pip install wget
Change DATA_ROOT to point to the PASCAL images
To use the mat_read_layer and mat_write_layer, please download and install matio.
Running the code
python run.py

I don't know what DATA_ROOT is - is it an environment variable? something else? How would I access it and change it?

A: Looks like it's a global variable in run.py:
# MODIFY PATH for YOUR SETTING
EXP='voc12' #dataset
NET_ID='vgg128_noup' #model name
NUM_LABELS=21
YEAR = 'VOC2012'
DATA_ROOT='/media/ali/VOCdevkit/VOC2012'


text:
Alicia Terzian
Argentine composer and director
Creative Stages
Works Catalogue
Scanned Scores
Commentaries on Chamber and Orchestral Works
Alicia Terzian Reviews (2)
CD Parma Recordings
Interview to Alicia Terzian
Grupo Encuentros Biography
International Tournees
Grupo Encuentros Reviews (2)
REPERTORY OF THE GRUPO ENCUENTROS: LATINAMERICAN WORKS
REPERTORY OF THE GRUPO ENCUENTROS: EUROPE AND UNITES STATES WORKS
Encuentros Foundation
49th International Encuentros Festival 2017
Encuentros Festival Program 2016
Concerts and seminars
Seminaries 2017
Research Works
The Contemporary Music and its Promotion in Argentina
My Avantgardist experiencie in the 70's
Born in Córdoba, Argentina, on July 1st 1934. Argentine composer, conductor and musicologist of Armenian origin.
She studied in the National Conservatory of Music and Drama of Buenos Aires with the musiciansAlberto Ginastera, Gilardo Gilardi, Roberto García Morillo, Floro Ugarte, Pedro Saenz, the poet Pedro Miguel Obligado, where she graduated in piano (1954) and was awarded the First Prize and Gold Medal in composition in Alberto Ginastera´s professorship (1959).
In 1962 she travelled to Europe to study the religious medieval Armenian music from IVth to XIIth centuries with Father Dr. Leoncio Dayan at the Mekhitarist Monastery in Saint Lazaro, Venice. She finished her musical studies of orchestra conducting with Mariano Drago and later on, electronic music.
Her activities as composer, conductor, musicologist and promoter of contemporary music has given her – since her youth – the acknowledge not only in her country but also abroad.
She was the recipient of numerous prizes, among the most important are the Orchestral Composition First Prize by the Municipalidad of Buenos Aires City (1964); 'Francisco Solano' Prize for her promotion of the Argentine music (1968), the Outstanding Young Yearly Award by the Junior Chamber of Buenos Aires (1970); National Funds for the Arts for her work Atmósferas and Concert for Violin and Orchestra (1970); the First National Prize of Music for her work Voces (1982); the International Prize Gomidas by the Composers Association of Armenia (1983); the Academic Palms by the Government of France; the Saint Sahak and Saint Mesrop decorations and the Papal Bull by Pope Vazkén Ist of the Armenian Church (1992); the 'Alberto Castilla' Medal of Colombia (1994); the Miró-Picasso Medal given by the General Director of the Unesco (1995).
In 2003 she was appointed by unanimity HONORARY MEMBER of the International Music Council during the General Assembly integrated by 100 countries.
Terzian has also developed her activities in the field of superior and university education in the Municipal Conservatory, the National Conservatory of Music (IUNA) in Didactic of Music, Pedagogy, Harmony, Instrumentation, Orchestration and Counterpoint; the Superior School of Fine Arts of the National University of La Plata (History of Music); Superior Institute of Arts of the Colón Opera House ( History of Opera); The History of Music in Argentina in the programme Introduction to the Argentine Culture of the Foreing Affairs Service of the Argentine Republic, and for the National Institute of Public Administration (INASP) of the Government of the Argentine Republic
Her activities as lecturer are also remarkable, which she has developed in Europe, Asia and the Three Americas thanks to her fluency in French, English, Italian, Armenian and Spanish.
Her lectures deal with many different subjects, such as Religious and Folk Armenian Music; The woman in the history of music; Argentine folk and academic music; Contemporary music in Latin America; XXth century music in Argentina and in the world; History of Music in the world and its relation with society, politics, arts and thought.
Due to her deep knowledge about Armenian religious music she was accepted as a member of the International Society of Musicology; she attended the annual meetings in Ljubljana (1967) where she was appointed to integrate the Consultive Committee and, later on, Secretary of the Board of Council of the International Musicology Society.
Some of her works about 'Armenian religious music and the neumas from the IVth to Xth centuries' were presented in International fora, for example at the University of Yale (1968) and the Unesco in Paris and were published in prestigious international magazines such as the Chilean Musical Magazine.
In 1968 she created the International Encounters for Contemporary Music Foundation from which she is the Artistic Director. Following Mtro. Ginastera's advice, she created this institution – that would take the place of the Latin American Centre of High Musical Studies of the Di Tella Institute – for the promotion of the Argentine contemporary music in her country and in the world.
The Festival Encuentros have since then become an important forum for the Latin American contemporary music and, from 1979, the Encuentros Foundation is the Argentine Section of the International Society for Contemporary Music (ISCM).
As a complement to these annual Festivals, Terzian formed the GRUPO ENCUENTROS in 1979 with the purpose to encourage the knowledge, in Argentina and abroad, of the music written by Argentine and Latin American composers as well as that of the most important composers in the world.
The Grupo Encuentros is the only one in Latin American fully devoted de the XXth and XXIst centuries music and one of the few that realizes an important career with more than 320 concerts performed in the most important festivals in the five continents.
The Grupo Encuentros conducted by Terzian, is integrated by mezzosoprano, flute, clarinet, violin, cello and piano and also invites other instrumentalists, actors, mimes and dancers according to the performance of the works.
Since 1979 Alicia Terzian is responsible for the Argentine selection of works to submit to the World Music Days organized by the International Society for Contemporary Music and, in the period 1979-2006, in the selection of works submitted to International Rostrum of Composers organized by the International Music Council, Unesco.
In 1985 Terzian was appointed President of the Argentine Music Council – Unesco- having developed until 2005 an intense national and international activity through Seminars and Congresses with the attendance of the most prestigious musicians, educators, musicologists, instrumentalists, composers, orchestra conductors, soloists and chamber groups thus placing her country in the world.
As orchestra conductor, Terzian was in charge of the 'Ensemble Casella' in Torino in the winter of 1987.
In 1990 she was elected by unanimity by her colleagues as the Vice President of the International Music Council, Unesco as well as the Secretary and later on, the President of the Three Americas Music Council COMTA (CIM-UNESCO-Paris), this latest appointment was held until 2004.
In 1979-2006 she was the Delegate before the International Rostrum of Composers (UNESCO-CIM-Paris); Director of the National Fund for the Arts in 1985-1989; Artistic Director of CABLEVISION and the broadcastof the programme 'Musical Encounters with Alicia Terzian' every Saturday at 21hs during 2 years, having presented the most important Argentine and foreign artists in concerts; ex Vice President of the Women Internacional Council of UNESCO and currently Honorary Member; Vice Secretary of the Union of Composers of Argentina; Permanent General Secretary of the Argentine Association of Musicology; founder of the Argentine Branch of the International Federation of Musical Youths; founder of the Latin American Council of Music; member of National and Municipal juries of Composition and Musicology Contests; Jury in Argentina for the selection of Works to present in the World Music Days Festival organized by the ISCM (International Society for Contemporary Music) from 1979 until now; Jury of many Contests organized by the Superior National Conservatory of Paris since 1983, International Jury in the Festival of Ibagué, Colombia; International Jury of Composition National Contest in Colombia (1998); Jury of the 2nd Ibero American Prize of Music in Oporto, Portugal (1998); Jury of Sacred Music Contest of Friburg (1995), Jury of Composition in Taiwan (2002), Jury of the International Contest in Orleans (2002,2204, 2006 and 2014).
The Radio Suisse Romande broadcasted in September 2011 a series of one-hour daily auditions from Monday to Fridays devoted to the introduction, analysis and promotion of her works in her creative period 1954-2011.
Concerning her musical creation, Terzian herself recognizes three stages:
The FIRST STAGE from 1954 to 1968 is considered by her as politonal and microtonal.
Microtonalist emerges from her works in this stage as a result of her studies in 1962 on monodic religious Armenian music and its neumas of the IVth to the XXth centuries realized in Venice with Father Dr Leoncio Dayan, musicologist of the Mekhitarist Congregation in St Lazaro Isle.
In this first stage that began with her studies in Alberto Ginastera's Professorship at the National Conservatory of Music of Argentina, Terzian deepened the study and analysis of the microtonal music as well as the atonalism, the neoclassicism, the concrete and electronic music and experienced a deep impression at the audition of the Karlheinz Stockhausen's Song of the Adolescents (1956) which opened new creative horizons to her.
She composed many piano works within this stage: Toccata, Danza Criolla, Juegos para Diana. Likewise the series Tres Retratos and Canciones para niños (both for singing and piano upon García Lorca's poems); Tristeza (poems by Lord Byron) and Madrigal for female choir and soloists.
Microtonalism is found since her beginings in her Concert for violin and orchestra (1954/55) premiered at the Colon Opera House in 1969 by the National Symphony Orchestra conducted by Washington Castro and soloist Szymsia Bajour. It is also found in the Three Pieces for strings (1954) premiered in the same year by the Quartett of the Wagneriana Association of Buenos Aires with success of audience and reviews. The composer was 20 years old.
By that time Terzian had got mastership of academic techniques as an outcome of her musical formation with Ginastera and other prestigious Argentine professors.
During this stage she composed theatre music such as 'El enano' from Lagervist in 1964 in which Terzian transformed the play into a real musical theatre work.
Her orchestral work 'Movimientos contrastantes' (1964) was premiered at the Teatro Massimo of Palermo, Italy conducted by José Rodríguez Faure with great success of reviews. This symphonic work was premiered in Argentina and later was scheduled as ballet choreographed by Lia Labaronne under the name of 'Hacia la luz' performed by the Teatro Municipal Gral San Martín Ballet directed by Oscar Araiz. It was also scheduled in 1965 for the 9 de Julio Gala organized by the Teatro Argentino of La Plata City.
Terzian also composed 'Movimientos' for band which would be performed by the Municipal Symphony Band of Buenos Aires conducted by Mariano Drago and many European conductors.
In 1958 Terzian began her radio auditions devoted to promote the Argentina contemporary music by Radio Provincia of Buenos Aires and, later on, by Radio Municipal, Radio Nacional and finally Radio Cultura Musical, ending this activity in 2010.
On this first creative stage Terzian organized the Musical Youths in Argentina, the Musical Education Society, the Society of Musicology and integrated the Executive Committee of the Argentine Music Council. Her aim was to achieve international projection and broader possibilities of promotion of Argentine musicians.
In April 1968 she started the 'ENCOUNTERS WITH THE ARGENTINE MUSIC' which would be a weekly series of presentations of works written by Argentine composers at the Leopoldo Lugones Hall of the Teatro Municipal Gral San Martín. Each audition would be followed by a debate diected by Napoleón Cabrera with outstanding intellectuals, historians, writters, poets, philosophers, painters, discussing about contemporary music, culture, art in Argentina.
This would be the begining of what is today the FUNDACION ENCUENTROS INTERNACIONALES DE MUSICA CONTEMPORANEA (International Encounteres for the Contemporary Music) that will celebrate 45 years uninterrupted of concerts in 2013.
During all these years the Festival counted with the participacion of important Argentine and foreign artists, with world premieres, master classes, seminars, composition contests, international meetings with top level personalities.
The SECOND STAGE OR CREATIVE STAGE was called 'Cosmic Era' by Terzian due to landing of man on the Moon in 1969.
This new period opened with 'Shantiniketan' (solo flute, recitation and dance or mimes) where she works the quarts of tone definitely and through all the work.
The next important work of this period is 'Carmen criaturalis' (1970) for horn, string orchestra and percussion, commissioned by Austrian composer and orchestra conductor Friederich Cerha for his introduction as conductor of the Philharmonic Orchestra of Buenos Aires and premiered at the Colón Opera House.
1971 was an important year for her musical work since Terzian created a show called MUSIDANZA VISION based on visual and kinetic arts organized by Fundación Lorenzutti in the Museum of Modern Arts of Buenos Aires where the most important works by visual artists were exhibited.
Terzian's idea of gathering music, visual arts and dance in this project produced original works for each one of the artworks exhibited and which were danced by Susana Zimmerman. The show achieved great success of audiences and reviews during the three days of performances.
Terzian herself decided to save the works that originated the show and had them photographed. There were over 700 pictures, among them 320 were chosen and divided in two parts (as it was premiered at the exhibition) which she called 'SINFONIA VISUAL EN DOS MOVIMIENTOS'. The same project was continued with the projection of slides together with the music shaping a work that allowed her to show it in many parts of the world in successful tournées.
This work was selected by the ICES Festival 72 organizers to perform it in London. In the same year, Terzian was invited to present it in Latin America: Mexico, Colombia, Venezuela and Brazil. The Latin American reviews enhanced the originality of the project in extensive articles.
The 'Sinfonía Visual' was also presented in Europa succesfully in 1974 and 1976.
Coming back to 1972, Terzian composed a mixed work: instrumental and electroacoustic that called CYBERNETIC TOWER which idea had been proposed by a Mexican arquitect who had the project to design a Cybernetic Tower in the capital city.
This interested Terzian, which design she could see and thus composed an instrumental, concret and electronic musical work…. But the Tower was never built, only remaining Terzian's work as a lonely testimony.
In 1975 Terzian composed 'Cuaderno de imágenes' for organ, premiered by Adelma Gomez in the Festival of Morelia, Mexico. Since then the work was performed by the prestigious organist in her tournees in Europe and Russia.
In 1978 Terzian created the GRUPO ENCUENTROS to respond an invitation from the Biennial of Zagreb, realizing their first international tournee that started in Portugal, continued through Europe to Armenia, performing in the most important festivals: Gulbenkian of Lisboa, Auditorium of Radio Spain in Madrid, Auditorium Radio France in Paris, Biennial of Zagreb, Spring in Praga, etc.
Her work 'Voces' for mezzo, piano, flute, clarinet, violin, cello and tape (1978) in which she uses fragments of different works written by the composer from 1954 to 1977, would be premiered in this first European tournée of Grupo Encuentros and performed in later international tournées.
In this second stage Terzian organized the Argentine Tribune of Composers (TRINAC) which aim was to encourage the creation and reward the best works of Argentine composers to submit them to the International Rostrum of Composers organized by the CIM/Unesco in the Paris seat, attending delegates from 40 countries.
One year later, in 1980, Terzian organized the Tribune of Electroacoustic Music (TRIME) with the same aim of rewarding electroacoustic works written by Argentine composers submitting them to International Tribunes organized by the Unesco, as well as present them in the annual Festivals of the International Society for Contemporary Music (ISCM).
In this period Terzian organized definitely the THREE AMERICAS MUSIC COUNCIL which is the representation of the American Continent before the International Music Council, a titanic task which resulted in the renewal of the existent Music Councils of Canada, USA, Chile, Uruguay and the organization of new ones in Mexico, El Salvador, Guatemala, Costa Rica, República Dominicana, Cuba, Colombia, Venezuela, Ecuador, Perú, Bolivia, Brazil.
This project included the organization of International meetings – that Terzian accomplished thanks to the IMC, European and Asian countries's support – in Cuba, Argentina, Mexico and Paraguay to give continuity and projection of these Latin American countries in the world.
In 1981 Terzian composed the music for 'BESTIELA' of de la Marigny which would be on the billboards as a musical theatre work for many months.
In 1982 Terzian presented 'BERTOLD BRECHT EN EL TEATRO COLON' premiered in the series organized by Teatro Abierto – Open Theatre, a struggle held by theatre actors and writters against the militarism dominating Argentina at that time.
Teatro Abierto was an action realized by theatre actors of Buenos Aires, inaugurated on July 28, 1981 in the Teatro del Picadero. One week later, a commando of the dictatorship burnt the hall.
The attack caused the indignation of the cultural environment but Teatro Abierto was able to continue in the Teatro Tabaris and other theatres of Buenos Aires. There were three editions of Teatro Abierto under the military regime (1981-1982-1983). Their founders: Roberto Cossa, Osvaldo Dragún and Mauricio Kartun opened the doors of their project to other disciplines, and from 1982, they would join Dance, Poetry, Music and Cinema. Thus Terzian participated as composer in many musical theatre shows, among them the above mencioned 'Bertold Brecht in the Teatro Colón' which achieved great success.
In 1983 Terzian was called by the dancer and choreographer Iris Scaccheri and wrote the music for JUANA REINA DE CASTILLA Y ARAGON, ballet that would be presented in the Teatro Coliseo with success, filmed by Cablevision, broadcasted by the same TV channel y afterwards presented by the same dancer in her subsequent tournées in Europe.
The THIRD STAGE of Terzian's musical creation spans from 1986 to 2003. She callsl it 'Space Age' and one of her achievements was her work 'Canto a mí misma' (1986). In this orchestral piece Terzian deals with the sound of the whole orchestra by means of transformation of real time with electronic equipment and forming what she defines as 'sonorous dome' – loudspeakears surrounding the audience in the concert hall.
Microphones placed in front of each one of the musicians capture the sound which is transformed electronically through a 16-channel deck with delay placed at the rear side of the hall. The original sound of the orchestra and at the same time transformed through the semicircle of loudspeakears will reach the audience who will be 'invaded' by the music from the stage and from the loudspeakers.
The composer achieves a real transformation of her vision of the created music: 'spatialization' and transformation of the orchestral sound that reaches the audience through a sonorous dome, joining the written music to the spoken voices, since every musician (or else a choir) have to read a different poem, said in the language of the country of performance.
CANTO A MI MISMA (1986) was premiered at the Colon Opera House by the Philharmonic Orchestra of Buenos Aires conducted by Stewart Bedford.
Later on, it was selected for the Festival of Warsaw under the baton of Dutch conductor and composer Ton de Leeuw and in Great Britain by the BBC Welsh Symphony Orchestra and Choir conducted by Manuel Prestamo.
In the period 1985-1989 Terzian was Director of the National Fund for the Arts of Argentina engaged to the support fo Argentine musicians through the edition of books, scores, CDs, commission of works, prizes of composition, subsidies to travel abroad, purchase of the own studio, musical instruments, etc.
Among other important musical works from this stage, we can name the music for the theatre work 'El otro Judas' by Abelardo Castillo (1987) in which Terzian uses choirs, recorded music, actors that sing…..
Other works are 'Buenos Aires me vas a matar' for piano, actors ant tape written in 1990 commissioned by the Aspekte Salzburg Festival and premiered in Vienna in the same year.
In 1992 she composed 'Off the edge' for baritone and string orchestra commissioned by the Symphony Orchestra of Grenoble (France) and 'Yagua Ya Yuca' for solo percussion, a commission from the Conservatory of Freiburg (Germany). In 1996 she composed 'Oda a Vahan' for piano and tape, commissioned by the American pianist Sahan Arzruni which was premiered in New York in the same year. In 1998 was 'Tango blues' commissioned by the Dutch pianist Marcel Worms and in 2000, at the request of Adelma Gomez, Terzian composed 'Ofrenda a Bach' premiered by this outstanding organist.
In this stage, as in the previous ones, Terzian shows herself straightforward and frank, coherent and faithful to her trajectory: she expreses herself in the language of her time, but does not resign a lyric, rhythmical and emotional identity marked both by her Armenian origine and her deep Argentine feeling.
The FOURTH STAGE which Terzian calls MYSTIC PERIOD opens in 2004.
In this stage she composed 'Canto a Vahan' (2004) for mezzo and chamber ensemble, inspired on a text written by the Armenian poetess Josrovatujt from the VIIIth century, premiered by the Grupo Encuentros in an Extraordinary concert in the Colon Opera House Big Hall.
This is followed by a series of works for different soloists, percussion ensembles, solo voices, instrumental duets, different strings, series that the composer names THE SOUND OF THE EARTH, in which are gathered the monodic religious Armenian music of the IVth-Xth centuries and the sounds of the authentic native music of Argentina always related to the microtonalism, a deep emotionality and a very personal sense of melody and rhythm.

redpajama_set_name: RedPajamaCommonCrawl


Ivory and black devore occasion dress embellished with tiny faux pearls.
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text:
Nose Tackle: Also Called Defensive Tackle Or Defensive Guard, This Position Refers To The Linemen Who Are Side-by-side And Are Between The Defensive Ends.
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By now most of us have learned that there's no real way to guess what's going to go viral next. The Internet just loves picking the most random things and giving them an unbelievable amount of attention. So when something completely random becomes a viral sensation out of nowhere, you know that there's only one thing we can do – just go with the flow. We already have the yodeling kid, the Instagram egg, the flossing kid, and all kinds of random sensations, why not have more? The latest Internet trend is one of those things, but it does have a very wholesome feel to it.
The adorable picture quickly received a lot of attention, mainly because the mother thought that nobody would enjoy her painting, so people wanted to show their support.
The tree has its own personal website which you can visit to learn more about this meme.
Every single painting needs to go in a Gallery and the show would be called Art Inception.


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Michael Rostron
Novel: Cape Decision
Novel: The Kabul Conscript
Lemon Creek
The Music Links: Bands & Recordings
The Musicals
Afghanistan, 1973
Once I Built A Boat
Captain Mike's Log
Writing, music, and sailing.
"The Northwest's Premier Tribute To Women Of Pop & Rock, From The 80s To Now."
For booking information please use contact form at the bottom of the page, or message us at our facebook site.
We are now accepting bookings for 2021 & 2022. We are hoping that with the Covid vaccines now becoming available, live performances will be allowed later this year. We wish all our friends and fans a safe and Happy New Year!
https://www.facebook.com/pg/Lemon-Creek-108665140609253/
Lemon Creek is "The Northwest's Premier Tribute to Women of Pop and Rock"—from The Pretenders, Fleetwood Mac, Blondie, and Sheryl Crow; to Alanis Morissette, Lady Gaga, Garbage, Katy Perry, Amy Winehouse, Elle King, Metric, Elle King and many more—with some fun and exciting detours along the way. We perform songs by women rockers and popsters from the 80s to now, with a special emphasis on the decades of the 1990s and 2000s. Plan to dance!
"I was still hearing how well you performed and how great the music was from guests and employees three days after you performed. Looking forward to having Lemon Creek return!" Christine Harrison, Entertainment Booking, Silver Reef Casino
"Great band—great sound! Easy to work with. They started on time, kept their volume to reasonable levels, and got the people dancing. Their lead singer is killer. Definitely will hire again!" John H., bar manager.
Lemon Creek began rehearsals in November, 2017 with the idea of bringing our interpretations of some popular songs by female artists to audiences around the Northwest. Since then we have performed at many venues, including the Skagit Fair, The City Of Bellingham's annual July 4 celebration, the Silver Reef and Skagit casinos, and at many clubs and special events. Lemon Creek is available for private or company parties, weddings, benefits or other events. We are based in Bellingham, WA, and can perform most anywhere in the Northwest. Please contact us for rates.
Annual Bellingham July 4th outdoor celebration at Zuanich Pt. Park, 2019.
Lesley Rostron, lead singer, keys, guitar.
Mike Rostron, guitar, keys, backing vocals.
Gary Snyder, drums, backing vocals.
Doug Hyldahl, bass guitar.
Jon Grover, drums, backing vocals, 2018 through June, 2020.
We perform over three hours of songs recorded by female artists from the 1980s to the present, including the following:
Back To Black—Amy Winehouse
You Know I'm No Good—Amy Winehouse
Valerie—Amy Winehouse
A Change Would Do You Good—Sheryl Crow
My Favorite Mistake—Sheryl Crow
Leaving Las Vegas—Sheryl Crow
Can't Get You Out Of My Head—Kylie Minogue
Exes & Ohs—Ellie King
Heart Of Glass—Blondie
Gypsy—Fleetwood Mac
Rhiannon—Fleetwood Mac
Poker Face—Lady Gaga
Love On The Brain—Rhianna
Back On The Chain Gang, Mystery Achievement—The Pretenders
Joey—Concrete Blonde
Breathing Under Water—Metric
Gimme Sympathy—Metric
I Kissed A Girl—Katy Perry
Metal Firecracker—Lucinda Williams
1, 2, 3, 4—Feist
My Favorite Game—The Cardigans
It's My Life—No Doubt version
Beautiful Stranger—Madonna
Standing Still—Jewel
Stupid Girl—Garbage
Special—Garbage
The Fear—Lily Allen
You Learn—Alanis Morissette
Because The Night—Patti Smith
Portions For Foxes—Rilo Kiley
Lovesong—The Cure
Best Look Lately—Dear Rouge
Feel It In My Bones—Tegan & Sara/Tiesto
Fade Into You—Mazzy Star
Shadowboxer—Fiona Apple
Who Knew—Pink
One Of Us—Joan Osbourne
Passionate Kisses—Mary C. Carpenter
Wishing Well—Lesley Rostron
Please use contact form for booking information.


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Total Crimson Tide
Who will be next from the SEC to enter the College Football Hall of Fame?
Thirteen players and two coaches have been chosen for the College Football Hall of Fame as members of its Class of 2019, the National Football Foundation announced last week.
But who are the new Hall of Famers?
Their names will be revealed on Monday, during the 8 a.m. CST showing of "SportsCenter" on ESPN2.
The ballot for the Class of 2019 included 76 players and six coaches from the Football Bowl Subdivision and 100 players and 32 coaches from the divisional ranks, including Alabama's E.J. Junior.
Junior was one of the 11 former SEC players on the ballot. Ninety players from the SEC already are members of the College Football Hall of Fame.
In addition to Junior, the nominees to join those 90 players from the SEC this year are Florida offensive tackle Lomas Brown, Arkansas guard Brandon Burlsworth, Kentucky quarterback Tim Couch, LSU running back Kevin Faulk, Tennessee safety Bobby Majors, wide receiver Larry Seivers and linebacker Al Wilson, Arkansas running back Darren McFadden, Georgia defensive end David Pollack and Ole Miss linebacker Patrick Willis.
FOR MORE OF AL.COM'S COMPREHENSIVE COVERAGE OF THE SEC, GO TO OUR SEC PAGE
A closer look at this year's SEC nominees:
Lomas Brown, Florida, offensive tackle, 1981-84: Brown won the Jacobs Blocking Trophy as the SEC's best blocker and was a consensus All-American in 1984, when Florida finished first in the conference for the first time (although that title was later vacated). Brown played 18 NFL seasons, including seven as a Pro Bowl selection.
Brandon Burlsworth, Arkansas, guard, 1995-98: Burlsworth was a walk-on who initially was known more for his thick, black glasses and resemblance to comedian Drew Carey, but he ended up starting 34 consecutive games for the Razorbacks and playing a key role for their 1998 Western Division title team. If elected, he'd become the first Arkansas player from the Razorbacks' SEC era to earn enshrinement. Burlsworth died in a traffic accident 11 days after being picked in the third round of the 1999 NFL Draft by the Indianapolis Colts. The Burlsworth Trophy has been given annually since 2010 to the outstanding NCAA FBS player who began his career as a walk-on.
Tim Couch, Kentucky, quarterback, 1996-98: As a senior, Couch set SEC records for pass completions with 400, passing yards with 4,275, completion percentage at .723 and yards of total offense at 4,151. He became the first SEC player with more than 4,000 yards of total offense in a season. Couch finished fourth in the 1998 Heisman Trophy balloting and was the first player selected in the 1999 NFL Draft.
Kevin Faulk, LSU, running back, 1995-98: Faulk is the SEC's leader in career all-purpose yards with 6,833 – 4,557 rushing, 600 receiving, 832 punt-return and 844 kickoff-return yards. That's 952 more all-purpose yards than any other player in SEC history. He's No. 2 on the SEC's all-time touchdown list with 53.
E.J. Junior, Alabama, defensive end, 1977-1980: A three-time All-SEC selection, Junior was a unanimous All-American in 1980. During his four seasons with Alabama, the Crimson Tide compiled a 24-1 conference record and a 44-4 overall mark. The 1978 team won the AP national title and the 1979 squad earned consensus national-championship recognition.
Bobby Majors, Tennessee, defensive back, 1969-71: Majors' older brother, Johnny, is a Hall of Fame member, and like his brother, Bobby excelled in more than one phase of the game. He intercepted 10 passes to lead the nation in 1970, when the Volunteers made an SEC-record 36 interceptions. The next year, he was a unanimous All-American. Majors finished his career as Tennessee's leader in punt-return yards in a season and a career.
Darren McFadden, running back, Arkansas, 2005-2007: McFadden was the second player to finish second twice in the Heisman Trophy voting — in 2006 and 2007, when he was the SEC Offensive Player of the Year both years. McFadden also won the Doak Walker Award as the nation's best running back in both those seasons and received the Walter Camp Award as the national player of the year in 2007. When McFadden left Arkansas, he ranked second in SEC history in career rushing yards, and he's still second in the league record book for career all-purpose yards.
David Pollack, Georgia, defensive end, 2001-2004: Pollack is the only two-time winner of the SEC Defensive Player of the Year Award. He was also a two-time consensus All-American, and he was a first-team All-American for at least one major selector in three seasons. As a senior, he received the Bednarik Award as the nation's best defensive player, Lombardi Award as the nation's best lineman or linebacker, and the Lott IMPACT Trophy, which considers personal character and athletic excellence to determine the nation's top defensive player. He also won the Hendricks Award as the nation's best defensive end twice.
Larry Seivers, Tennessee, wide receiver, 1974-76: Seivers is one of the 27 SEC players who has been a consensus All-American more than once. Seivers led the SEC in receiving in 1975 and 1976, catching 41 passes for a league-leading 840 yards in 1975 and making 51 catches for 737 yards in 1976. When he left Tennessee, he was the Volunteers' all-time leader in receptions and receiving yards.
Patrick Willis, Ole Miss, linebacker, 2003-2006: Willis was the SEC Defensive Player of the Year for the 2006 season. He also won the Butkus Award as the nation's best linebacker and was a consensus All-American that season. Willis led the SEC in tackles as a junior and as a senior.
Al Wilson, Tennessee, linebacker, 1995-1998: Wilson was a consensus All-American and team captain for the Tennessee squad that won the first BCS national-championship in 1998. The Volunteers won their second straight SEC crown that season, and they haven't won it since. During Wilson's four seasons on Rocky Top, Tennessee compiled a 29-3 SEC record and a 45-5 overall mark.
SEC members Arkansas and Texas A&M also have players on the ballot that pre-date those schools' membership in the SEC — defensive tackle Dan Hampton of the Razorbacks and defensive lineman Jacob Green of the Aggies.
Alabama candidates stacking up for College Football Hall of Fame
To be eligible for the Hall of Fame, a player must have been named a first-team All-American by a selector used by the NCAA in determining the consensus All-American team, be at least 10 years but not more than 50 years removed from his final college season, and no longer be an active pro player. The Veterans Committee can make recommendations that allow for the inductions of players from more than 50 years ago.
While the selection process includes college nominations, District Steering Committees and a vote by the more than 12,000 members of the National Football Foundation, the NFF Honors Court makes the final selections for the Hall of Fame class.
Mark Inabinett is a sports reporter for Alabama Media Group. Follow him on Twitter at @AMarkG1.
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It was almost all good in T-Town Saturday


A Malaysian hospital has finally persuaded staff, including doctors and nurses, to wash their hands after pointing out the dangers to their own health.
Pointing out the dangers to patient health did not work.
But don't get too excited about the improvement, your chances of being exposed to whatever contagious disease the last patient might have had is still about 1 in 5 -- every time a nurse or doctor touches you.
A study this year at Kuala Lumpur's Universiti Kebangsaan Malaysia Hospital showed that 40 percent of staff did not wash their hands before touching patients in its intensive-case unit, breaking hospital rules, the New Straits Times said on Tuesday.
Later, the hospital's infection-control chief spoke to staff about the importance of hygiene and installed voice-recorded health warnings at the entrance to the unit, eventually pushing the compliance rate to 80 percent, the daily said.


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Anthony Quinlan breaks his silence following split from Strictly star Dianne Buswell
The couple announced their split last week
October 24, 2018 - 15:39 BST Sharnaz Shahid Emmerdale actor Anthony Quinlan has broken his silence following his split from Strictly Come Dancing professional Dianne Buswell. The dancer is competing in the ballroom dance show with Joe Sugg...
It's been almost a week since Strictly Come Dancing professional Dianne Buswell announced her split from soap star Anthony Quinlan. And in a new interview with the Daily Star, the Emmerdale actor has dismissed the Strictly curse as the reason for their breakup. "We're still really good friends - it's just distance played a part," he explained. "There were all these rumours about the Strictly curse but it wasn't that." Commenting on Dianne's partnership with Joe Sugg, he added: "I'm actually rooting for Joe and Dianne. They're doing absolutely amazing in strictly and I still think the world of the girl. We were really close, it just wasn't meant to be."
Anthony Quinlan and Dianne Buswell split last week
On Friday, a representative for Diane confirmed the split, saying: "Due to their busy schedules and the distance they have separated but they still remain close friends." At the time it was reported that the dancer had "grown close" with her celebrity Strictly partner, YouTuber Joe. "Everyone on set's been discussing how close they'd become. It did not go unnoticed by Anthony," a source told the Sun. They added: "She's having a lot of fun with the show at the moment and is enjoying spending time with her dance partner Joe."
GALLERY: Strictly pro romances through the years
In June, the Sun had claimed that Dianne, 29, and Anthony, 34, had previously parted ways due to their long distance relationship - with the famed-haired beauty spending most of her time in London for Strictly commitments, while Anthony is based in Leeds to film Emmerdale. The pair first started dating towards the end of last year when Gemma Atkinson - who appeared on the 2017 series of Strictly - introduced them to one another.
MORE: Strictly Come Dancing curse strikes again as couple split up
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nutritionally balanced – lamb is a great source of protein that is easy to digest and highly palatable. Vegetables are a brilliant source of essential vitamins, minerals, fibre and natural antioxidants.
brown rice – packed with natural nutrients including three B vitamins, iron, manganese, selenium, magnesium and omega-3 oils. It is easily digestible and a good source of dietary fibre which is important in maintaining intestinal health.


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Two 15-year-old schoolboys stabbed in unprovoked attack by violent thugs as they queued outside Beeston barber shop
Leeds family launch desperate appeal for help after dog mauled to death in sickening attack in West Ardsley woods
Holidaymakers who feed seagulls could be fined amid crackdown
Seaside residents and holidaymakers who feed seagulls could be fined under new council powers in an effort to stop the birds attacking people for food.
Monday, 1st May 2017, 11:41 am
People who feed the often aggressive animals could be hit with an £80 fine as part of Public Space Protection Orders (PSPOs) issued by East Devon District Council.
The ban comes after much debate about how to tackle what has been described as a "scourge" on Britain's seaside areas.
In 2015, then Prime Minister David Cameron said a "big conversation" was needed about the threat from seagulls, and he recalled ham once being stolen from a sandwich by the birds.
While gulls are an important part of the coastal environment, their behaviour can be problematic, said East Devon District councillor Iain Chubb.
He said: "You like to see the birds, it's a nice part of the landscape, but you just don't want them to be aggressive."
The fines will be aimed at addressing habitual feeders and cafes and restaurants which do not dispose of waste food properly, he said.
"It's more a fine for where there is, say a catering establishment with bad practice of disposing of food, or there are little old ladies who like to go down and feed the seagulls," said the councillor, who holds the environment portfolio.
"It's one of those things where, if you've got somebody who is habitually feeding seagulls, it's something to say you shouldn't be doing this, there is a fine at the end of the day."
Mr Chubb described the new measure as a "final backstop" which tackles the issue where anti-litter legislation could not, and added: "There aren't going to be the police out looking for people throwing chips at birds, that's for sure."
In February MPs debated the issue ahead of breeding season, warning that pensioners had been among those attacked by the birds.


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By Prof. Mohamoud Iman Adan Coup d' 'Etat from within: The Discordant Well is the contending bone in the political arena of Somalia in the past half a century and will remain so for years to come. This is a raw political issue contended by rivals, cajoled by many, fought over and over again for top government leadership positions, and not yet settled in any equitable terms. The political quagmire hit its zenith in the past twenty years.
It is disheartening to learn the social tragedy created by such political disharmony-an endless dilemma that kills the name and the future of the beloved nation of Somalia. Political feud, government corruption, embezzlement of peoples funds, and management deception are now a well rooted tradition that brews anarchy in the Southern Regions of Somalia. In that backdrop, honesty and patriotism ceased to be part of the political jargon spoken in these Regions. I can only compare it an illegal drug coated with the mantle of political cartel as bloody as the opium business itself.
The Peace Core group knows that the Discord Well has enough doping water to quench the thirsty of the contesting parties who are hungry for ill-gotten cash and political power, and that's why some contending groups fought to take more water that belonged to other rival factions. In Somalia, gaining a solid foothold in the political machineries is a sure way of landing on safe haven well insulated from persecution of crimes committed in pursuit of leadership. On that backdrop, and for many other reasons, it is said that those who drink the water to their fill loose their mind and turn into uncompromising loose beasts.
Because of the effect of such water, any time a peace conference is conveyed to pull the country together, respective contenders table some unconceivable agendas that dismays other hopeful participants who turn their backs to each other, and thus causing the reconciliation process to backfire right from the onset. Why? Because no one is willing to compromise for the common good of the people and the country.
As is always the case, the TFG and any other political faction groups heading to the Discord Well had the same common denominator- Take over the Discord Well, dig your heels and negotiate from a position of strength. That mental frame is not a rarity of the transitional period in Southern Somalia, but it is the order of the day in nowadays. Unfortunately, this thought leads to the birth of new splinter groups that trigger further armed conflicts, and whoever has the biggest artillery, loyal militia on the ground and foreign backup dictates the destiny of the season; and that's why the future of the Southern regions of Somalia falls into a vicious circle, or rather a bottomless abyss by all standards.
The Peace Core team follows the road leading to the Discord Well conference, but it is too late to prevent tragedy. Every event is as volatile as the seasonal monsoon winds blowing from the east and eroding the topsoil. Escaped witness confirm that there is a full blown fight of all sorts taking place around the Well. They describe it as the most disorderly militia fight waged in the past half century. The fight has been launched by an alliance of some marginalized splinter groups who wanted to assert their prominence in the political scene of the Southern Regions, and every militia member at the conference ground fires his weapon blindly to a void target. Those who spent their ammunition supply swirl their guns overhead and use as a handy stick, or poke into a blank spaces where they thought that presumed enemy fighters hiding in there and waiting to launch a surprise attack. In the fighting me'le'e No one in the vicinity of the conference ground could be spared.
The conference is open and mistrusting. It is early morning and the weather is hot and humid. No handshakes, friendly remarks or back butting among familiar participants and temper is edgy and unpredictable. There's no moderating party on the conference ground that can lead the discussion. Leaders of major faction groups are present and all have similar mindset that is not receptive to moderation and negotiations. They are hundreds of well armed faction group militia and TFG security details than needed backed up behind their leaders, because each group wanted to have sound protection on their backs. Respective technicals clogged behind the security corridor leaving no space for maneuvering. Guns are loaded and fighters have their food provision on board that could last for a week. Finger are on the triggers and waiting the go ahead signal from their commanders. The thought is centered what will happen the next and how to survive under the oppressing heat. As usual, a religious man reads brief Qur'an verse(s) for the success of every issue on the agenda. This meeting had no volunteer that can lead the prayers. Why such a shortage were 100 of the participants are certified Muslims? Because religious people became part of the faction groups, and no one wants to listen someone from another faction to read the Qur'an for him. One important factor is missing in the meeting: No women participants were seen there...!
That fateful day, there were unusual number of civilian swells hanging around at the conference hall and waiting to hear the outcome of the meeting. Even a flicker of hope would have uplifted their sagging spirit for the day. Some of the spectators came from remote regions and spent days on the front line before the opening of the conference, just to have a front spot where they could gather first hand news bits and pieces to boost the soul. Around midday, and without the slightest known provocation, Al-Shabab militias and TFG security forces begun squaring off that spread all over the area like a brush fire in a windy day. Big and small caliber guns were used and the air carried a thick sulfur smell. Participants of the conference had their brief fist fight and destroyed all the facilities on the ground. Some whacking also took place but there were no broken bones.
The panic of the spectators turned into a full-blown stampede that injured many who came to appreciate the peace conference. There were more finger-pointing and blaming each other with no clear picture of who started the first shot, and for what reason. This is the typical reaction on the ground that one can expect: "They started...and we fired back." "No, they started firing us and we fired back by defending ourselves..." Order and law got out of hand and no one was accountable of the death and the destruction of the day. That logic reinforces a general dictum that says let the by gone for the by gone.
In a early afternoon, on their way to the Discord Well Water, the Peace Core group heard the distant boom of the cannon intermingling with the staccato sound of mounted artillery guns. The team pressed ahead anyway, approaching at the outer field, and then descending to the periphery of battlefield, yet apprehensive of what they can do in their capacity as non-partisan peace brokers. From a distance, they could see glimpses of the fighting scenario taking place- People running amok and falling in random; then rising and dodging behind walls, while victims were prostrate on thorny under bushes. The dead sprawled on sandy ground all over the place and the injured victims laid by the Discord Well and crying for help. It was a blind fight that claimed no winners or losers. In the middle of confusion, only some rich guys who consumed less of the Discord Well water and a few of political contenders, who had no solid militia support on the site made in time to escape.


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Q: Catch arrow up/down in xform How do I catch when the user presses Arrow Down or Up in Orbeon XForms?
The event 'up' and 'down' are not caught, they are not modifiers, and I cannot think of what text to catch. Example call so far
 <xforms:action ev:event="keypress" ev:observer="#document" xxforms:modifiers="down">
      ...
 </xforms:action>

A: It looks like it's not possible to do it using this orbeon's keypress event. Also in javascript, the arrow keys in some browsers are only triggered by onkeydown and not by onkeypress.
You could do it by placing the following code into your xf:model or xforms:model (NOTE: if your model is like xforms:model, it means you use a version with different namespaces, like it used to be in previous orbeon versions, so change xf: to xforms: and xxf: to xxforms:):
            <xf:action ev:event="xforms-ready">
                    <xxf:script>function myKeydown(event) {

                    var key = event.charCode ? event.charCode : event.keyCode ? event.keyCode : 0;

                    switch (key) {
                        case 38:
    ORBEON.xforms.Document.dispatchEvent({targetId: 'fr-form-model', eventName: 'up'});
                        YAHOO.util.Event.preventDefault(event);
                            break;
                        case 40:
    ORBEON.xforms.Document.dispatchEvent({targetId: 'fr-form-model', eventName: 'down'});
                        YAHOO.util.Event.preventDefault(event);
                            break;

                    }

                }

                YAHOO.util.Event.addListener(document, "keydown", myKeydown);
</xxf:script>
                </xf:action>

            <xf:action ev:event="up">
               <!-- Call something from here -->
            <xf:action ev:event="down">
                <!-- Call something from here -->
                </xf:action>

If you want to dispatch another event, call it the following way:
ORBEON.xforms.Document.dispatchEvent({targetId: 'yourTargetId', eventName: 'yourEvent'});

or
ORBEON.xforms.Document.dispatchEvent("yourTargetId", "yourEvent");

NOTE: Depending on the Orbeon version you are using, it might be necessary to add the following as xf:model attribute:  xxf:external-events="up down"
See: http://wiki.orbeon.com/forms/doc/developer-guide/xforms-javascript-integration#TOC-Dispatching-Events


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Q: iOS: UI Ideas for moving items between multi-level tableViews I am building an iOS app that allows the user to browse a tableView, click a cell, then navigate deeper into another tableView using a navigationController.
I have a requirement to be able to move any of those items/cells to another place in the navigation stack.  Right now my idea is, once the user selects the cells to move, to display a modal tableView that will allow the user to navigate through the same structure as before, but this time choose the location (by pressing and holding) to place those cells.
Are there any other UI ideas or clever programatic ideas that anyone might have that could be a better solution to this problem?

A: Perhaps take a look at how Apple's iOS Mail moves email messages between different mailboxes?
This also basically displays a modal view controller, but it flattens the hierarchy, by indenting nested items below their parent objects. You than just select the item that is the destination.
This of course only works if your hierarchy is not too deep, otherwise it's probably best to do it like you outlined it. The only thing I would perhaps recommend doing in addition, is to also have some sort of visual method (button?) to select the destination. A long press by itself might not be intuitive enough.


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FULL ESSAY TITLE: Write a 3000 word essay on the importance of regular pastoral visitation in homes, hospitals and places of work and/or leisure. Include an explanation of the place of an active presence, empathetic listening and intentional follow-up in visitation ministry. Provide significant evidence of reading of substantial course texts. Convince the marker of the theological viability of the pastoral skills and methods being discussed.
In discussing issues of pastoral visitation and care, it is helpful to have some understanding of its background, because this demonstrates God's practical concern for his people. Gerkin (1997, 23) says, "Pastoral care as we know it today did not spring forth out of the shallow soil of recent experience. Rather, it has a long history…."
Beginning in the Old Testament we find evidence of God's care for the well-being of his people. He says there were three classes of leaders who were to care for Israel: the priests, who had responsibility for worship and ceremonial life; the prophets, who spoke for Yahweh on moral issues; and wise men and women, who offered counsel on life and conduct. He then shows that "the shepherding image takes its place 'as a primary grounding image for ministry'" following the coming of Jesus who identified himself as "the good shepherd", and from then until the present the term "shepherd of the flock" has been applied to pastors and ecclesiastical leaders (Gerkin 1997, 23)
Willimon outlines a brief history and description of the various ways the Church has exercised pastoral care since the early Church down to the present, a history which is fairly rocky. For example: "The Reformation destroyed the Roman synthesis between speculative theology and practical guidance, between penitential piety and visible means of grace. It attacked the old calculus of sin and penance, stressing the radical nature of human sinfulness, the impossibility of salvation by works, and the sovereignty of God's grace. But the Reformation inevitably produced its own brand of legalism". (Willimon 2002, 171-176).
He shows how this history has culminated in Clinical Pastoral Education (CPE), a development of modern American Protestantism in the 1920's, which is the "adoption….of the medical model by pastoral care and the close methodological relationship between pastoral care and psychology". Freudian psychoanalytic theory was extremely popular at the time Anton Boisen developed his CPE, and it has become part of the CPE program. By the 1950's, CPE was a "major part of the seminary curriculum in nearly every Protestant seminary….and continues to be a significant component in the training of the clergy". Willimon states that CPE training has been "of immense help" to pastors, but finishes with the statement "however, CPE may have left its trainees with a very limited concept of 'pastoral care'" (drawn from p176-177).
The reason for this is perhaps, not hard to understand. Stairs (2000, 3-5), states that "Protestants have historically resisted the sacerdotal churches" use of "spiritual direction as a one-to-one means of caring for the soul" because it is perceived as contrary to the principles of "scripture alone" or "Christ alone", and have developed instead a pattern of mutual care, which is in keeping with the priesthood of all believers. This has not had lasting success because "in many cases, the community is no longer caring for the soul".
However, Benner would disagree with Stairs' assessment of Protestants, for he speaks very highly of spiritual direction. He calls it "the jewel in the crown of soul-care relationships" and sees it "rather than being simply a context for dispensing spiritual advice, it is a relationship of co-discernment. The 'director' acknowledges the Spirit as the true spiritual director and seeks to help the other discern and submit to the leading of the Spirit" (Benner 2003, 22).
He also shows that the congregation is very involved, contrary to what Stairs maintains, and actively provides valuable support for the pastoral carer and counselee, in the form of support groups such as those which focus on specific problems, (e.g. alcohol or drugs, sexual abuse etc.) or more generally (e.g. parenting, grief and loss, etc.), or even more fundamental and general such as bible study, fellowship, and other ministry groups.
Stairs then says "Another more modern reason Protestants remain guarded about formal spiritual direction is their historic enchantment and ongoing relationship with the field of psychology". She says "Protestant clergy and their parishioners now find themselves enmeshed in behavioral patterns and practices that mirror these struggles of the past decade" of training in "counseling methods that incorporated psychological theories and principles". These two practices have "contributed immeasurably to the dislocation of the soul as central to pastoral care".
Hunt goes even further in explaining why pastoral care using CPE has had limited success. The very foundation of CPE, Freudian psychology, is the problem. "It is important to know that it was through 'memories' of past experiences aroused in their patients under the influence of ancient shamanic practice of hypnosis…..that Freud and Jung developed their primary theories (1985, 185).
Thus, the history of the Church shows that the pastoral counselor must be cautious in developing a method of care. Many mistakes have been made, and all these at the expense of the one most in need, the counselee. The scriptures need to be our guide in this field, just as in every other.
Pastoral visitation
This is a key element of pastoral care. It "encompasses home and hospital visits for purposes of education, nurture and care, evangelism, organization and discipline. Of all professionals, the pastor has the unique privilege and responsibility of relating to persons in their home environment, which is the best place for observing human interaction" (Jackson 1990, 115).
It is, of course, necessary occasionally for pastoral visitation to be made to the counselee in their places of work and/or leisure because this is also part of their own environment where they will feel more at ease than in a one-to-one encounter in the pastor's office. "One of the most important ways that pastors differ from mental health professionals is that pastors have the freedom, indeed the obligation, to intervene in the lives of troubled souls within their congregations…..One of the reasons why people are in trouble is that they cannot take that first long step toward admitting that they need help" (Willimon 2002, 177).
Thus we have two important reasons why pastoral visitation to the homes or other places where the counselee is comfortable is vital, (a) the counselee is in his own setting and comfort zone, and relating to those who are a part of his everyday life, and (b) the pastor, by visiting, has the opportunity to initiate counseling where the proposed counselee is reluctant to.
Jackson (1990, 116) says of pastoral calling that it has several advantages now because of contemporary training. The pastor is able to observe stressful conditions, identify and deal with emerging problems by wisely directed queries before they become critical, and thus deliver the benefits of a formal counseling session informally. This could involve anything of interest or concern to a family.
Regular pastoral visitation
Pastoral visitation need not be for reasons occasioned by crisis only, indeed ought not to be, if possible. "Thus pastoral counsel is more than merely tending the wounded, lifting up the brokenhearted. It is also a matter of teaching, guiding and admonishing the well and the well fixed, the satisfied and the content" (Willimon 2002, 185).
The role of pastoral carer is to be a guide. Willimon expresses concern over the danger that pastoral carers, in order to listen without appearing to be threatening or judgmental, become ineffective through failure to give good biblical guidance and direction (p184). He is, after all, the one the counselee looks to for such help, because he is the representative of Christ and the Church.
Peterson makes a helpful distinction between counseling and visitation. He says, "Counseling is usually initiated by a person asking for help and takes place in the pastor's study at his or her convenience; visitation is usually initiated by the pastor and takes place in a parishioner's home at his or her convenience. In counseling, the pastor ordinarily has more control; in visitation, the parishioner has more control" (Peterson 1992, 89).
He is pointing out that the aim ought not to be a matter of control but of enabling the counselee to tell their story, and the pastor to collaborate with the one telling it. He says "the primary interest is in getting at usable truth so that there is confidence and freedom to be creative with the material" (Peterson 1992, 92).
Thus Willimon and Peterson identify two important aspects of counseling. There is a need to be alongside the counselee and allowing them to tell their story, but the pastor ultimately needs to be able to give direction because often the counselee is unable to see the way out of their problem. However it is very important that the pastor be a pastor, not simply a secular counselor. He is a shepherd, according to scripture, representing Christ, and his role is to direct people in their relationship to God, using secular methods and means where helpful but keeping all in subordination to scripture.
Presence in pastoral visitation
Musgrave, in so few words gets to the heart of the issue of visitation. She says, "Because it is at the heart of ministry and the core of empathetic response, presence is the most important gift a visitor can bring to the sick and to the dying" (Musgrave 2003, 70).
Job 2:11-13 (NRSV) beautifully illustrates this. After Job has been absolutely devastated by Satan's attacks and is sitting, in great pain and sorrow in the ashes, three of his friends visit him to "console and comfort him". When they saw him they wept and mourned with him; "they sat with him on the ground" for a full week, day and night; and significantly, "no one spoke a word to him, for they saw that his suffering was very great". It is a beautiful picture, and so instructive for the pastoral carer, as most of the elements of pastoral care after a loss are there.
The motivation of Job's friends was comfort and consolation. Fogg (2003, 45) says "Offering this support is one of the greatest acts of loving kindness, because the exchange always occurs on uncomfortable, often painful terrain". Importantly, she says, "You do not come as one who knows how to fix deep grief with a few well-chosen words and techniques. To do so would be to betray the truth…" (Fogg 2003, 45).
It is so easy to get this wrong. The one mourning the loss of a loved one doesn't need advice, they need someone to be there, someone who will put their arm around them and weep with them. This is presence. Words, advice, counsel, however well-meaning or appropriate, are simply inadequate.
Presence is also important to those who are lonely, such as the aged or the sick. Koenig says, " In counseling elders who complain of feelings of loneliness, it is important to listen to them and validate their feelings. Let them talk about their health problems, the death of loved ones, the changes in their lives……there is no need for the pastoral counselor to talk, since these people need someone to listen to them more than they need someone to give them advice" (Koenig 1998, 66).
Musgrave (2003, 70) points out that a person who has just suffered a loss or been diagnosed with terminal illness can find it difficult to believe Jesus' promise "I am with you". It is when the caregiver is present and offers "the gift of compassionate presence" that the divine presence breaks through. And this is the thrust of Musgrave's argument, that it is Jesus Christ who is present in our lives, to bring comfort, strength, whatever is needed, for those who turn to him in faith. It is often through someone willing to be present with a sufferer that Christ's presence is felt or realised.
Empathetic listening
Clinebell (1984, 77) says "Empathetic listening is active listening demanding an emotional investment in the other and relative openness to one's own feelings"; while Capps (2001, 29) says that "the objective" of empathetic listening "is to enter, insofar as possible, into the other person's own world of experience, to know and feel it as though I were the one who is troubled, confused, upset, vulnerable, content, happy, overjoyed".
Clinebell (2001, 29) helpfully points out that a pastoral counselor can have his sensitivity to the counselee's feelings blocked by prematurely trying to think of solutions; he simply needs to "concentrate on understanding and being with them caringly in their inner world". It is this desire to understand that communicates caring acceptance to the counselee, and which is all important.
However, a hospital situation changes the dynamics of visitation. Faber makes a pertinent point that when visiting someone in hospital whom one has never met, a pastoral counselor needs to make clear that he has not just come to chat but to discuss needs, and must have the counselee's permission in order for a fruitful discussion to occur. But empathetic listening still needs to underlie the discussion. He says, " Good pastoral contact demands that you recognize and react to signals sent up by the other person. It demands that you listen with a third ear to the feelings of which you become aware in and behind the words spoken by the other" (Faber 1968, 130).
Further, Patton (1990, 537) observes that a pastoral visit to a patient in hospital "should ordinarily not be very long; fifteen or twenty minutes is often sufficient, and more can easily become a burden to the patient". Therefore pastoral visitation should not be seen as a time for counseling but as "simple, symbolically rich opportunities for being present …..in a concerned and supportive way". Thus he brings in the idea of "presence" to hospital visitation, and furthers this by saying that the patient and/or his family are cheered, not because he brought any from outside but because of his "being with them where they are".
Follow-up pastoral visitation
Pastoral visitation occasionally requires only the one visit, but frequently, regular visits, particularly to follow up and continue counsel, are necessary. Empathetic listening is vital to pastoral visitation and counseling, but also essential is the need to make sure that the counsel is being followed. It is here where the pastoral counselor's guidance is brought into play.
Adams shows from Zechariah 11:15-17 and Jeremiah 23:2 that it is the "worthless shepherd" (NRSV) that does not conduct pastoral visitation. However he also states that the "biblical emphasis of pastoral visitation has been missed by many ministers of the church, who have equated visitation with making house calls"….."The prayer and Bible reading exercises….the small talk, the superficial inquiries…." are no longer seen as adequate because they are not biblical. He shows that there is a vital sense in which the ideas of visitation and shepherding are connected, and they reflect God's concern for his people. He says the idea of visitation is "to look after"; it requires action, modeled on the "God who cares enough to visit" (Adams 1974, 75-78).
From this it can be seen that pastoral care and visitation are not simply mechanical duties that have to be performed in order to earn a wage, or keep people quiet. They require a genuine concern for the one in need, even if that person is not known personally by the pastoral carer, such as a hospital patient. The pastoral carer is to demonstrate the love and concern that God has for the suffering; to be Christ to them, with them.
Benner (2003, 42, 48, 97) suggests that pastoral counseling and visitation be (a) limited to short-term counseling as it is equally as effective as long-term counseling (p 42) and (b) that it be limited to 5 sessions because "the clock is ticking from the first contact, and both the pastor and the parishioner are forced to work continuously at maintaining focus and direction" (p 48). He points out that "God does not depart at the end of the fifth session. He will continue to be present as the parishioner goes on with life" (p 97). This advice, of course, does not apply to visitation of elderly parishioners confined to their home or Nursing Home.
Another form of follow-up ministry is simply the sending of birthday or other type of anniversary cards. This is an act of nurture and care which can be a great encouragement to parishioners provided it is not the only contact they have with the pastor or congregation. Especially valuable would be a visit or call from the pastor on the anniversary of the death of a loved one. It is an encouragement to the bereaved that the one they loved, and still love, is not simply a forgotten name; acknowledgment of the deceased, and encouragement to keep their memory alive, could be a hugely heartening and reassuring gesture, if done with suitable empathy.
Pastoral care is a gift of God to his people (Eph 4:11-13; 1 Pet 5:2); it expresses his heart to them. In the history of the Church, pastoral care has been expressed in many ways, often with different aspects being emphasised by different groups. But fundamental to pastoral care is a sincere and heartfelt concern for the one requiring that care. It requires an ability to listen empathetically, active engagement, and a structure to the care. But more than this, it has as its goal the restoring of the sufferer to a right relationship with God and thus with their world. Pastoral care requires that the carer be involved with the sufferer but still able to direct them to a resolution of their problems in a biblical way. It cannot be done mechanically because every person is unique, and their problems are unique; therefore pastoral care can be emotionally difficult and costly for the carer.
However, with the advent of secular psychology, it has become more effective when used in concert with, and in subjection to, scripture. Roberts says, "The careful adaptation of the secular material is designed to guarantee, as far as possible, that these personal changes will conform to Christian standards of personality development, and not subvert such development". (Roberts 2001, 134).
And he warns of the danger of allowing non-Christian therapy, when integrated with Christian pastoral counseling, to dominate. "In this case, integration is like a destructive infection in the life of the church that perverts our understanding of ourselves, weakens our devotion to Christ, and replaces the kingdom of God in the hearts of his people with such aims as individuation, self-esteem, feeling good, congruence and satisfaction with life" (Roberts 2001, 134-135).
Christian pastoral care, because it is of God, is the only care and counseling which can bring true healing and wholeness by bringing a person into right relationship with God and with their world.
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