This post was originally published on the Event Farm blog as part of their Masterminds of Experiential Marketing series.
In this part of the series, Event Farm's CMO, Alexandra Gibson, spoke with Rebecca Linder, Founder and CEO of Linder Global Events. In the interview, Rebecca talks about how for the first time ever, the National Mall hosted the Landmark Music Festival, a music festival with two full days of 40+ musical performances across 5 stages on its grounds. The festival marked the kick-off to the Trust for the National Mall's Landmark Campaign, a national initiative aimed at increasing awareness about and funds for the National Mall. Linder was brought on to produce the Trust's #MakeYourMark tent, an interactive experience that educated festival-goers on the National Mall, Trust, National Park Service, and the Landmark Campaign. Every component within the tent contributed to the overarching goal of engaging a new generation and increasing exposure to the organization's mission.
In walking Event Farm through the series of activations at Landmark, Rebecca shows how an agency can help an organization connect with and make a tremendous impact on a new and hard-to-reach audience, even with a limited budget and tough spacial restrictions. Read on to learn more, and if you're interested in checking out the rest of the videos in their Masterminds of Experiential Marketing series, you can access their on-demand video recordings by clicking here.
Alexandra Gibson: Hello, and welcome back to the Masterminds of Experiential Marketing series. I am very excited to be joined by Rebecca Linder. Rebecca is renowned not only as a leader and an innovator, but also as a friend to both clients and vendors. That reputation reflects her professionalism, determination, and keen attention to detail, as well as her personal sensitivity, receptivity, and warmth. Her commitment to organizational and production excellence has led Linder Global Events to the top of the event planning business, producing national and international events for many of the world's largest and most-prestigious nonprofit institutions, corporations, government agencies, and membership associations.
With more than eighteen years of experience in the industry, Rebecca is especially proud of the large number of clients who have chosen to stay with her firm over the course of many years. Linder's work includes events for the Smithsonian Institution, the USA Science and Engineering Festival, the Department of Energy's Solar Decathlon, the National Cherry Blossom Festival, Mars Incorporated, Global Programs, and the Mayer Brown LLP Annual Partners Meeting.
Without further ado, I will turn it over to Rebecca. Rebecca, thank you so much for joining us and especially happy to have a fellow DC-er presenting today!
Rebecca Linder: Thank you, Alexandra. It's a great pleasure to be here as well.
Alexandra: I'll let you jump right in and talk a little bit about one of the experiential activations that you've done recently.
Rebecca: To start, I will give you a quick, brief overview about who we are and then move into a little bit about our client at hand. My company, as Alexandra pointed out, is Linder Global Events. Our tag is, "Ignite Your Audience". We have been around since 1997. I am the founder and CEO of the organization. We have 29 employees. While we're headquartered in DC, we actually have a global footprint and have been working all over the world for almost 20 years.
We do three things, essentially. We plan, and bring your event to life starting with a strategic, creative vision. We then promote, market and brand your event to attract and inspire the right audience. Then, we produce it. We deliver the seamless experience that your audience will be looking for and will never forget. That's our general ethos and philosophy around how we tackle our events.
The client that I'll talk to you about today is the Trust for the National Mall. We've been working with them for about seven years producing a variety of events for them. They are a nonprofit organization that partners with the National Parks Service and are dedicated to sustainably restoring, maintaining, and improving the National Mall. Typically, their demographic and funders are corporate sponsors and high net-worth individuals. The Trust, in their mission of restoring and maintaining and improving the Mall, has a pretty lofty goal ahead of them. There's about $500 million in deferred repairs and about $350 million in needed upgrades. In the manner in which they're moving forward, they have quite a bit to do.
They created the organization because of the significance of the Mall itself, which they really believe tells the story of America. The Mall is where iconic things take place. It's not only where iconic buildings live and signify who we are as a country, but it also is where these big moments happen in our country, whether celebratory or centered around protest and change. The significance of this effort is quite substantial.
The Trust has some inherent challenges. They want to grow from being a local charity and move into an energized, national cause. They want to increase the park awareness and their stewardship and they need support from a new generation – the Millennials. That's probably their biggest initiative. Then, of course, they have to raise funds for this backlog of upgrades and deferred repairs.
They came up with a solution: The Trust for the National Mall Landmark Campaign for the National Mall. The initiative is a grassroots campaign that's going to have a multitude of events across the nation, but the first two events that they put into place were the Landmark Music Festival and the Make Your Mark campaign, which is in support of the Landmark Campaign and is about creating your own virtual monument and sharing your story around the significance of the Mall to you or something that's taken place there.
The two-day Landmark Music Festival took place for the first time in September 2015. It was conceived by the Trust in conjunction with the music promoters from C3 Productions. They had over forty musical performances across five stages, and over 30,000 people attended. The diversity was a real key tenant for the Trust of the National Mall in that they really wanted to highlight the diversity through a wide range of not only the musical styles, but the art, the cuisine and other important aspects of the festival, not only to celebrate what the festival is about, but what they, DC, and the Mall are all about.
Our role was multi-fold, but started with design. They asked us to design a cool space and have some fun, while creating curb appeal that would draw the crowd in. Our normal scope of work with the Trust surrounds the very large, 1,200-person, beautiful luncheons for their corporate sponsors and high net-worth donors. This was a very, very different demographic. Their big initiative here was to appeal to the Millennials, which is just not a demographic they engage with really at all. When they do, they don't gain much traction.
Within this festival, they wanted to create an environment that they could design that would be cool and fun. They wanted to make sure that they were creating a series of interactive activations that would provide that fun in a low-cost manner. They also wanted to leverage some of the things that they already had in place in order for people to learn about the organization and mission. They have social media platforms, an app, and a mailing list, but wanted to capture more to help with the timeline, narrative, and story that they wanted to tell.
For us, there were several of inherent challenges with this effort. One, aside from the fact that they're, as an organization and their admission, they're virtually unknown to the audience to which they were trying to appeal, so that was the first thing to overcome. The second was that we had limited real estate. We had a 40'x60' tented space to use. While the festival would have given us a lot more space, for us, it was much more desirable to be by the main stage where Drake and some of these bigger people were going to perform in order to make sure that we got the highest foot traffic potential, which limited us. The other risk was the competing activities that were taking place. There were quite a bit of other activities, whether it was food and beverage, or the performances themselves. There were also other organizations like the National Park Service and Events DC that were actually on the Mall and activating as well. They also needed to distinguish themselves from all of what was going on in addition to having 30,000 people in this space.
We came up with a variety of solutions. We realized right out of the gate that the tent itself wasn't going to supply us enough space to facilitate the kind of impact that we wanted to have, so we had to really go from indoor/outdoor solution. That was going to be critical to the success of this. From the outdoor perspective, we created a live mural wall with a question of, "What would you march for?" We did it on two of the four walls because they were the ones facing the main stages, so that was where we were going to get the most traffic. It actually was so popular that we ended up having to paint it overnight in order to facilitate the use of it the next day. What was great about it is not only did it attract people to the actual tent itself to then go through it, but we were able to have the Trust volunteers interact with them as they were painting or talking or commenting or taking pictures about the Trust, who the Trust was, get on their mailing list, ask them if they had any questions. This was a really, really good way of getting people engaged.
The Trust also partnered with Rock the Vote, which created some external visibility with signs and sort of the picket signs and a variety of other things that and, again, volunteers to create some visibility for concert goers and, again, encouraging them to cluster around this particular activation and move them through the space.
The indoor solution was actually a series of activations. We needed to manage the crowd flow, so we created these series of tunnels that moved them through the space where they could stop, interact, or bypass and move to the next activity. We needed to have some compelling content to bring them through. Given the small budget, we wanted to leverage some of the material and assets that the Trust already had, so the Timeline Tunnel actually ended up being five short videos that the Trust had already created and then we coordinated getting them a viewing station within the space on both the right and left side of the tunnel as you entered, in addition a visual timeline.
There was so much interaction with this. Of course, you're providing the Millennial set with a method of consuming information in a way that they actually understand and appeals to them. Then when they finish that, we had a trivia game that we created that was based on what they just saw, and we had all these tchotchke prizes like branded koozies that they could win as a result of getting it right.
Then, we wanted to leverage the concept of the Millennial selfie mentality because we know that that is a really powerful tool. As an organization, they're not getting any of this type of social media traffic with this demographic. By creating several opportunities for people to take and post photos, this really increased both the Trust's and the festival's exposure on a social media side.
We did all kinds of things. First and foremost was a series of flash tattoos that was a Make Your Mark. People had them on their stomach, their backs, and their arms. They were taking pictures. From a visibility standpoint, they were all over the space of the entire festival over the course of two days and people were constantly asking, "Hey, where'd you get those?" That alone drove a ton of traffic into the space. We also had a photo op with a backdrop, costumes and fill-in-the-blank posters. This drove a ton of pictures and a ton of people stopping, watching and seeing that interaction. External to that, there was a frame-up to the right of the Make Your Mark campaign that had the Washington Monument in the background so people could also take pictures there and post them.
We also had a live social media wall. If anyone was posting on Instagram or Twitter using the Make Your Mark hashtag, their photo would then be shown on the social media live stream in both the tent. Plus, festival goers had the opportunity to see their photo up on the stage Jumbotrons twice a day. We coordinated with C3 Productions to help facilitate getting that up there. Again, it made that activation pretty substantial as everybody likes to see their face on the big Jumbotron, so that drew quite a bit.
Another source of engagement around, not only the physical space, but also just having them learn more about the Trust in particular, was one of the only places at the entire festival that had some charging stations. We linked those charging stations to the Virtual Monument Building app that they already had in place. There ere instructions on the wall on how to build the monument, and we incentivized participants by allowing them to charge their phones, and gave them a chance to win VIP tickets. There were drawings that were taking place that would allow them to sort of elevate their experience at the festival itself.
We also had a variety of manned kiosks for Rock the Vote, Landmark to Sustainability, and the Trust for the National Mall, where they had hats and koozies. This was their effort in exchange for getting people to join their mailing list. We also had Landmark to Volunteerism, which was, again, the National Mark and Memorial Parks collaboration. Then there was the Landmark to Democracy, which was the Rock the Vote collaboration where people could actually register to vote. They had both an external and internal presence. There were two components going throughout. Then you can see the flash tats in there, too, in the environment that we created there.
The results were pretty significant in terms of the Trust. They got roughly half of the participants at the festival – about 15,000 people – to go through and experience the tent and the Make Your Mark environment in some way. Over 7,500 tattoos were distributed and displayed around the grounds. The social media ROI was incredibly high and significant. It was well beyond what they expected and there's still quite a bit of Make Your Mark hashtag being used, so it continues to have a life.
Beyond that, there are three main takeaways that we had in the role that we play in order to facilitate the goals for the Trust in this particular instance and then also within the timeline we had to actually plan this. First, ask really good questions. You really have to understand what it is your client wants and what their priorities are in order to both pull off something within the time frame that we had, but also within such a small footprint to be as impactful as we wanted to be. It was imperative that we understood and identified what the client's priorities were. This was huge for us.
Second, we needed to make decisions very quickly. The Trust had quite a few stakeholders, and have a big infrastructure as it relates to decision-making. Being able to communicate and understand what those protocols were, both internally and for their stakeholders, became a very critical element to getting this accomplished and done.
Last was the collaboration. There were quite a few stakeholders. For instance, with National Parks Services, we had to understand the permitting and the rules and regulations on the federal grounds. There's quite a bit on the compliance side that we had to address. The concert promoter collaboration and coordination was another. Everything from the Jumbotron integration to working with them on the infrastructure that we needed to facilitate the space, making sure our and the Trust brand, was integrated appropriately and in the right places and in the capacities that were promised to them by the concert promoter. There's quite a bit on that end.
Then on the stakeholders' side, we worked with them quite a bit and actually they ended up wanting to repurpose. The National Park Services, one of their partners, ended up wanting to repurpose some of the décor for their 100th Centennial celebration that's coming up. It was interesting that as a result of what we did, there was additional stakeholder interest in buying it and moving and continuing the effort from that particular instance and moving it into some of these other milestones that are coming up.
If you enjoyed this Event Farm interview with Rebecca and want to check out the others in the Masterminds of Experiential Marketing series series, you can click here to access them on-demand.
For more content like this, click here to visit the Event Farm blog.


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Type 302 - Annealed B87 Max.
Type 304 - Annealed B87 Max.
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17-7PH Aero. Mtl. Spec. - Cond. A B-92 Min.
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A master of Chinese ink painting, Li Jin has received worldwide praise as an important contemporary Chinese artist whose work preserves tradition whilst defining present and future art scenes. He has exhibited throughout Europe, Asia and the USA in museum and gallery exhibitions. Most notably, in 2010 his work was an integral part of "Fresh Ink: Ten takes on Chinese Tradition" at the Museum of Fine Arts Boston, in 2015 his work was exhibited as part of a 30 year retrospective at the Long Museum in Shanghai and in 2012 a solo exhibition dedicated to his work was on view at the Today Art Museum in Beijing.
Li Jin has the confidence to portray persons and things simply, so that their significance, beauty and worth speak for themselves. Replete with humor and his unmistakable "joie de vivre" Li Jin translates the usually mundane quotidian of life into a colorful and eloquent narrative of the moment using the tools of tradition. As an artist his perception of beauty and detail blossom from his appreciation as an active observer and partaker in life. Whether it be a table abounding with epicurean delights, a moment of quiet contemplation, or the enticing passions of love his graceful and masterly brushstrokes tell stories that are common to all, for they are the simple pleasures of life.
Renommé pour sa maîtrise de la peinture à l'encre traditionelle, Li Jin est salué dans le monde entier comme un artiste contemporain de premier plan dont les œuvres préservent la tradition tout en influençant fortement les scènes artistiques actuelle et future. Ses œuvres ont été exposées dans de nombreux musées et galeries en Europe, en Asie et aux États-Unis. En 2010 en particulier, il a participé à l'exposition intitulée « Fresh Ink: Ten takes on Chinese Tradition » organisée par Hao Sheng au Musée des beaux-arts de Boston. Il a également exposé en 2012 au Kunsthaus de Hambourg, et au Today Art Museum de Pékin. En 2015 le Long Museum à Shanghai lui a consacré une rétrospective de 30 ans et en 2012 ses œuvres étaient exposées lors d'une exposition individuelle au Today Museum à Pékin.
7 Characters - New Art from China, The Mayor Gallery, London, U.K.


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Нураксиниеду је насеље у Италији у округу Ористано, региону Сардинија.

Према процени из 2011. у насељу је живело 1160 становника. Насеље се налази на надморској висини од 12 м.

Види још
 Покрајине Италије
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Референце

Литература

Спољашње везе

Насеља у округу Ористано
Википројект географија/Насеља у Италији

redpajama_set_name: RedPajamaWikipedia


Making the world a more beautiful and peaceful place, one rocking chair at a time!
Band Saw Blades currently unavailable - be back soon!
Click on DVD to order materials for making your own exquisite rocking chair!
Curtis Mobley Check out his adventure!
I started teaching folks how to make rocking chairs about two years after I commenced making them for sale, around 1998. Persistent fellows would hang around the shop inquiring about the possibility until one day I thought "Why not?" The first couple of students were so happy at the completion of their chairs that I knew this was very worth my time doing.
Thus, I embarked, in a serious manner to make available, in shop mentoring along with materials I could send out to prospective builders, enabling them to make this rocking chair. Whether folks come to the shop or purchase the plans and make chairs at home, the satisfaction is significant. I have received emails from hundreds of builders over the years expressing their personal satisfaction at fulfilling one of their life long dreams.
So now I am making my small contribution towards peace in this world we share, and I do not take my responsibility lightly! I stick with every student, through thick and thin, until they are rocking. I have never failed to respond to an email because the person was asking too many questions and I never will.
My goodness, 2019 is upon us!!!! If you are interested in making a beautiful rocking chair this year, drop me a note!
I normally take students one on one but if you have a friend that would like to come and make a chair as well I can accommodate two students at once And, the price per each is dropped 800 dollars!
Don't you think it is about time you made that rocking chair you have been dreaming about!
Come on out, I'll leave the light on for you!
This chair is a large - $7,000. It is sold and being delivered to New Jersey in a couple weeks!
This beautiful English walnut rocking chair is looking for a home into which it can bring it's grace, comfort, beauty and healing properties!
Believe it or not, this chair was made from 'off the rack' 2X4s from Lowes! It is an exquisite rocking chair that is as comfortable as any I have ever made. It is reinforced with ash in order to insure it will last generations as all of my chairs will.
This beautiful small English walnut rocking chair is ready to be a part of someone's life!


If you never leave Laugavegur to do your downtown shopping, you might easily miss it – Hljóðheimurinn Sangitamiya or, as it's colloquially known, "that music store with the sitar in the window." And when you first walk in, instruments such as gongs, kotos, didgeridoos and sitars are the first things you notice. The store's most popular item is the xylophone, but this store also features smaller and equally overlooked instruments such as jaw harps, kazoos, tin whistles and bamboo flutes. You get the impression that in the very near future we'll be seeing some of these instruments gracing the stages of Reykjavík's clubs.
The store is a long time favourite among Reykjavík kindergarten teachers and people looking for different kind of birthday presents, but it is also frequented by members of the symphony orchestra, while Björk has been known to shop there as well.
Sangitamiya is not an exclusively high-end store. There are the aforementioned kazoos, jaw harps, xylophones and bamboo flutes, and even some instruments for children. Particularly addictive are the 'swing straws' – flexible plastic tubes that produce different tones when swung through the air at different speeds – and the 'boom wackers', which are plastic tubes that produce different tones when struck on the ground.
So, if you are searching for that special sound for your band, Sangitamiya is the place to look.


This exciting event was held on the 2nd of November 2018. Questions ranged from sports and literature to current events and science. The quiz was conducted by Mr. Rajiv Rajendra, an alumnus of Sishya. Sutlej took first place with 63 points; Cauvery came in second with 48 points and Godavari – third with 47 points.
This exciting event was held on the 3rd of February 2012. Questions ranged from sports and literature to current events and science.


I didn't want to give a token award to Felipe for his final home race, he earned this one fair and square. The Williams has really fallen back into the midfield over the course of the season but fan power vaulted Massa to best of the rest, behind the top three teams for his best result since Bahrain, the six points for seventh enough to give him the edge in the championship over teammate Stroll going into the final race of the season. More importantly than Massa's pride, the result gives Williams a near unassailable lead of 29 points in the constructors' championship, securing vital funds for the privateer team for Grove.
Put numbers aside for this one though, it was a drive of pure grit and determination to get the job done and go out on a high. A great start launched Felipe up to sixth past Sainz, Hülkenberg and Pérez, providing the perfect platform for a top result, especially with Hamilton and Ricciardo starting further back. It got even better as the Brazilian thrilled the home crowd by overtaking Alonso for fifth on the safety car restart. Judging by the rest of the race, had Massa not passed his ex-Ferrari teammate then, it's unlikely that he ever would have.
Once past, though, the real battle began. Alonso was showing the improvements in the McLaren car this year and was able to close up and easily follow the Williams throughout the infield second sector of the lap. Crucially though, the McLaren didn't quite have the raw power to get past the Mercedes-powered Williams, even with the aid of a tow and DRS.
Hamilton was past the pair of them by lap 21 and it was once again a straight fight. Strategy would be crucial in this fight and Williams protected against the undercut with Massa's rear tyres struggling, pitting for softs on lap 28. It gave Alonso track position and clear air but on aging tyres he couldn't quite stay in front after his stop. Now came the third part of the challenge, as Massa had to master the exit of Junção every single lap to avoid giving the McLaren a run up the hill on to the pit straight. The McLaren closed the gap each lap but just couldn't get past.
For the final 10 laps there was an added threat as Sergio Pérez joined the fight, giving Alonso added motivation to get by. Somehow, they finished in the same order, despite less than a second covering the trio for much of the last few laps. Massa more than earned plaudits, especially put in the context of finishing over a lap ahead of his teammate, giving the São Paulo fans one last thrill before he heads for his second retirement party in Abu Dhabi.
Out of the blue, McLaren were competitive on a power circuit, even more impressive given São Paulo's altitude although there was a clear cork in the bottle to their performance as Fernando Alonso battled for best of the rest but could not get past Felipe Massa from start to finish. Alonso starred in qualifying as he finished seventh behind only Pérez, by just .019 seconds, and the big five. The McLaren was even within three tenths of the Red Bull. Comparatively Stoffel Vandoorne was stuck in the middle of Q2, six tenths off Alonso's pace.
Come the race Alonso jumped Pérez off the line with a great move around the outside of turn one and even had a look at Verstappen into turn two.
The restart was his downfall though as he couldn't hold off the Mercedes power of Massa up the hill, dropping back to sixth. That started the race long battle with Alonso determined to be the villain of the piece, only interrupted by Hamilton and Ricciardo passing them and a lap during the pit window. Bar Massa briefly getting a jump on the Spaniard through using the undercut, you'd be forgiven for thinking that Massa was towing Alonso along for the whole race, the two were that inseparable. Massa wouldn't budge and Alonso wouldn't quit. Even once beaten, Alonso was a man of pure class, congratulating and welcoming home Massa in Parc Ferme. You can't teach an old dog new tricks but in the case of Massa and Alonso, you don't need to.
Having been robbed of the chance of the Super Formula title, Pierre Gasly must be sick of Renault unreliability. The bad news is he has Honda power to look forward to if he is re-signed by Toro Rosso.
The Faenza squad had another rough weekend full of unreliability. That meant they didn't go all out in qualifying, instead focusing on preparing for the race start, especially in Brendon Hartley's case. For what it's worth, Gasly qualified 17th in Q1, half a tenth behind Hartley in 15th. As two thirds of the French contingent got far too close together, Gasly made the perfect getaway from 19th despite starting on softs, manoeuvring through the chaos to jump up to tenth before the Safety Car.
Even after a good start, there was no guarantee that he would stay there. Hamilton was past on lap 8 before Ricciardo on lap 13, dropping Gasly to twelfth. The late stop briefly jumped the Frenchman back up into the points, before dropping to 15th. But, with fresh supersofts, Gasly finally had the chance to show what he was made of, charging back past Grosjean, Stroll and Wehrlein up to twelfth. Once past the German it was a fairly lonely finish to the race, unable to catch his predecessor Carlos Sainz and Nico Hülkenberg. Even so 12th was about as much as Toro Rosso could hope for, even before engine penalties compromised their weekend – although it potentially kept both drivers out of the first lap mayhem.
The real test comes in two weeks' time as Toro Rosso have to protect a slender lead over Renault and Haas in the constructors' championship, where a maiden point or two could be critical.


Welcome to Potter's Angus Bulls, Gelbvieh Bulls & Club Lambs in Emmett, Idaho.
POTTERS EMMETT VALLEY RANCH is a family owned cattle and sheep operation in Southwestern Idaho. Producing quality Registered Angus and Gelbvieh Cattle, along with competitive show lambs is our family's passion. Please call, email, or stop in to inquire about our program.


Christopher Fox Counselling and Psychotherapy in Frankston, VIC, has experience in all areas of Counselling and can help you find the right Counselling solutions. advisor, relationship counselling , and mobile counselling services and many other Counselling products/services are available. Talk to us at phone for professional advice on any aspect of Counselling.


People often think worship is what we do for God. But it's not. We refer to worship as "The Divine Service" because we learn from the Bible that God is providing His service for us. God gives us His Word. God gives us his body and blood. God forgives our sin. God makes us His own. God gives us eternal life. He puts the words of praise, of supplication and of repentance into our mouths and hearts. We respond in faith.
In the Divine Service we follow an order of service. The order of service is called the liturgy. What follows is a detailed explanation of the liturgy and it parts. It is my prayer that this will further assist you in understanding what to expect when you attend the Divine Service at Holy Cross and Immanuel and why the service is the way it is.
The second commandment, as well as Martin Luther's explanation to the second commandment in the Small Catechism, instructs us that we are not to misuse God's name. Rather we are to "call upon it in every trouble, pray, praise and give thanks." When the Divine Service begins with the Invocation and the sign of the cross, we are calling upon the one true God who, through the power of the Holy Spirit in Baptism, first called us to faith in Jesus. It is true that because of our sin we do not deserve to have God with us. Yet because of great love for us in Christ, and because he has claimed us as his own children by water and the Word, he comes to be with us and give us what we need most, his salvation: faith, forgiveness, and eternal life in Christ Jesus our Lord.
Confession literally means, "same saying." Essentially, it's saying what God already says. When we confess our sin to God, it does not come as news to Him. He knows our sin before we commit it, so in confession, we admit to God what He already knows—that we have rebelled and fallen far short of His expectations for us.
Confessing our sins is extremely important! When we confess our sins to God, we are humbled before him as we recognize that we are not perfect as our Heavenly is and demands us to be. We are sinners who have broken God's Law, his will for our lives, in our thoughts, words, and actions. Our sin warrants his judgment of eternal death and separation from him. Moreover, by the confession of our sin, we openly admit to God that we deserve this, his judgment, forever.
It is customary after receiving absolution to make the sign of the cross as a personal reminder that your forgiveness comes on Jesus' behalf because of His death on the cross in our place.
The Introit (pronounced in-TRO-it) comes from the Latin word Introitus meaning "entrance." Having just been forgiven all our sins, we, because of Christ's death and resurrection for us, are now able to enter into God's Holy presence. And the Introit is the announcement that we, God's forgiven people in Christ, are coming into his presence. The Introit that is sung or spoken is not our own sinful words, but it is God's Holy Word, a psalm or parts of psalms put together to focus on the theme for the Sunday, sung or spoken back to Him.
The Kyrie comes from the Greek words Kyrie elesion (pronounced KEER-ee-ay eh-LAY-son) which literally means, "Lord, have mercy." It is the first prayer that we pray together in the Divine Service as God's forgiven people in Christ. This prayer is encountered frequently throughout the Scriptures, for example, the Canaanite woman (Matt. 15:22) and the Ten Lepers (Luke 17:13). Each time that it is prayed, God's people call on Him for the various things that we need and that He alone can supply, asking for His mercy on we who deserve nothing good from Him, but know that because of Jesus' sacrifice on the cross on our behalf, He will have mercy on us and supply all that we need.
The Greek words Gloria in Excelsis, meaning "Glory to God in the Highest," are the words of the angelic hymn sung at Jesus' birth in Luke 2:14. This hymn is a hymn of triumph and victory sung not just by the angels in heaven but by us, God's holy people, as we recognize that God has had mercy on us in Jesus Christ and has given us not only all that we need to support this body and life, such as: "clothing and shoes, food and drink, house and home, wife and children, land, animals, and all that we have," but more than that, out of His divine mercy, He has given us the final victory over our enemies: sin, death, and the devil. To one true God alone, Father, Son and Holy Spirit, be all power, riches, wisdom, strength, honor, blessing and glory. Amen.
Next, you'll typically hear something like, "The Lord be with you," to which the congregation responds, "and with your spirit," or, "and also with you." These short statements are more than just a greeting. They confess God's presence with us through His Word. Also, this exchange reflects the special relationship between pastor and congregation as the pastor proclaims the presence of God is with His people and asks that it remain with them, in order that they might by faith receive the forgiveness of sins and eternal life that God gives them in Christ, and that they might be strengthened and by his help do the very things that he has given his people to do. So also, the people respond with mutual support of the pastor, God's called and ordained servant of the Word.
The readings from Holy Scripture follow a schedule called the lectionary. At Holy Cross and Immanuel, we currently are following a 3-year cycle, designed to match the theme of the season. During the Gospel lesson, the congregation stands and offers additional praise to God, because the Gospel lesson recounts specifically that key point in history when God became flesh in the person of Jesus Christ, and won salvation for us from sin, death, and the power of the devil.
The word "Creed" comes from the Latin word that means, "I believe." A creed, according to Luther's explanation in the Small Catechism, "is a statement of what we believe, teach, and confess." Consequently, creeds are "confessional statements," or expressions of agreement. In essence, we're saying, "This is what all Christians believe," or, "This is the definition of the Christian faith. If you don't believe these basic, core teachings, by definition, you can't honestly call yourself a Christian." The three creeds of the Church: the Apostles' Creed, the Nicene Creed, and the Athanasian Creed, were written during times of struggle in the church and thus refute the claims of those within the church that were spreading false teachings. More than that however, they confess who God is and what he has done, is doing, and will continue to do for us. Therefore, when we weekly confess these creeds, we join our voices with all Christians past, present, and future, proclaiming to each other, the world, and ourselves a short summary of what God has revealed about Himself in His Word.
The Hymn of the Day, sometimes called the "Office Hymn," is the primary hymn of the service. It is chosen based on the theme of the day and the readings. As you sing this hymn, think about how it relates to the readings and how it introduces the concepts and ideas of God's message of salvation for us in Jesus Christ that will be proclaimed in the sermon.
A sermon is the proclamation of Jesus' death and resurrection and the application of that message for you as you live your life in this world surrounded and saturated by sin and death. When the pastor preaches the sermon, he is to hold strictly to the Word of God. While illustrations can be used (as Jesus used parables to teach), the primary message of a sermon must be rooted in the Word of God, more specifically the Gospel.
The entire service, especially the sermon, consists of a division of Law and Gospel. The Law is what God would have us do and how we've failed to live up to His expectations. The Gospel tells us what God has done on our behalf through Jesus Christ. A proper sermon includes both of these. If the sermon is only Law, the congregation leaves feeling inadequate or self-righteous. If a sermon contains only Gospel, the Gospel has no power, since we do not see our sin and thus have no need for Jesus and the salvation from sin that he won for us on the cross and in the empty tomb. Hence we "preach nothing but Jesus Christ and Him crucified," because he is the only one who can free us from the sin and death that reign in and plague our mortal bodies, indeed our lives. Yet there remains in Christendom a mindset where people think that a central message of a sermon should be focused on telling them how to live their lives, but God's primary message for us is not our actions, for when we look at or focus on those we see nothing but our sin. Rather, God's primary message for us is His love for us, in spite of our sin and his victory for us over sin and death, in Jesus Christ. As we hear this message, God continues to grant us faith to believe it. And we naturally respond to God's message by faith evidenced in our words and actions during the service and in our everyday lives. The sermon also need not create an emotional response. Different people respond differently to different messages, so sometimes, you may feel moved by a particular expression of God's Word, while other times, it won't trigger your emotions. That's OK. The purpose of a sermon is not to feed emotions—it's to feed faith. Consequently the primary goal of a sermon is to strengthen you to withstand the attacks of the devil, the world, and your own sinful flesh, through the proclamation of God's sin forgiving, life giving message of salvation for you in Jesus Christ.
The offering always occurs toward the end of the service, typically following the sermon, as it is an act of response by the congregation. Having heard the Good News of eternal life and forgiveness of sins through the sacrifice and resurrection of Christ, the congregation responds in faith and thankfulness.
The motivation behind giving an offering is yet another unique aspect of Christianity. We don't give to gain God's favor. He has already saved us, before we even lift our finger to do anything that he has given us the responsibility to do.
Moreover, when we give, we're not giving the gifts to God, but to our neighbor. God doesn't need our gifts, but our neighbor does, so we give to support the proclamation of Jesus Christ and him crucified and risen for the forgiveness of sins, here at Holy Cross and Immanuel, in our community, and to the ends of the earth that all may know the love of God in Christ Jesus. The offering is a great act of compassion for our fellow man, knowing that God will bless the work accomplished with those funds.
If you really think about it in terms of Psalm 24:1 and James 1:17, everything we have is a gift from God: from the money we give in our offering, to food, family, clothes, house, shoes, car, heat, air conditioning, everything we need to support this body and life, even waking up in the morning, and most importantly, our salvation in Jesus Christ.
After the offering is collected, the offertory, a vocal expression of the faith and thankfulness that we express through the offering is sung. We acknowledge our unworthiness and sin but also confess God's goodness and love, also acknowledging that all we have is a gift of God.
The prayer of the Church is the part in the Divine Service where we, as God's people here at Holy Cross and Immanuel, bring before the one true God: Father, Son, and Holy Spirit, a series of petitions, or requests for all the people of our congregation as well as the community where we have been placed. Typically, we pray for the sick, our members, school families, homebound members, our nation, pastors and our seminaries, as well as a variety of people whom God has given us to care for and invited us to bring before him in prayer where he continually promises to hear us and provide for our needs.
It is meet and right….
The Preface dates back to the liturgy of the early church and is mentioned in church writings dating as early as 70 A.D. It is an expression of the fellowship we experience in the Lord's Supper, pointing us to the intimate relationship we enjoy not only with Jesus, but each other.
The Proper Preface, "It is truly meet, right, and salutary that…Therefore with angels and archangel and all the company of heaven…," expands on the Preface with a seasonal message, proclaiming why we give thanks.
The end of the Proper Preface, "Therefore, with angels and archangel and all the company of heaven," unites Church Militant, the local congregation, with the Church Triumphant, the church worshipping God in heaven. As we praise and thank God for all He has done for us, we know that the angels and saints in heaven do the same, so though we don't know the melodies of heaven, both the Church Militant and the Church Triumphant sing with one voice to our Lord and Savior.
Sanctus means "holy," and Benedictus means "blessed," short for "blessed in He Who comes in the Name of the Lord." The Sanctus is the song sung to God by the angels in Isaiah 6, and the Benedictus is the song sung to Jesus on Palm Sunday (from Ps 118:26). By combining these two, we confess with the whole church in heaven and on earth that Jesus, who rode into Jerusalem on a donkey, is the same God whom the angels praised in Isaiah's vision.
More than that, though, we sing to "He Who comes" to us with His Body and Blood in the bread and wine. (This portion of the liturgy is traditionally removed in churches that reject the presence of Christ in the Lord's Supper.) Christ came once as a baby in Bethlehem, and He will come again in glory on the Last Day, but He also comes to us each time we celebrate this sacrament.
We, the people of God, now pray the prayer our Lord Jesus Christ taught us to pray in Matthew 6:9-13 and Luke 11:1-4. For Jesus is the one who unites sinners with God the Father. He bridges the gap that sin has caused by becoming man and giving his body and blood for the forgiveness of our sins. Only in Christ can we approach God and receive the gifts he gives. In Baptism we are made the Father's children when we are united with Christ (Romans 6). So when we pray the Lord's Prayer we speak to our Father by using the prayer his only begotten son Jesus has taught us.
The Lord's Prayer is one of the most profound and complete prayers that Christians could ever pray. For in the Lord's Prayer we, the children of God, call upon our dear Father to give us everything that we need to support this body and life: air to breathe, food to eat, a job, clothes, house, health, family, good government, favorable weather, his Word taught to us in its purity and truth, faith renewed and strengthened by the Holy Spirit, the leading of Godly lives, the forgiveness of sins, that every effort of the devil, the world, and our own sinful flesh that seeks to weary us and lead us away from Christ be hindered and frustrated so that we may remain in the faith according to the will of our Lord, all the while recognizing that he alone can, does, and will continue to give these good and perfect gifts in his time and according to his good and gracious will.
By praying the Lord's Prayer in connection with the Words of Institution, we confess that all of the requests made in the Lord's Prayer are answered with a resounding "Yes!" in the Lord's Supper, where Jesus reminds us that he has not left us nor forsaken us, but is with us right now, right here and will continue to provide for all our needs of body and soul.
Since Jesus is God, his word is powerful. When God created the world, he spoke it into existence. His word creates what it says. It does the same in the Lord's Supper. When Jesus says that the bread is His body and the wine is His blood, they are just that. The bread is his body. The wine is his blood. Jesus' body and blood are really present. They are in, with, and under the bread and wine. So when we eat, we eat bread and Christ's body. And when we drink, we drink wine and Jesus' blood.
The body and blood that we eat and drink are Jesus' crucified and risen body and blood. When Jesus ascended into heaven, he told his disciples, "I will be with you always, even to the very end of the age." How is he with us? He is with us in his Word and Sacraments, the Scriptures, Baptism, and the Lord's Supper. How can Jesus be physically present with us in this way? This is not something that we can understand; it's a mystery. We can only believe it by faith because Jesus has said it. We simply take Jesus at his word and we trust his word.
Angus Dei, which translated means "Lamb of God," is the hymn we sing prior to receiving Holy Communion.
As we are about to receive the holy Sacrament, we focus on what is most important, on Christ himself and all that he has done for us. And what he has done for us is willingly give himself as a sacrifice. In the OT the picture of a sacrifice that comes to mind is the picture of a lamb being sacrificed. The sacrifice of Abel was a lamb. The sacrifice of each Israelite family was a lamb without defect at the Passover. Lambs were sacrificed at the tabernacle and later also at the temple. In each case the lamb gave up its life in place of the people who offered it. This is called substitutionary sacrifice, where the lamb took the place of the sinner, taking the punishment he deserved for his sin. In the case of the sacrifices at the tabernacle and temple, the blood of the lamb was used to make atonement (at-one, bring back together). The shed blood of the lamb brought the sinner back together to be at one with God.
So the image of Jesus as the Lamb of God is most appropriate. Jesus, our perfect Passover Lamb (1 Cor 5:7, 1 Peter 1:18-20), was our substitute, dying the death that we deserved. And Jesus' blood made atonement for us; through it we are made one again with God. And so now we focus on Christ, the Lamb of God, our substitute and atoning sacrifice.
In the Sacrament the sacrificed body and blood of the Lamb of God takes away our sins, providing us with forgiveness, mercy, and peace. In singing The Lamb of God, we publically acknowledge this and look forward to it.
Jesus won forgiveness of sins for the world through his death on the cross. Having won this forgiveness, how will he then deliver this gift of forgiveness to people? God has chosen very simple and mundane ways to deliver this precious gift. He delivers it through his Word, his Word that is proclaimed, his Word connected to the water of Baptism, and his Word connected to the Bread and Wine of the Lord's Supper. In the Lord's Supper, Jesus, who is the Word, comes personally and delivers the gifts he won: forgiveness, life, salvation, and peace.
Some churches teach that Communion is only symbolic, that Christ is not present bodily. Others teach that our spirits are taken to Christ in heaven or to the foot of the cross. Some teach that we are reoffering Christ as a sacrifice to the Father. But in contrast to all of these views, we, as Lutheran Christians, teach that Christ comes to us. We believe that we are in God's house, at his table, where he has invited us to this sacred meal that he provides and in which he is the host. It is he who provides the meal, and in fact, he is the meal. And the purpose of this meal is for the forgiveness of our sins (Mt 26:28). For us, the entire focus of Holy Communion is on God and what he is doing in Christ for us. We are only receiving from his gracious hand. We believe that Communion is more than symbolic; we believe Jesus' words that we are receiving his very body ("This is my body") and blood ("This is my blood") which was given and shed "for you" (Mt 26:26-28). We believe that it is not we who go to God, but God who comes down to us and is serving us (Mt 20:27). As Christ came to this world as a child, as God in the flesh, so he now comes to us in the flesh in this meal, serving us and feeding us with his true body and his true blood together with the bread and wine and promises that all who receive it in faith will receive his gifts of forgiveness, life, and salvation that he won through his death and resurrection.
From this text we derive the Post-Communion Collect called the Nunc Dimittis (meaning "now dismiss" or "now let [us] depart"). Simeon had seen all he needed to see and he could now die in peace. He had held and seen the Savior, who was God in the flesh; he had seen the God-man Jesus who had come to bring salvation to Israel and to the world. God had kept his promise; salvation had arrived.
What wonderful words to apply to the end of Communion. Like Simeon, who had been led by the Holy Spirit to hold the holy Child and enlightened by the Spirit that this was the long awaited Savior, so we too are led by the Spirit to receive the holy Christ as we receive the bread and wine, indeed the very body and blood of Christ himself. Having now seen and even received Christ in our hands and in our mouths, we depart from the Lord's Table and go back into the world in peace. For in the reception of Christ, we now have all that we need.
In some settings, before the Prayer of Thanksgiving, the pastor encourages the congregation to give thanks by using the first part of Ps.107:1: "O give thanks unto the Lord, for He is good." The congregation responds with the last part of the verse: "and his mercy endures forever." By responding this way to the pastor's invitation to give thanks, the congregation acknowledges that we should give thanks because God is a merciful God, not giving us what we deserve. But instead he gives us his Son and forgiveness of our sins. In the Meal that we have just received, God has indeed given us his Son and the forgiveness that he won. For this then we join in the prayer of thanksgiving.
In the Prayer of Thanksgiving, we pray to the Father who has just provided us with a salutary (saving) gift, the body and blood of his Son Jesus. We thank him for this gift and we ask him to use this same gift that saves us to strengthen us in our faith in Him and in our love towards others. These two requests summarize Christianity and the Ten Commandments. First and foremost, we hold God in the highest regard above all things and, secondly, the result of faith is love. The Sacrament draws us outside of ourselves to live in Christ by faith and in the neighbor by love, to paraphrase Luther. These requests are made, as all Christian prayer is, through Jesus, our Mediator with the Father. And the prayer ends affirming that the one true God is the Triune God, Father, Son, and Holy Spirit. The Triune God reigns over all things now and he will continue to reign forever.
In some settings of the Divine Service before the benediction, there is an exchange between the pastor and the congregation, called the Salutation and Benedicamus ("bless the Lord" or "Let us bless the Lord"). To "bless the LORD" is to speak well of him. When we bless the LORD, we acknowledge what good things God has done for us. Ps. 103:3-4, which summarizes God's saving actions for Israel, also summarizes God's saving actions for us very well. He forgives us; he heals us; he redeems us; and he gives us continuous love and mercy "without any merit or worthiness in me." Because God does all of this for us, we ought to bless the Lord, bless his holy name, and remember all he does for us. So at this time we remember all that God has done for us in this Service and we give him thanks and praise for it.
The Benediction concludes the Divine Service. Benediction literally means "to speak well of" or "to speak good upon" and from that, we get its common meaning "to bless." So the Benediction is the final blessing of the Divine Service.
The Benediction comes from Num. 6:22-27. Here God told Moses that the priests were to end the OT divine service by saying this blessing over the people of Israel. Why did God command that this be done? In verse 27 God explains why. The speaking of these words puts God's name upon the people and God says he will bless them. God's name cannot be separated from God himself. If God's name is placed upon someone then God is with that person. Since God is good and gracious, wherever he is present with someone, he brings blessing to them. Notice that God says whenever you speak these words over the people, "I will bless them." God absolutely promises to bless them.
Whether the OT people of God (Israel) or the NT people of God (the new Israel of God – all who have faith in Jesus), God is with his people and God promises to bless his people. So the words spoken by the priests upon the people in the OT divine service can also be spoken to the NT people of God. God's promise to be with them and bless them holds for them too.
Another reason that these words are most appropriate for the NT Divine Service is that it is a reminder and reenactment of Jesus blessing his disciples when he ascended into heaven (Luke 24:50-51). Through the pastor God blesses his people. As the pastor says the blessing, he raises his arms to his side to the same position that Jesus held upon the cross. It is a visual reminder that all of God's blessings flow from the crucified Christ. God told man in the Garden that if he sinned he would die; that is the threat of the law that we have and cannot overcome. But the blessing ("The LORD bless you and keep you") has God doing what we cannot do, preserving us because He destroyed Christ instead of us. God frowned on us because of sin, but the blessing has God smiling on us ("the LORD make his face to shine upon you and be gracious to you") in Christ. God turned His face away from us in disgust over our lack of holiness, and the blessing has Him gazing at us with open arms ("the LORD lift up his countenance upon you"). We were His enemy, but now in Christ He gives us peace. Amen. Amen. Amen! The closing blessing is pure Gospel.
The Divine Service ends with a closing hymn and the recession of the cross. Our closing hymn one last time reflects the theme for the day. On those days it is used, as the recessional cross passes, we turn towards it and focus upon it. We follow Christ as He leads us and goes with us back into the world. As He guided us into God's holy presence in the Divine Service, so now He guides us back into the world to the places of our various callings to live by the mercy he has bestowed upon us in Christ by loving and serving our neighbor as Christ has first loved and served us. He is with us and guides us throughout our earthly life. And in the end he will guide us safely to our heavenly home.


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Girls' track player of the year: Emma Gallant, Cheverus
The fast freshman thinks keeping calm may be her strength.
By Deirdre FlemingStaff Writer
Many high school track and field athletes get nervous before track meets.
Not Emma Gallant, who just finished a wildly successful freshman year at Cheverus High.
Freshman Emma Gallant of Cheverus won two individual events at the Class A championship meet, then went on to take the New England title in 24.81 seconds – the second-best time in Maine history. Staff photo by Jill Brady
Emma Gallant
Gallant won both the 100 and 200 meters at the Class A state championships, with a Class A state-record time of 25.33 seconds in the 200. It was her first time breaking 26 seconds.
A week later, she went into the New England championships seeded ninth and won with a blistering 24.81 – making her the second-fastest 200-meter runner in Maine high school history. It also helped make her the Maine Sunday Telegram's choice for girls' track and field athlete of the year.
Gallant, who also starred on the Cheverus soccer team last fall, said she never imagined having so much immediate success. And she hasn't set any goals yet for the next three years.
"The way I see it, (the 200 is) 25 seconds of my life," Gallant said. "The faster I get done, the faster I get some food. It's just, have a good start, get there first, I'm good."
The only difference now, she said, is track is finally on par with her first love – soccer.
"Track used to be second. I did it more as a hobby," Gallant said while taking a break from kicking a soccer ball with a friend. "But this year was more fun than I thought it was going to be."
Gallant credits her rapid improvement on more focused training and having teammates to push her, two things she lacked in middle school and summer rec programs.
Gallant helped lead Cheverus to its first Class A state title.
She was the Stags' only individual double winner and ran on two relays – figuring in 38 of the team's 74 points.
In addition to the 100 and 200, she ran a leg on the winning 1,600 relay team (4:04.68) and the second-place 400 relay team (50.63).
At the New Englands, she also ran the 1,600 relay, which finished fourth in 3:58.96. At the New Balance nationals, Cheverus clocked a school-record time of 3:58.49, the second-fastest in Maine history. Gallant's powerful anchor leg was noticed by the announcer, who told the crowd she circled the track in 55 seconds.
Yet Gallant said she's not going to change her approach to track, and certainly not her enjoyment.
When asked if she considered herself "fairly chill," Gallant's direct answer was: "Yes I do."
And that may be her secret.
"My outlook has worked so far," she said. "I see no reason to change."
Nyagoa Bayak, Westbrook sophomore, jumps: Bayak won the Class A high jump (5-4) and triple jump (36-8), and had the year's top mark in the state in each (5-73/4 and 37-1).
Darcy Cochran, Cape Elizabeth freshman, hurdles: Cochran won the 100 hurdles in a state-best time of 15.14 and was third in the 300 hurdles (46:03) at the Class B state meet.
Adelaide Cooke, Falmouth senior, throws/hurdles: Cooke won her third Class A discus title (115-5), and was third in the 100 hurdles (16:12) and javelin (110-3). At the New Englands, she finished third in the discus (130-0).
Emma Gallant, Cheverus freshman, sprints: Gallant won the 200 at the New Englands (24.81) after setting a Class A record of 25.33 at the state meet. She also won the 100 (12.60) at the state meet to lead her team to its first Class A championship.
Katherine O'Brien, Orono junior, sprints/jumps: O'Brien won the 100 (12.93) and long jump (16-81/2) to help Orono run away with his sixth consecutive Class C championship.
Kylie Nelson, Belfast senior, jumps: Nelson won the long jump (17-7) and pole vault (10-0) at the Class B championships.
Juliana Selser, South Portland junior, distance: Selser earned Class A titles in the 1,600 (5:11.01) and 800 (2:16.95).
Hannah Steelman, Orono senior, distance: A double winner in Class C, Steelman won the 1,600 (5:07.62) and 3,200 (11:09.91).
Tia Tardy, MDI senior, distance: Tardy won the 800 in a Class B-record time of 2:14.76 and took the 1,600 title in a state-leading time of 5:01.14. She also finished fourth in the 800 at the New Englands with an all-time Maine best of 2:09.64.
Emma White, Cheverus sophomore, jumps: White won the Class A long jump with a state-leading mark of 18-2 and finished second in the triple jump (36-7).
Steve Virgilio, Cheverus: Virgilio led Cheverus to its first Class A state championship, with more than half of the team's 74 points coming from underclassmen.
UPDATE: This story was updated on July 14 at 5:50 p.m. to show that Darcy Cochran competed in the Class B state championships.
Deirdre Fleming can be reached at 791-6452 or:
Twitter: FlemingPph

redpajama_set_name: RedPajamaCommonCrawl


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Google Android 2.2: Questions and answers
Google's next-generation Android OS has arrived. Here's everything you need to know about it and what it'll do for you
JR Raphael (PC World (US online)) 21 May, 2010 08:18
My oh my, the air is smelling sweet today.
Google took the wraps off its next-generation Android operating system, Android 2.2, Thursday morning. Android 2.2 -- better known by its codename Froyo -- will add even more power and flexibility into the growing ecosystem of Android smartphones.
So what's Android Froyo all about, and what'll it do for you? Here are answers to all your burning questions.
What are the biggest new features in Android 2.2?
Where to start? The most significant core changes to the Android operating system revolve around these four points:
• Speed: Android 2.2 runs two to five times as fast as previous versions, thanks to a new Dalvik JIT compiler that allows for better CPU performance. And with a brand new Javascript engine, the stock Android browser is also two to three times faster than it was in Android 2.1. Plus, app switching should be noticeably smoother due to improved memory reclaim in the Froyo build.
• Flash: Froyo will be the first Android edition with full support for Adobe Flash and Adobe Air. (If you don't want to use it, you don't have to. If you do, you can. Choice -- now, that's refreshing!)
• Tethering: Android 2.2 has built-in support for tethering, though carriers will likely have to choose to allow it. Of course, you can turn your Android phone into a wireless modem on your own -- right now, with or without Android 2.2 -- if you know how.
• Mobile hotspot support: Along with tethering comes the ability to use your phone as a Wi-Fi hotspot, spreading your 3G connection wirelessly to other devices. Again, carriers will presumably have to sign off on this and may or may not allow it for free.
(Time out: Are you seeing the Android 2.2 images on this page? If not, you may want to click here to view the story in its original location. That'll let you see screenshots of all these tasty Froyo features in action.)
How will apps change with Android 2.2?
Hey, good question; you're clearly an intelligent and amiable individual. The answer is that with Froyo, Google's giving us a bunch of new ways to take advantage of apps from the Android Market and beyond. The highlights:
• SD card installations: Yep, you'll finally be able to install apps on your SD card, smashing the space limitations of Android versions past. You'll be able to select where you want each app to be installed -- SD card or internal storage -- and even toggle it back and forth with a couple of clicks later.
• Auto-update and update-all functionality: Froyo introduces the option to have your apps automatically update themselves when new versions roll in; you just configure the permissions to your likings and Android does the rest. If you decide to stick with manual updates, Android 2.2 will let you update multiple apps at the same time with a new "Update All" button inside the Android Market.
• App backup: A new option within the Android settings menu lets you back up and restore your apps' data. You could use this to recover lost information or even just move data and settings from one phone to another.
• Cloud-to-device messaging: It's as cool as it sounds. Android 2.2's new cloud-to-device messaging capability means developers can build in Web-based functions that will communicate directly with your phone. So, for example, you could click on a button in a Google Map on your PC and have it automatically open the same map -- complete with driving directions -- on your phone. Not too shabby.
Will Android 2.2 look any different?
The Froyo interface isn't substantially different from the Android 2.1 UI, but there are a few small tweaks: The home screen gains a new permanent bottom-bar with links to the phone app and browser; that bar stays in place even as you switch from one home screen panel to another.
If you're an Android newbie, Froyo has a new home screen tips widget that can help you learn the ins and outs of configuring your home screens.
And the unlock screen in Android 2.2 gets a new twist: You'll be able to set it to have a numeric or alphanumeric PIN instead of just a swipe pattern, if you so choose.
How about some Bluetooth voice dialing already?
Ask, and ye shall receive: I'm happy to report, my fellow Android enthusiasts, that Android 2.2 will in fact support Bluetooth voice dialing. It'll also have added support for Bluetooth-enabled docking stations and better compatibility with car-based kits.
What's this talk about a new Web-based Android Market?
It isn't ready yet, but Google is working on an update to the Web-based Android Market that'll bring all sorts of new app options our way.
With Android 2.2 and the new Android Market, you'll be able to browse apps on your PC and then download them to your phone -- without ever plugging the phone in. The apps will be delivered over-the-air as soon as you complete the transaction.
Also in the works is a new music service that'll offer MP3 sales directly from the Web-based Android Market. The files will be automatically downloaded over-the-air to your phone with this feature, too.
Then there's the streaming: You'll eventually be able to stream any non-DRM music files from your PC to your Android phone. It'll be made possible with the help of software by Simplify Media, which Google revealed it had recently acquired for use within Android.
So far, there's no set date on the launch of any of these features.
Will Froyo do anything for my phone's camera?
Android 2.2 does have a few small improvements to the camera function, namely a set of new on-screen buttons that'll make it easier to zoom and adjust your settings without having to dig around. The camcorder gains an LED flash option for nighttime videos (you're welcome, Paris), and also new options for optimizing video size and quality for MMS or YouTube uploads.
On a related note, Android 2.2's Gallery app gets a nifty new feature that'll let you use a zoom gesture to look inside stacks of photos.
Anything new on the enterprise front in Android 2.2?
You'd better believe it, bucko. Android 2.2 boasts auto-account-discovery and calendar sync for Exchange, as well as beefed up enterprise security features such as remote wipe for administrators, minimum password settings, and lock-screen timeout. It'll also offer global address list look-up within the E-mail application, meaning users will be able to autocomplete names from a company's directory without having to mess with their personal contact lists.
Spiffy. So when will Android 2.2 come to my phone?
Early word is that the Froyo update will hit the Nexus One within the "next few weeks." The Motorola Droid is said to be scheduled for an update soon thereafter, allegedly in June. (Bear in mind, though -- especially Droid users -- past experience tells us that these target launch dates don't always work out as planned.)
HTC has indicated that most of its 2010-launched Android devices will be in line for a Froyo fix, likely sometime in the second half of the year. From the sounds of it, even the newly released Droid Incredible and soon-to-be-released EVO 4G will be on this same schedule.
For everyone else, it's a game of wait and see -- and, if you're a true Android fanboy, maybe salivate -- for the taste of Froyo.
When new intelligence meets new learning
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The Morgan Growth fund is a mutual fund within the Vanguard Mutual Funds family. This fund has 30 other funds which are extremely similar to it.
Within the Vanguard Mutual Funds family of funds, the most positively correlated other funds are Morgan Growth Admiral Shares, Tax-Managed Capital Appreciation Admiral Shares, Total Stock Market Index Admiral Shares, Large-Cap Index Admiral Shares, 500 Index Admiral Shares.
Outside of the Vanguard Mutual Funds family, the most positively correlated other funds are Schwab - Large-Cap Growth, Vanguard - Total Stock Market, iShares - Dow Jones U.S. ETF, Vanguard - Large-Cap, iShares - Russell 1000 ETF.
There are multiple other funds which have extremely high correlation to Vanguard Mutual Funds's Morgan Growth fund.


– Uncovering the links between leadership and mental illness.
Why do some leaders succeed in times of crisis and others in times of relative peace?
In Nassir Ghaemi's impeccably researched book he puts forward the idea that leaders who have some form of mental illness, such as depression or bi-polar disorder, make excellent crisis leaders. To back up his claims he focuses on eight leaders from the world of politics, business, and war: John F. Kennedy, Martin Luther King Junior, Mahatma Gandi, Ted Turner, Franklin D. Roosevelt, William tecumseh Sherman, Winston Churchill, and Abraham Lincoln.
All of these leaders, according to Ghaemi, meet the clinical definition of mental illness to some degree and it is this mental illness that allows them to empathize with those they lead and come into conflict with in the case of depression, and gives resilience and creativity to those with bi-polar disorder.
In other words, in times of crisis we are better off being lead by mentally ill leaders than mentally healthy ones. There are different kinds of leadership for different contexts.
Ghaemi also gives examples of leaders who do not meet the clinical definition of mental illness and who did not excel in times of crisis: Neville chamberlain, Richard Nixon, George McClellan, and perhaps controversially George W. Bush and Tony Blair.
As Ghaemi defines it; "mental illness is the susceptibility of entering manic or depressive states not constantly being in those states. And leaders derive benefits from going into and coming out of those states.
This hypothesis has dramatic implications for those who lead people, whether it be through politics or employment. At its most basic the concept is that different circumstances require, not just different leadership styles, but different leaders entirely. The leader that builds a company and struggles to build an ongoing concern, may not be the right leader to joy the fruits of their labor. Conversely, the leader who has provided excellent stewardship for years if not decades, may not be he right leader when a crisis envelopes a business.
A First Rate Madness is an important book for those who seek to understand leadership and what makes good and bad leaders. It is perhaps symptomatic of the stigma attached to mental illness that this book is not more well regarded and its theories more widespread. One cannot read it and not take some serious insights even if rejecting its central premiss.
In short, it is essential leadership reading.


text:
The Poet and His Songs by Henry Wadsworth Longfellow
'The Poet and His Songs' serves as the l'envoi, or conclusion, of Henry Wadsworth Longfellow's 1880 collection, Ultima Thule. As a concluding piece, the work was an important one, as the l'envoi is typically used to convey a moral or final thought for the volume as a whole. Longfellow uses 'The Poet and His Songs' seemingly as a way to discuss his own relationship to his work, and his profession as a writer, which, in 1880, was very well-established. Longfellow's introspective pieces are not among his most common works, but they showcase his literary talents very well.
'The Poet and His Songs' also works well alongside the concept of the volume it appears in as a whole: "Ultima Thule" is a Latin term that was typically used in medieval European literature to describe either Greenland (in its literal interpretation) or any place that was beyond the borders of the known world. This grand, almost mystical idea, serves as the basis for Longfellow's 1880 work, and is a concept that is worth keeping in mind while reading through this poem as well.
The Poet and His Songs Analysis
First and Second Stanza
As the birds come in the Spring,
We know not from where;
As the stars come at evening
From depths of the air;
As the rain comes from the cloud,
And the brook from the ground;
As suddenly, low or loud,
Out of silence a sound;
'The Poet and His Songs' is a story told in basic-structure rhyming quatrains, in an ABAB pattern. The simplistic nature of the poem's structure, coupled with the easy rhyme from line to line, gives the poem a lyrical quality, and it is structured somewhat like a song. This is rather fitting, considering the initially abstract theme of the words themselves. In the first two stanzas, it is easy to see the repetition of a singular theme, namely that certain aspects of the natural world are inexplicable. Longfellow's use of natural imagery as a metaphor is hardly a unique idea, but he makes an interesting choice in not informing the reader what the images are a metaphor for. By starting every other line with the word "as," Longfellow makes it clear that he is drawing a parallel using the images described, but since this pattern begins in the first word of the work, the actual meaning is left unexplored.
What this means is that the initial focus of 'The Poet and His Songs' should be on the inexplicable ways in which the world works. The images invoked here are aviary migration, the source of the stars, the creation of rain, and the formation of sound. Keeping in mind that this poem was written in the late nineteenth century, each of these images represents an element of the world that is unknown and unknowable. If, in 1880, a person asked how sound is formed, the answer would be vague and speculative at best — topics such as sound and water cycle were in their relative infancy in the nineteenth century, and this seems to be the driving force behind these verses.
Third and Fourth Stanza
As the grape comes to the vine,
The fruit to the tree;
As the wind comes to the pine,
And the tide to the sea;
As come the white sails of ships
O'er the ocean's verge;
As comes the smile to the lips,
The foam to the surge;
The repetitive nature of 'The Poet and His Songs' continues to manifest in the third and fourth verses, with a notable shift in tone arriving in the fourth verse. The third verse invokes images and ideas very similar to the first two — the growth of fruit from seed and the birth of winds and tides are processes that are, for the majority of people, inexplicable. Even today, asking how fruit grows on trees will, in most cases, yield the asker an answer that is something like "I don't know; it just does."
For the fourth verse, however, the approach is slightly different; the parallels are drawn beside the sight of ships appearing in the horizon, and the way a smile creeps onto the face of someone when they're happy. While these events aren't at all inexplicable — there is a limit to eyesight and muscles in the body — they are still hopeful images, and are associated with comfort and safety. These ideas are inexplicable on a different level, such as in wondering why smiling is our instinctive response to happiness, or how it can be that in one moment those sails are invisible, and in the next they can appear.
Fifth, Sixth, and Seventh Stanza
So come to the Poet his songs,
All hitherward blown
From the misty realm, that belongs
To the vast Unknown.
His, and not his, are the lays
He sings; and their fame
Is his, and not his; and the praise
And the pride of a name.
For voices pursue him by day,
And haunt him by night,
And he listens, and needs must obey,
When the Angel says: 'Write!'
The final three verses are linked thematically, because they create the second half of Longfellow's parallel. As the title implied, the driving idea behind 'The Poet and His Songs' is to describe the motivation a writer has for their craft, and the reason that Longfellow writes as he does. The fifth verse describes the formation of ideas, as they travel from a "vast unknown" into the writer's mind, while the sixth verse describes the paradoxical nature of the end result of those ideas. The stories the poet tells are both his and not his, because he cannot explain where they came from or how. In the same way the natural world works, so too does his drive to write. The final verse likens that motivation to an Angel commanding the poet to write out the words spoken by voices in his head. To say that "the Angel told me to write" is like saying that there is no explanation for where the writing comes from because Longfellow is likening the process to something transcendent of human understanding. He doesn't understand where the sound comes from; he doesn't know how a seed transforms into fruit, and he doesn't know why he is a writer. But he does know, without a shadow of doubt, that all three things are true.
'The Poet and His Songs' is a very personal poem, and the parallel between discovering oneself and the natural world suggests that being who you are is the most important thing a person can do. Henry Wadsworth Longfellow's vast catalog of literary works suggests that he took this very seriously himself. In this way, 'The Poet and His Songs' is the ideal choice for a conclusion to the volume Ultima Thule, because that "vast unknown" where Longfellow found his ideas were both unknowable and unreachable but was always worth exploring. The idea of human potential being like an Ultima Thule that needs exploring is a strong one, an idea both lovely and empowering to finish one of his strong collections of poetry.
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To the River Charles by Henry Wadsworth Longfellow
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Song by Henry Wadsworth Longfellow
Andrew Walker
Andrew joined the team back in November 2015 and has a passion for poetry. He has an Honours in the Bachelor of Arts, consisting of a Major in Communication, Culture and Information Technology, a Major in Professional Writing and a Minor in Historical Studies.
Christmas Bells by Henry Wadsworth Longfellow
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The Tide Rises, the Tide Falls by Henry Wadsworth Longfellow
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Miltonic Sonnet
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The April 2016 acquisition of The Killen Group ("TKG") by Chartwell, a 20+ year old $9.2 billion (as of 12.31.2018) investment management firm, has augmented the resources and capabilities of our firm to successfully serve the needs of affluent investors.
Since the acquisition, Chartwell has obtained over 45 years of managed account experience in creating and preserving financial wealth for clients. Our disciplined, consistent approach to managing clients' wealth, "growth through value," has never been more pertinent to investors seeking capital appreciation while being mindful of preserving and protecting their wealth during adverse investment climates.
We provide our clients with a diversified approach giving specific consideration to portfolio concentration, investment goals and suitability, risk tolerance, income requirements and specific tax situations. Since each clients situation is unique, we also work with client advisors, trustees, attorneys and accountants to have a full understanding of the bigger picture.
*Chartwell's Individually Managed Account Program minimum is $1 million.


LMX-5 Cream (lidocaine in concentrations of 5%) is a topical anesthetic cream. It also has a 4% version. This may be the solution to hair removal pain for you, or it may not. Some people swear by it; others say it does nothing for them. I am firmly in the camp of LMX-5 fans, but I do think it is sometimes overhyped. I have very rarely experienced 100% anesthesia from topical anesthetics like LMX-5. However, it does an excellent job of taking the edge off the pain for me, and that's all I really want.
Purchase LMX-5 or other pain medications online here without a prescription.
A pain medication which works perfectly for one consumer may not work at all for another.
I make absolutely no guarantee that any product mentioned in this section will work for you or will work better or worse for you than another product.
I would like to comment on the letters about LMX-5 listed under Pain Management Tips. I agree that pain is a very subjective experience, however the most common reason for topical anesthetics failing is due to improper use by the customer. 99% of the problems we encounter are due to improper preparation of the skin prior to applying LMX-5 or customers applying it too thin.
You must not use any organic-based cleaners to clean the skin before applying LMX-5. Mild soap and water is recommended. Organic cleaners will strip the naturally occurring oils from the skin that are required for LMX-5 to absorb into the skin. You can use anything to clean the skin only AFTER you have removed LMX-5 (just prior to beginning the procedure). In addition, all topical anesthetics must be applied in a thick layer to be effective (think cake frosting). People are tempted to apply it lightly because it is not inexpensive. Unfortunately, a light application will not give you the desired result. I would be happy to answer any questions that visitors to your site may have about LMX-5 personally. Please feel free to refer them to my phone number and/or e-mail address listed below.
The onset, depth and duration of dermal analgesia provided by LMX-5 Cream depends primarily on the duration of application.
the skin, minor burns, including sunburn, minor skin irritation and insect bites.
possible because of ototoxic effects observed in animal studies (see WARNINGS).
amide type or to any other component of the product.
migration beyond the tympanic membrane into the middle ear is possible.
more sensitive to the systemic effects of lidocaine including acutely ill, debilitated, or elderly patients.
inability to metabolize local anesthetics normally, are at greater risk of developing toxic plasma concentrations of lidocaine.
temperatures until complete sensation has returned.
since the toxic effects are additive and generally synergistic.
LMX-5 Cream should be used during pregnancy only if clearly needed.
since the milk:plasma ratio of lidocaine is 0.4.
may be the locus of abnormal sensation.
bronchospasm, and shock. If they occur they should be managed by conventional means.
A thick layer of LMX-5 Cream is applied to intact skin.


Started this discussion. Last reply by Brad Martin Mar 30, 2018.
"I was tempted to spend the AU$60 each to get the two that were at Carbatec Adelaide. I like that there is a cut out that lets you make a t-joint as well. What put me off is that they are ugly looking things. I have clamp track and blocks set up…"
"Hi Larry. Here is our plan for a Platform Bed: https://www.buildsomething.com/plans/PB371CE714B330FFB/Platform-Bed"
"Interesting engineering to make it in small portable parts to go upstairs. Good Job! Looks like amazingly good woodworking also. Nice fit on the drawers and joints."
"It is just 4S clear pine from Home Depot"
"Looks to me, like you are an excellent woodworker, way beyond intermediate. Your Joints and fitting is perfectly true. Not sure where you are able to buy such high quality wood."
"Sure would like to get the detailed plans for this bed. Looks like a great project to build for my granddaughter!"
"Hi Larry. Here we list a variety of websites where you can find free project plans and DIY tutorials: https://kregjig.ning.com/forum/topics/project-plans-and-inspiration"
Just ol do-it-yourselfer, whose kids keep coming up with projects for Grandpa to build.


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Wolverine has multiple endings?! | JAMMSBRO '+g+"
Uncategories Wolverine has multiple endings?!
Fox has announced, in a very surprising marketing move, that Wolverine will have more than one ending and that it will depend what cinema chain on which one you end up seeing.
Now, this may sound like fun at first but multiple endings? To me a film is supposed to be an effort of inspiration, focus, effort and above all else, telling the story that some geeky writer envisioned after sitting staring at Final Draft for months on end.
Films shouldn't have optional endings, films shouldn't go through test groups to see what works and what doesn't. If you have to run tests to see if your film is good or not you shouldn't be making films and if you have to resort to releasing multiple endings to the film to get people to go then just how good is it?
This would have been a really good feature on the dvd. You select your ending and watch the movie and at the desired point the film switches angles to show you the other ending.
I dare say more than one fan will visit different chains to see the other endings but i dislike the idea from the get go.
As soon as i get a list of possible endings and where they show i'll post them.


If you are a new start company on a budget, this is the perfect spot for you. Catering to smaller companies in need of a little extra support, this building is not only comprehensive but attractive and affordable as well. Located in popular Cottbus, the offices in this centre are fully furnished, completely updated and benefit from new carpeting throughout. Starting at just twenty meters squared, these spaces are the perfect first step out of the home office . Fully equipped with the latest in business IT and ready for instant occupation, you have the option to start working the same day you sign your contract. Available on flexible terms for as little as a month, companies looking for maximum benefit with minimum commitment should run, not walk to become part of this community today.


text:
Switzerland Apple Stores reopening on May 12
Apple is preparing to reopen all four of its Apple Stores in Switzerland on May 12, as part of the iPhone maker's bid to slowly return its retail efforts back to normal around the world.
The store pages for the four Apple Store outlets in Basel, Genf, Wallisellen, and Zurich all indicate they will be open for business on May 12. Across all of the sites, the opening hours are listed as 11am until 6pm local time, with an asterisk indicating they are "special opening times" rather than their usual longer hours.
The updated store listings don't mention any special measures that Apple will put in place for the outlets, but it is likely Apple will place restrictions on how many customers can enter the store at a time, to maintain COVID-19 social distancing.
These measures could include temperature checks for both employees and visitors, as is currently conducted at some open outlets, as well as the wearing of masks by employees.
The Switzerland store news, first reported by 9to5Mac, is a continuation of Apple's attempts to bring a sense of normality to its retail operation. The company closed almost all of its stores as a precaution to limit the spread of the coronavirus, but started to reopen its outlets in April.
Apple VP of retail and people Deirdre O'Brien announced an intention to open up more stores on April 20, with store openings decided on a regional basis.
Switzerland's stores will follow one day after three of Germany's stores will open to the public once again on May 11. The single Apple Store in nearby Austria has been open since May 5, and plans are in place to reopen a selection of stores across the US starting the week of May 11.
GVA.apple Said:
"The store pages for the four Apple Store outlets in Basel, Genf, Wallisellen, and Zurich all indicate they will be open for business on May 12."
is the correct English name for Genf. Genf is the German name of the city.
fred1 Said:
Do temperature checks really work? What about the whole issue of people being carriers of the virus without having any symptoms?


text:
Low Winter Sun ist eine US-amerikanische Fernsehserie, die auf der gleichnamigen britischen Miniserie des Senders Channel 4 basiert. In den Hauptrollen sind Mark Strong und Lennie James zu sehen. Die Serie feierte am 11. August 2013 auf AMC Premiere.

Handlung
Frank Agnew und Joe Geddes, zwei Polizisten in der Stadt Detroit, ermorden zusammen einen korrupten Kollegen. Die beiden halten ihre Tat für das perfekte Verbrechen. Allerdings wird durch diese auch ein Prozess in Gang gesetzt, der ihr Leben für immer verändert.

Besetzung und Synchronisation
Die deutsche Synchronisation der Serie entstand durch Antares Film in Berlin, unter der Regie von Erik Paulsen.

Hauptbesetzung

Nebenbesetzung

Produktion und Ausstrahlung
 Vereinigte Staaten
Im Oktober 2011 begann AMC mit der Entwicklung der Serie. Die Pilotfolge zur Serie orderte der Sender im Mai 2012. Chris Mundy wurde als Showrunner und Executive Producer verpflichtet, sowie Ernest Dickerson als Regisseur. Wie im britischen Original wurden die Rolle des Frank Agnew mit Mark Strong und die Rolle des Damon Callis mit James Ransone besetzt. Nach diesen Verpflichtungen im Juli 2012 wurden im August Ruben Santiago-Hudson, Athena Karkanis und Lennie James verpflichtet, genauso wie Sprague Grayden und David Costabile. Im September 2012 wurde Erika Alexander für eine wiederkehrende Rolle gecastet. Im selben Monat wurde mit den Dreharbeiten zur Pilotfolge in Detroit begonnen. Im Dezember bestellte AMC neun weitere Folgen der Serie, welche im Frühjahr 2013 gedreht wurden.

Die Ausstrahlung der Serie begann am 11. August 2013 im Anschluss an eine Episode von Breaking Bad. Die Folge wurde von 2,51 Mio. Zuschauern gesehen. Die Einschaltquoten der Serie sanken von Woche zu Woche, sodass das erste Staffelfinale, das am 6. Oktober 2013 ausgestrahlt wurde, lediglich von 0,63 Mio. Zuschauern gesehen wurde. Im Dezember 2013 wurde bekannt, dass der Sender AMC die Serie nach der ersten Staffel eingestellt hat.

 Deutschsprachiger Raum
Im deutschsprachigen Raum erfolgte die Erstausstrahlung der Serie durch den Bezahlfernsehsender FOX vom 16. Januar bis zum 20. März 2014. Im Free-TV zeigte ZDFneo die Serie vom 4. Februar bis zum 13. April 2015 jeweils kurz nach Mitternacht.

Episodenliste

Rezeption
Bei Metacritic wurde die Serie mit einem Metascore von 59/100 basierend auf 27 Rezensionen bewertet.

Weblinks

 Offizielle Website bei AMC

Einzelnachweise

Fernsehserie (Vereinigte Staaten)
Fernsehserie der 2010er Jahre
AMC (Fernsehsender)


Robotlove opens today as a 10 week event that questions our relationship with robots in general and opens up the dialogue on our dependence on technology. Are we being run by robots or are they there to helps us live a better life?
This is a fundamental discussion that also concerns us at City of Tomorrow while we consider our integral human resilience or lack thereof as we use systems to serve and destroy us. In essence our transformative initiatives hook on well with this. For instance the issue of food and our dependence of the economic system to access our primary needs. FRE2SH is our city farm initiative that unites about 30 different companies, production, food innovation, research, food processing, restaurants, etc into one food resilience circular eco-system. It is not a surprise that RobotLove decided to work with us for the catering of 400 volunteers as crew and 90.000 expected visitors.
We prepared salades, wraps, mexican tortillas, sweets and even city brewed special beers for the event. We also registered volunteers through our COS3I social inclusion activities. Sustainocracy is not just a theory, it is put into practice as well. We are one big new world family!
By Jean-Paul Close in FRE2SH, multidimensional world on September 14, 2018 .


CARLSBAD — One of the top issues facing the city was back in the spotlight March 13.
The McClellan-Palomar Airport Master Plan update and Draft Environmental Impact Report was front and center as the City Council approved sending the county of San Diego its comments regarding the plan.
The city retained independent counsel, the Denver-based Kaplan Kirsch Rockwell law firm, to review the plan and partner Sarah Rockwell detailed numerous issues with the county's update and Draft EIR.
Rockwell's firm was tasked with focusing on legal, technical and city-related issues in the plan. From a high-level perspective, she said, her firm has issues with portions relating to aesthetics, biological resources, noise, transportation, air quality, greenhouse gas emissions and land use.
Each topic had several specific concerns Rockwell's 36-page comment letter addresses.
She also detailed inconsistencies such as maps, boundaries, forecasts and terminology. In addition to the general topics, each of those has more than a dozen subtopics within, which the comment letter addresses in detail, Rockwell said.
According to the EIR, though, the county does not believe the update will include significant impacts to air quality, aircraft noise, cultural resources, geology, greenhouse gasses, hydrology and land use and planning. Areas of significant impacts include aesthetics, biology, hazardous materials, construction noise and road traffic.
One big issue concerning noise is single-event noise impacts, she added. In addition to the request to evaluate single-event noise, Rockwell's letter will include a request to evaluate 24-hour noise measurements around the airport.
In recent public meetings, whether held by the city or county, dozens of residents have railed against the update. Most concerns center on noise and air pollution, while others are skeptical and see the county attempting to turn the airport into a John Wayne (Orange County) replica.
However, on March 13, about a dozen business leaders, company representatives and pilots pushed back and argued in favor of the update.
Ted Owen, the current chairman of the Carlsbad Chamber of Commerce, along with two former chairs, a Viasat representative and others spoke about the need for the upgrades, specifically the runway lengthening, which would allow for long-range private charters' nonstop service, rather than refueling at San Diego International or other major local airports before setting course across the country or abroad.
They did empathize with the residents' concerns over noise and pollution, but cited the economic benefits of the airport, direct and indirect jobs and tax revenue.


text:
Q: How to decode ' in flask with Jinja2 template When I'm trying to write errors from wtforms in Jinja2 template, it returns undecoded quote. How can i fix it?
{% if registrationForm.errors %}
    <script>swal("Error!", "{{ registrationForm.errors['password'] }}", "error")</script>
{% endif %}

Errors are equal to
{'email': ['This field is required.'], 'username': ['This field is required.'], 'acceptTOS': ['This field is required.'], 'csrf_token': ['CSRF token missing'], 'password': ['This field is required.']}

A: Use the safe template filter - it tells jinja2 to not apply any further filters.

Marks a string as being safe for inclusion in HTML/XML output without
  needing to be escaped.

usage Example:
{{ errors|safe }}

Or to,
{{ errors | tojson | safe }}

Or can also mark it safe using Markup in Flask.

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