Laying sod is a great way to achieve a beautiful, green lawn. A sod project is not for the faint of heart, though! It requires careful planning and execution. If you skip a step or don't carefully prepare, you risk wasting your time and money and having your sod fail to thrive.
Follow these five steps for laying sod to make sure that you get the most out of your investment.
Test your soil. Before you begin, it is important to know how your soil stacks up. If your soil is depleted or lacking in any key nutrients, laying sod won't accomplish much–it will just dry out or fail to thrive. There are many landscaping companies and garden centers that can test the soil for you, or you also send a sample into a national company. Additionally, many universities have soil testing services available. When you get your results back, you can determine what nutrients are missing from your soil. It is important to add those nutrients in for best results (and we'll have more on this later). Keep in mind that slightly acidic soil is best for sod. Aim for a pH level between 6.5 and 7.
Measure the area. Before you buy your sod, it's important to know how much you will need. Measure your yard, taking into account curved areas and garden beds that won't need sod. The old adage is measure twice and cut once, and that rings true in this case. Sod can get pricey, so make sure you've calculated correctly.
Prep the soil and sod. Get your yard ready for the sod by preparing the soil. You will know just what nutrients to add, thanks to that soil test! If you don't own a rototiller, you can rent one for the day or weekend. Till the area, loosening up the top six to eight inches of soil, and add in organic compost, fertilizer, lime and any nutrients that you found were lacking. Once the soil is properly tilled and nutrients have been added, rake the soil to even it out. Consider grading the edges around the sidewalk and driveway at a downward angle since exposed edges are prone to dry out or get chopped off with the lawnmower. Cut the sod from the underside as it's much easier to get a clean line. Measure curves by using rope or a garden hose, then cut out curves using a lawn edger and sod or carpet knife.
Lay the sod. Carrying sod can be hard on your body, so remember to lift with your legs, and carry the sod close to your body. Having a helper can take you further faster! There are several views on the best way to lay sod. One way is to outline the perimeter of your yard first, and then fill in the sod towards the center, using smaller pieces for the middle. Alternatively, you can start with the straightest edge of your lawn, and lay down lines beside one another across your yard. Keep edges tight, remembering that gaps create the an environment for the soil to dry out. Rake over footprints and press the sod firmly down so there are no gaps. Fill in any gaps in the seams with topsoil and brush it evenly.
Maintain your new sod. After you've laid the sod, you're not finished! In order to properly grow and thrive, the sod should be watered daily. Try not to walk across your fresh sod or you risk damaging it. After three to four weeks, you can mow your grass, aiming to cut only the top third of the grass. Following this trim, it is a good idea to fertilize your sod again, making sure that you are replacing any lost nutrients.
As with any major yard project, laying sod can be time consuming and the steps can be challenging. If you get stuck or would rather use your weekends for other projects–or for relaxing–call in the experts at Heffner, and we will take care of your sod project for you. We can do everything from start to finish, or help you through any steps along the way. Call us to find out how we can help you achieve the beautiful, green, lush grass you've always wanted!


text:
Past Critics
Publishers Info
The Constant Critic > Christina Mengert > Gurlesque
Gurlesque
Lara Glenum and Arielle Greenberg, Editors
Saturnalia Books, 2010
Christina Mengert 0
Gurlesque is an anthology of contemporary poetry by women that subverts cultural concepts of heteronormative sexuality. Arielle Greenberg and Lara Glenum, the collection's editors, maintain that the anthology rose out of an observation of growing tendencies toward certain representations of the female body and female identity that Greenberg coined "Gurlesque." These representations tend, as the name suggests, towards the grotesque, the carnivalesque, the burlesque. The first two of these three "esques" take as their modus operandi distortion and exaggeration (sometimes hybridization), to the ostensible end of subverting expectations (though exactly what these expectations are, it is hard for me to say, as they must vary from person to person, culture to culture). The burlesque operates similarly, though in a way more overtly concentrated on gender issues, and with the added dimension of performance. Glenum, in her introduction, refers her idea of the burlesque back to 19th century shows in which "female performers…literally usurped male power by taking on male roles onstage…ultimately emphaiz[ing] the constructed nature of both genders, calling into question accepted gender roles themselves."
So, to put it rather simply, what the Gurlesque attempts is the radical questioning of what it means to be a woman, or a girl, and a man or a boy for that matter, and to do so in a way that explodes cultural convention (1).
Lara Glenum writes that the anthology is "intended as a portal, as the beginning of a conversations whose end remains unseen." In this spirit, I want to voice some questions I have about the Gurlesque. I would like to say, in advance, that I have no interest in a valuative critique of these poems (2); my interest is in the Gurlesque as an idea, an attitude, an aesthetic. I would like to think through whether or not the anthology succeeds on its own terms (are the editors clear enough about their terms?), as well as some of the potential problems of the Gurlesque's way of conceiving the female body and identity.
The Body, The Abject: Arielle Greenberg, in her introduction, cites Kristeva's idea of the "body as a site of horror." The idea she refers to here is abjection, that which is "cast out" or "jettisoned" from the dominant symbolic order; for Kristeva, the mother's body was a site of abjection, as could be anything the body rejects (poison) or society rejects (garbage, or the female body, or cultural minorities). It might be interesting to discuss the Gurlesque treatment of the body in light of Kristeva's ideas, though Greenberg drops the reference quickly without critically bearing out the thought. This strikes me as a shame, because the Gurlesque, it would seem (3), seeks to shed light on the abject, to let those who would feel abjected give expression to the feeling of that state (4).
Thus, for reasons connected to theories of abjection, Greenberg embraces a language of horror in the Gurlesque, which presents the body distorted, violent and violated, pissed-off and powerful. It is what Greenberg calls "a feminine, feminist incorporating of the grotesque and cruel with the spangled and dreamy." I can see why the grotesque would be a marker of the abject, but not the cruel. Does the dominant symbolic order reject the cruel? (And here, what is the dominant symbolic order? American culture? Popular Andro-American culture? Well, this certainly does not reject the cruel. Gyno-American culture? What is that, exactly?). It might be true that women have long rejected cruelty from dominant female culture (or at least has often expressed it less physically), but is this really a bad thing? Is the appropriation of the worst qualities of those (women and men) who have subjugated women for centuries upon centuries really feminist? Or wise?
Ariana Reines, in a poem that begins and ends in sexual violence, writes, "Liquid shoot into her skull and leak out her eye hole/ Thick book like his fat head when I sit on it and fart." The language here is clearly fragmented and unapologetically violent (it's an "eye hole" instead of an "eye socket"&#8212this isn't anatomical, it's emotional, as "hole" connotes emptiness, void, and of course, the vagina). It is ostensibly intended to shock and disgust, and while it may not do the former (what shocks us nowadays?), it might trigger the latter. My question is, why, and to what end? What is disgusting? Is it the body? Or is it the violated and violating body? The poem itself suggests the latter. More to the point, it performs the latter.
Glenum writes that if the burlesque "is always about the body on display (i.e. the gendered surface of the body), the grotesque engages the body as biological organism." This strikes me as only marginally true: the body as biological organism is just configuration of atoms into tissue (a friend of mine who is a neurologist told me once, as we flipped through photographs of extreme skin diseases, that there is nothing of the body that she finds disgusting, only healthily or unhealthily functioning). The grotesque, then, distorts the body as biological organism (which is a kind of engagement, yes; but the word "engage" is imprecise to the aims of the grotesque). The anthology contains photographs, for example, of an oyster shell cradling teeth and tongue – and it's not the tongue or teeth that makes it grotesque&#8212it's the fact that the tongue and teeth are not in a human mouth. But "grotesque" does not just denote distortion; there is almost an emotional or valuative register of the word. As if we should shudder. But what if we don't (5)? It strikes me that the body is only a site of horror if we find it horrible (6).
The bodies in Gurlesque never quite manifest as grotesque to me, in the way that feels emotional or valuative, but they do appear, at times, disfigured (7). Take an except from "Fleshscape" by Nada Gordon:
To make a cape
of flesh, take
the labia minora
between the thumb
and forefinger, s-t-r-e-t-c-h
downwards and back
over the buttocks, then
upward along the ribcage,
curling them over
The vision of the body here is one that is malleable, undoes its own shape and makes a "cape" out of labia (a vaginal superhero?). What would constitute this as a grotesque gesture is its distortion of the natural, which of course has been a historically problematic notion, since notions of naturalness, particularly with the body, have been used to pigeonhole or violently exclude far too many people for far too long. But there's something about the anatomical language of "labia minora" or the instructional tone of the poem that seems to sidestep the grotesque (although I acknowledge that were this scene rendered visually, without language, it might feel more grotesque).
The Gurlesque's appropriation of ideas like the grotesque or carnivalesque suggests a penchant for defamiliarization, particularly in relation to the body. If we follow Kristeva's idea of the abject, we are reminded that "abjection is elaborated through a failure to recognize its kin; nothing is familiar;" so if the female body exists in an abjected state, then there seem to be two options: the body is alienated from the "I" that wears it, or the body is alienated from other bodies. I certainly do not discount the very real experience of feeling that the body is somehow alien from us, grotesque or somehow constantly performed without our willingness to perform it. But at the same time, I can't help but feel that all of this alienation is somehow, at its roots, psychological illusion. Bodies are not alienated from one another: they breathe the same air, they share an astonishing amount of DNA, they rely on one another for survival. Nor is the body alienated from the mind (except in rare neurological disorders); the two are in constant communication, at least until the death of the brain.
The tragedy of trauma, to which the female body is unfortunately too often subjected, is that it creates psychological fissures that lead to these feelings of alienation. Lacan, or even Kristeva, might argue that we all experience this trauma the moment we are ejected from the mother's body: my question is, how helpful is this Lacanian framework? Are there other ways of conceiving the body that do not always already assume trauma and alienation?
Identity: At the forefront of the Gurlesque is a mish-mash of conflicting identities: virgin, whore, mother, soldier, punk, bimbo, intellectual. We are all familiar with the stereotypical tropes of female identity; here, the subversion of these stereotypical, heteronormative tropes is undertaken by excluding nothing. A woman can wear a tutu and combat boots, lipstick and chains, be mother and sadomasochist and poet all at once. Brenda Shaughnessy writes, for example, "there is an argument for the dull-chic, the dirty olive and the Cindarelly," positing a vision for femininity that is at once delicate and magical (Cindarelly) and cosmopolitan ("the dull chic") and perhaps even militant ("the dirty olive") and somehow all superficial (all of these images refer us more or less to costume – a not unimportant point).
Or as Catherine Wagner writes in "All Bar One,"
nigh am so sick of doubting
myself an thinking I am bad
nigh bore myself
anyway trying to be like the udders…
First, let's face it, the pun on "udders" is kind of hilarious, especially as the image itself conjures sacks of milk, as if to say, I don't want to be like the other mothers (read "udder" in "mother" as well as "other"), I don't want to be a cow, I don't want to have my identity as a woman handed to me. There is something genuinely funny and even almost touching about these lines. At their core is an assertion of identity: to say I do not want to be what you want me to be is to begin to shape one's identity in an autonomous way.
But then, Glenum notes that these poems are not like those of second generation feminist poets, insofar as they are not "persona poems;" the persona poem, she argues, assumes "there is a face beneath the mask," while the poets of Gurlesque "assume there is no such thing as coherent identity. There is no actual self, only the performance of self." So then, there is no attempt at shaping an autonomous identity, only the performance of shaping an autonomous identity. We could also observe here that identity itself is a kind of performance, though it may be useful to distinguish between identity, which is constructed and often superficial, and self, which seems to have more to do with the kind of psychological glue that unifies the concepts of mind and body, and perhaps soul, if you swing that way.
I understand that the lyric "I" can perform many things beyond the poet's conception of his or her self. But when we say that there "is no actual self," do we mean in the poem, or there is no self writing the poem? And if there is no self, then there cannot be a violation of that self's autonomy. Are we again thinking ourselves into justification of the dehumanization that grieves us? How do we argue against the dehumanization of the female that these poets seem to rightly reject, but assume there's no human to oppress? I don't write this glibly: I really want to know.
There's an argument to be made that the performance of self exists purely to question assumptions that being human requires a concept of self (I think we do, according to the definition offered above). But I also wonder, after we've questioned and questioned and critiqued and critiqued notions of self and gender and identity, then what do we do? And maybe we have not exhausted ourselves in these questions quite yet – but at a certain point, don't we have to look up and say, "Okay, we deconstructed all of that nonsense. What now?"
I think Gurlesque offers itself as, among other things, an occasion to ask questions worth asking; in this way, as Lara Glenum suggests, it is the beginning of a conversation – with some funny or surprising poems in the mix as well, some more or less interesting, as will be the case for any anthology. I don't believe, however, as Arielle Greenberg remarks somewhat wryly, that these poems "are just words." I think these poems are evidence of and reaction to a culture that still cannot conceive of what a woman is, and so creates neat narratives and costumes for her and hopes that she'll buy it.
I'm not sure the Gurlesque, as an idea, attitude, or aesthetic, successfully throws off the mantle of old thought or cultural patterns; I'm not sure either embracing or rejecting the girly, the hard-core, the violent and/or feebly passive poles of possible female action or identity is quite as radical a response as the situation requires. I think it's possible to discover what we are in a way that our culture, perhaps any culture, has never imagined.
I think we can be new.
(1) The collection has been critiqued for excluding queer experience; other critics have also pointed out that the anthology's representation of cultural experience tends to be limited to American experience. Both of these critiques strike me as reasonable.
(2) I don't quite think it's fair to use these poems to defend a term they didn't write with in mind, nor seemingly had any interest in, though it is helpful to cite them as elucidating certain aspects of what the Gurlesque attempts to do. And, of course, this is one of the difficulties of this anthology; it frames poems that might otherwise have framed themselves differently.
(3) One of the challenges of this book is really understanding the editors' framing of the concept of Gurlesque, particularly in Greenberg's introduction. Ideas were sometimes dropped like a point on a map with no arrow. It does seem that there is still quite a bit of thinking to be done around the Gurlesque.
(4) Interestingly, the Gurlesque, which by its nature is performative, assumes abjection as a kind of costume, something you can put on, something you can appropriate. If you can put perform this abjection (as part of the burlesque or carnivalesque), what are the repercussions of this?
(5) Kristeva's idea of the abject relies on a visceral experience of revulsion. But what happens if there is no experience of revulsion? Is there no abject? In Kristeva's example, a corpse is the "utmost in abjection." But what if, as Cicero and the Stoics suggest, we accept the corpse as a marker of a death that we do not fear? Does the corpse then cease to become abject? Is abjection contingent upon certain emotional responses from the "I"?
(6) In other words, the grotesque relies on a subjective experience of horror; and like the abject, if there is no register of this experience, there is no grotesque.
(7) I actually had a very hard time finding poems that seemed to clearly employ or even play with ideas like the grotesque, carnivalesque, or burlesque (though there might have been a little riot grrrl in there somewhere…). There's some sex, there's some profanity, and there's some body, but not necessarily in ways that I would categorize as any of these "esques." The first poem I cited, "Blowhole," was a rare, more or less clear example.
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Kelly Tries the Makeup Brush Cleaning Mat!
Make your brushes look and feel brand new by giving them a deep clean.
Wash away stubborn makeup residue and bacteria with this silicone-based cleaning mat.
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Suctions to your sink or any hard surface for controlled cleaning.
Suction the mat to your sink, ideally under the faucet.
Wet the mat and add a brush cleaning solution of your choice. Using hand soap will also suffice.
When finished cleaning your brushes, rinse the mat and let it air dry.
Use this silicone mat to remove makeup buildup and harmful bacteria from your makeup brushes. Get a deep, concise cleaning from the mat's various textures that are ideal for eye makeup brushes but also designed for larger foundation and highlighter brushes. The raised textures of the mat allow you to spread the bristles of each brush to wash away stubborn makeup residue.
Try the Silicone Makeup Brush Cleaning Mat Risk-Free!
Why are there different textures on the mat?
This is to ensure your brushes are getting a precise, deep clean. The two "wash" pads can be used as a first step, whereas the "refine" pads can be used to remove eyeshadow or liner from smaller brushes. The "rinse" pads are designed to be used as a final cleaning step with more water.
Do I have to suction the mat to my sink to use it?
This is the recommended way to use the mat; however, you can simply hold the mat in your hand. When suctioned to the sink or a hard surface, the mat will not move around, so it's a matter of preference.
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text:
Q: How to configure SSL mongodb connection in YML file spring boot? I was trying to setup a ssl mongodb connection from spring boot but I couldn't able to find a way to set a connection from YML file(beacuse it's easy to maintain dev and prod environment). How can I add client.PEM and rootCA.pem keys to below connection?
Please note this not a database administration question!
data:
     mongodb:
         authentication-database: admin
         database: <database>
         host: <host>
         password: <password>
         port: <port>
         username: <username>

A: One way to resolve it is simple use URI string connect and database name in your application.yml file. Example:

data:
    mongodb:
      database: &ltdatabaseName&gt
      uri: &ltmongodb://[username:password@]host1[:port1][,host2[:port2],...[,hostN[:portN]]][/[database][?options]]&gt

Example with SSL option:
mongodb://user:password@mongoServer:27017/?ssl=true
More info here https://docs.mongodb.com/manual/reference/connection-string/

redpajama_set_name: RedPajamaStackExchange


When i opening new tab i can't easily determine which of the existing will be closed.
The idea behind PyCharm's handling of tabs is that you don't have to worry at all about which files are open in your tabs, much less about which tabs are going to be closed. We try to be smart about presenting the most relevant tabs to you, and we provide many navigation features (Goto File, Recent Files etc.) which let you quickly bring back a tab that was closed. Because of that, we don't have any plans to make the tab closing logic more visible or explicit.
Of course, you can tune the auto-closing logic or turn it off altogether if it doesn't suit your workflow.


text:
Q: Replace HTML JS and CSS files with tampermokey Is it possible to replace HTML, JS and CSS files with Tampermonkey?
These files would be hosted on a server and would just replace the files I want like the index.html, a JS files and the main styles CSS.
I could only find how to replace functions of a JS files but not how to replace a file...
This is the only thing i found: (but it's not working)
// ==UserScript==
// @name         New Userscript
// @namespace    http://tampermonkey.net/
// @version      0.1
// @description  try to take over the world!
// @author       You
// @match        http://xxx.xx/
// @grant        none
// ==/UserScript==

for (var i = document.styleSheets.length - 1; i >= 0; i--) {
    document.styleSheets[i].disabled = true;
}

var link = document.createElement('link');
link.rel = 'stylesheet';
link.type = 'text/css';
link.href = 'http://xx.com/xx/x/x.x.x/xxxx.css';
document.getElementsByTagName("head")[0].appendChild(link);

edit: this works for the css file...but the index.html is not linking to it...
Maybe its not possible :)
Thanks for any help.

A: (http://www.htmlgoodies.com/beyond/javascript/javascript-dynamic-document-creation-in-new-windows.html)
Try looking at the link and check out (in order) the topics "Cross-Writing Variables" and "Cross-Window HTML."  If you do that, you'll understand more about what tampermonkey is doing within the script snippet you're using above and also you should be able to see how to set your existing html document to the default html document that loads.
One side note, there's better ways to perform this process if you have access to install serving languages or frameworks to your server.

A: If you are using Chromium with extension support check out Resource Override. It does what you want. JS, CSS, HTML, also Modifying Response headers. Can redirected to another URL whether it's remote or localhost, or store the code directly in the plugin.


So I'll admit that this one made me laugh. Coming from Pawtucket, RI's Smug Brewing, this is Chubby Unicorn. The beer is a double IPA packaged in 16oz cans and the "chubby unicorn" is a rhinoceros. Look for this beer to hit 8.5%-AbV & 50 IBU..


text:
Funds for New SoMa Jail Go Looking for Voter Approval This June
By Andy J. Wang Jan 19, 2010, 9:16am PST
While the city plans a new police headquarters in Mission Bay, there are also plans in the works to build a new jail roughly where the current Hall of Justice is, on 6th Street. The new buildings are all part of a larger scheme to replace the Hall of Justice, which the SF Examiner notes is not earthquake-ready. While it would cost $435 million to build a new jail, having to evacuate a crumbling jail post-quake would hardly be ideal — and it would cost "tens of millions" just to temporarily put up prisoners before a new jail gets built. Therein lies the sell, as most of the money for the project would come ostensibly from a bond measure going to voters this June. So, citizens: worth it, or not worth it?!
· Jail design may begin this year [SF Examiner]
· Mission Bay Police HQ Will Ask for Money to Strut Its Staircase [Curbed SF]


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text:
KUSI – Local Democratic lawmakers announce gun safety bill
KUSI - Local Democratic lawmakers announce gun safety bill
KUSI News
"This new legislation proposed by these two anti-Second Amendment state Assemblymembers calls for safety rules for gun owners that already exist," said Michael Schwartz, executive director of San Diego County Gun Owners. "The purpose of this grandstanding is nothing more than an attempt to influence the public to believe that gun owners are dangerous and unsafe, which is untrue." He said concealed-carry permit holders have an "exemplary track record" when it comes to safety and proficiency. "As a group, CCW holders commit far less crime than the general public," he said.
Station: KUSI


text:
By Montgomery Schuyler
Nowhere else in the United States is the growth of wealth and luxury since the civil war so impressively in evidence as it is in Newport. Not even in the great cities, for there poverty is also in evidence. There are no signs of a proletariat in the oldest and most famous of our sea-side resorts, nothing but a bourgeoisie and a plutocracy. Even the hack-men have the air more of an indigenous "fierce democratic" than of the imported "lower classes," while the watermen are of a strictly autochthonous and Yankee development. The "fair sea-port town" of Longfellow's poem of a generation ago is still there, with its colonial reminiscences and suggestions. But the poem is obsolete as a representation of the present and most characteristic Newport. That is the Capua upon the Cliffs, inhabited by a race apart which is a strict plutocracy, confining its association to itself and retaining enough of the mercantile spirit, it is reported, to conduct its "fashionable arrangements" in a spirit of strict reciprocity. Only in Newport, for example, are officers of the army and navy not ex officio "in society," and it is only a few years since a foreign Admiral who was entertained "on the Cliffs" expressed wonder that no members of his own profession should have been asked to meet him. The visitor, seeing the equipages of the wealthy "shine like meteors and their palaces rise like exhalations, " is moved to repeat the exclamation of Mrs. Carlyle's servant-girl at sight of the Sistine Madonna, "Lor', mum, how expensive!" A newspaper correspondent, who had written that the summer colony of Newport "devoted themselves to pleasure regardless of expense," was pertinently corrected by the late Colonel Waring, himself a Newporter, who explained that what they really did was to devote themselves to expense regardless of pleasure. Of the same appositeness was the remark of a pertinently impertinent bric-a-brac dealer to the cottager who had expostulated with him on the monstrous price he charged for an old plate: "Well, you see, nothing is so common in Newport as money. Now this is not common."
The transformation of the place is most impressively expressed in the architecture, as is to be expected. In the sixties, the cottages were really cottages. The earliest were the regulation "villas in the Italian style" that prevailed elsewhere, executed of modest dimensions and plain material. To them succeeded some chalets in the Americanized Swiss style, and these were apt to be pretty and fairly sure to be appropriate to the purpose and the climate, if not to their surroundings of a classical and "elegant" landscape. They were, in fact, like magnified and more permanent tents pitched by the shore with their umbrageous appurtenances. Mr. Henry James has vividly presented the Newport of the seventies in "An International Episode":
Billiard Room at The Breakers
"Everything looked as if it had received a coat of fresh paint the day before—the red roofs, the green shutters, the clean, bright browns and buffs of the house fronts … They found themselves face to face with the ocean and with a very picturesque structure, resembling a magnified chalet, which was perched upon a green embankment just above it. The house had a veranda of extraordinary width all around it, and a great many doors and windows standing open to the veranda. These various apertures had, in common, such an accessible, hospitable air, such a breezy flutter within of light curtains, such expansive thresholds and reassuring interiors, that our friends hardly knew which was the regular entrance, and, after hesitating a moment, presented themselves at one of the windows."
This will still serve as a composite image of the other seaside resorts from Mount Desert to Atlantic City, but it has quite ceased to be characteristic of the oldest and most famous of all. Another shrewd observer, M. Paul Bourget, in his "Outre Mer," has given the impression of the Newport of the nineties - the impression of an architectural museum, having nothing of the air of a temporary resort, but rather of a "continuing city," reared of monumental material, and above all regardless of expense. Indeed, the French tourist by reason of seeing Newport first was induced to make some rash generalizations about the United States in general, which a wider observation would have shown him would not hold good. They may have been nearly as rash as was, according to Goldsmith, the famous generalization from the experience by a preceding French traveler of his first inn that the landlords of Alsace were all drunken and the landladies all red haired.
Nevertheless, M. Bourget's presentation is vivid enough to be worth reproducing:
Dining Room at The Breakers
"It is here that this spirit of 'go-ahead' proper to America is recognized in magnificences of building highly significant, when one thinks that these dwellings serve for six weeks or two months of summer, and that they imply a four-horse coach, a yacht - sometimes two, sail and steam - a private car, a house in New York and another in the country. Here is a man who has lived much in England, and it has pleased him to have, on one of the slopes of Rhode Island, an English abbey in the style of Queen Elizabeth. Another loves France, and it has suited him to possess, in view of the Atlantic, a chateau of the French Renaissance. There is the château which recalls to you Azay, Chenonceaux and the Loire, with the clear slow ribbon of its water, wound, unwound, rewound around the black sands of the islets. A third has built a marble palace, like Trianon, with pilasters having Corinthian capitals as large as those of the temple of Baalbec. And these are not the "something like it," of those pretentious and incompetent attempts which in every country make ridiculous the boasters and the parvenus. No. The detail and the finish disclose conscientious study and technical pains. Evidently, the best artist has been chosen. He has had liberty and he has had money. Above all, money. . . . As in the harbor and the streets of New York so much activity confounds you, in these avenues of Newport so much wealth astounds you. It revolts you or it ravishes you, accordingly as you are nearer to socialism or to snobbery. The disinterested observer who looks at a city as he would look at an ant-hill, recognizes there the same fact observed at the first hour, a something intemperate and unbridled. The American genius seems not to know measure. The buildings of utility that these people construct, when they are tall are too tall. Their houses of leisure, when they are refined are too refined. When they set themselves to spending money, they must spend too much in order to have the sensation of having spent enough."
The uniqueness of Newport, indeed, prevents it from being typical, though it does not prevent it from being highly symptomatic. And, even as to Newport, the generalization of a regardlessness of expense, though obvious, does not proceed from a wide induction. The majority of the summer residents are still cottagers. The "palacers" are few in number, although the palaces are so conspicuous as to be characterizing. The "Ochre Point Club," invented by local envy, to which the initiation fee is a million dollars, must be strictly a coterie, a very select coterie, and as amusing as one would expect from that particular principle of selection.
Entrance Hall and Staircase at The Breakers
Nevertheless, the palaces are tremendously in evidence. There cannot be such a display of sumptuosity in so limited an area at any other watering-place in the world as that which borders the Cliffs on the most eligible building-site, perhaps, that the whole Atlantic coast affords. For the most part, they have supplanted cottages or villas. Indeed, some of them still aim at the cottage or villa character, though carried out with an expensiveness which denies that purpose and puts it to shame:
"They passed a cottage with a double coach-house,
A cottage of gentility;
And the devil did grin, for his darling sin
Is the pride that apes humility."
But there is no affectation of humility about such palaces as "Ochre Court" and "Marble House" and "The Breakers." They are palaces confessed, and the most palatial of them is "The Breakers." The three, as it happens, are all from the same hand, that of the late Richard Morris Hunt, and exteriorly, I think that nobody would call "The Breakers" the most artistic. That distinction pretty clearly belongs to "Ochre Court," which is a château, very like the one M. Bourget had in view, and that recalled to him Azay, Chenonceaux and the Loire. The idea of a Roman villa, a "sea-side palace" at Capua, say, in the Imperial period, seems to have been in the minds of the architect and owner of "The Breakers," one of those of which the regardlessness of expense astounded and rather revolted Horace. This idea seems to me to have been much more completely and artistically expressed in Mr. Hunt's first design, which perhaps exists only in the form of a perspective sketch. This was for a pinch lower and simpler building than the actual erection, a pavilion which, with all its sumptuosity, gave the true notion of a sea-side place, a temporary abode, a tent, even though a tent wrought in marble, pitched by the beach for resort rather than for residence. It promised as artistic an expression of this phase of "lordly pleasure-house" as "Ochre Court" is an artistic reproduction of the chateau of the French Renaissance. It is a pity that it could not have been executed, to have added an interesting variant to the types of villas, already to be seen. Why it was not, I do not know. Possibly on account of the need of more "accommodation" than could be obtained in so low a building on so restricted a plat. The dependencies and offices of a country-seat, if they are distributed on one or two floors, take up more room than can be spared for a site on the Cliffs at Newport, and accordingly have to be superposed, to the injury of the architectural expression. Even in "Ochre Court" they are assembled in an annex of four stories, and this annex is the chief drawback to the complete success of that admirable work. The assemblage of them in "The Breakers" under one roof with the main apartments, and in a third story and an attic, inevitably gives the building the air of a town mansion - in this case, of a Roman palace in Rome rather than of a Roman villa at Capua. There would be nothing incongruous in the design of "The Breakers" for the town-house of a multimillionaire who can afford himself, as one multimillionaire has lately afforded himself, the luxury of enough grounds for the frame and setting of such a mansion. And to say that is, of course, to say that there is something incongruous in the erection of it as a summer place on the Cliffs at Newport, where it has even an aspect as much "institutional" as domestic, even of domesticity raised to the "palatial" power. In its actual place this great bulk of light limestone has distinctly a "public" air, which all the pains taken with the design and detailing of the features do not suffice to remove. Given the architect's donnee, however, and it must be admitted that it is artistically wrought out. Each of the four "elevations" is separately designed and has its own distinctive feature - in one the entrance-porch and driveway; in another the rounded projection of the drawing-room, continued as a bay in the second story, and with the peristyle of Roman Doric columns below flanked by an Italian arcade; in the third the double loggia, filling out at the center through two stories the recess between the projecting wings. Artistically, this front, looking eastward at the sea, is the most successful and taking of all; and it is so thanks to this central feature. The proportions of the loggia are happy, and the transition from the simplicity and massiveness of the three single lower openings to the elaborate lightness of the doubled openings above is very effective. And from any point of view the building gains greatly from being set upon an "emplacement" which is architecturally a part of it, and of which the walls and terraces and perrons and balustrades help to make up the ensemble as well as to promote the sense of a regardlessness of expense.
Library at The Breakers
But it is the interior, as the illustrations show, and as the reality shows much more vividly, in which the sense of lavish expenditure is carried furthest. It is doubtful whether in any other country-house in the United States what in Europe would be called "the state apartments" are so stately as in this summer home. The feeling that the house is too big for its site is, of course, lost within doors, where the magnitude of the rooms becomes evidently necessary to the attainment of a dignified amplitude. The rooms are no bigger than they ought to be to mark the character which the artist had in view. This is, of course, the character of magnificence, and for the expression of it liberality of space, as well as sumptuosity of material, is mere decency. Albeit the photographs give an inadequate sense of it, they give one much more nearly adequate than words could do. The scale is, indeed, unusual in American houses. The great hall, for example, running through two stories, is more than forty feet high, and, of the rooms which open from it, the drawing-room has an area of thirty-two by fifty and the dining-room is somewhat larger. The hall, lined with carved Caen stone, is merely a fitting vestibule to the "show-rooms" - the rich and dusky splendor of the billiard-room with its wainscot of serpentine and the mosaic of its domed ceiling; the truly "palatial magnificence" of the dining-room with its massive shafts of red Numidian and their gilded capitals; the gorgeousness of the white-and-gold drawing-room; the arch of the great stairway with its railing of wrought metal, dividing at the landing into the graceful curves of the upper ramps.
Morning Room at The Breakers
Of all these sumptuous apartments, the dining-room perhaps gives most powerfully the impression of magnificence, strikes the spectator as the most successful work of art. But, except the drawing-room, which is from another hand than the architect's, and in the gorgeousness of which there is perhaps a touch of banality, each of them strikes him as primarily a work of art, and it is this fact which saves any of them from making the effect of mere profusion. Like the scale, the material is felt to be merely the due execution of the design. Even M. Bourget's phrase, "above all, money, " it would be unjust to apply to this work, much more the phrase of "a luxury a little brutal, " which he applies to some of the manifestations of our plutocracy. One need not leave Newport to find justification of both. There are there apartments and houses which may be said to exhale money, as Cardinal Newman, in a burst of Saxon, said of the common room of Oriel, in his time, that it "stank of logic." Where the design, which has been so lavishly carried out, is in itself interesting and evidently worthy of so elaborate an execution, the element of vulgarity which belongs to mere profusion vanishes, and the sense of ostentation is replaced by the sense of art. In a work thus simply adequately done, there is not anything "intemperate and unbridled." The owner has not been "spending too much in order to have the sensation of having spent enough"; he has merely been supplying his artist with the means of carrying out the artist's ideas.
Naturally, a palace built among palaces for an owner who was reputed to be "the richest man in America" would be looked to for an example of profusion and ostentation. How repugnant it would have been to the modesty and simplicity of Mr. Cornelius Vanderbilt's character to set such an example, strikingly appears from one of the rooms in "The Breakers," which is not in the least one of the show-rooms. It is a small room on the ground floor, perhaps the smallest on the floor, very plainly fitted and furnished, a mere "cabinet de travail," which was known as "Mr. Vanderbilt's office," where the master of the house closeted himself with the care's of business and of charity which engrossed his blameless, diligent and useful life. Already, new as they both are, the two most noteworthy palaces of the Cliffs, "The Breakers" and "Ochre Court," are bereaved of their builders, and the universal moral of mortality is "writ large" when death involves a divorce from great possessions.
Parlor at The Breakers
It is not alone the palatial character of the villas of Newport - at any rate it is not the palatial character of this particular villa, among the most palatial, that gives the impression of "something intemperate and unbridled," which undoubtedly one does derive from the aspect of the Cliffs. It is the huddle of palaces, testifying to, the queer gregariousness of the plutocrats who occupy them, and who are so devoted to the society of one another that, having enjoyed it in New York all winter, they must welter in it in Newport all summer. Even a multimillionaire, we may concede, has a right to his preferences, but this, the observer is driven to suspect, is not an affair of enjoyment so much as of emulation, the struggle to outdo one another, or at least not to be outdone. And of course there is a taint of vulgarity about this feeling. Wherever it can be detected, it justifies Colonel Waring's remark that the victims of it are devoting themselves to "expense, regardless of . pleasure." And certainly the huddle of palaces has an unfortunate effect on the appearance of the palaces. They are so crowded that "The Breakers" has been carried a story higher than its architectural expression required or justified, and that a four-story annex has been added to "Ochre Court." Apart from that, each of these palaces requires a domain for its setting. A palatial villa with only the appendage of kitchen-garden is a misplacement of magnificence. Any one of the Newport palaces might be the show-place of a shire. The least that should be done to enable it to have its due affect, would be to build it in its own park, not its own door-yard, and to keep it out of eyeshot of any other edifice of similar pretensions. Happily some multimillionaires have discovered that a country-seat implies an estate, and in North Carolina, in New England, on Long Island, and elsewhere, have begun to realize that idea. The results will not stun the beholder with the desperate prodigality which impresses him at Newport. But they will be all the better for that.
Cosmopolitan Magazine. 1900.
Labels: American History, Vanderbilts


For the millions who log in every day, Warcross isn't just a game - it's a way of life. Struggling to make ends meet, teenage hacker Emika Chen works as a bounty hunter, tracking down players who bet on the game illegally. When Emika hacks into Warcross, she is shocked when she gets a call from the game's creator with an irresistible offer. He needs a spy on the inside of this year's tournament in order to uncover a security problem...and he wants Emika for the job.
Ellery's never been to Echo Ridge, but she's heard all about it. It's where her aunt went missing at age 16, never to return. Where a homecoming queen's murder five years ago made national news. And where Ellery now has to live with a grandmother she barely knows, after her failed-actress mother lands in rehab. No one knows what happened to either girl, and Ellery's family is still haunted by their loss.
From the author of the international best seller If I Stay, now a major film starring Chloe Grace Moretz. When sheltered American good girl Allyson "LuLu" Healey first meets laid-back Dutch actor Willem De Ruiter at an underground performance of Twelfth Night in England, there's an undeniable spark. After just one day together, that spark bursts into a flame, or so it seems to Allyson, until the following morning, when she wakes up after a whirlwind day in Paris to discover that Willem has left.
Just listen,' Adam says with a voice that sounds like shrapnel. I open my eyes wide now. I sit up as much as I can. And I listen. 'Stay,' he says. Everybody has to make choices. Some might break you. For seventeen-year-old Mia, surrounded by a wonderful family, friends and a gorgeous boyfriend decisions seem tough, but they're all about a future full of music and love, a future that's brimming with hope. But life can change in an instant.
A brand-new, heart-wrenching story from the best-selling author of If I Stay and I Was Here, Gayle Forman.
After the three of them collide in Central Park, they slowly reveal the parts of their past that they haven't been able to confront, and together they find their way back to who they're supposed to be.
Read by Nicole Lewis, Sunil Malhotra and Michael Crouch.
story is really touching.. and loved it overall..
I really liked the story.. it's was hooking.. and it was my first audio book.. so it really takes use to it.. my yeah after 1st chapter.. I adjusted and I enjoyed it. and really loved the friendship aspects of the story.. and how friends complete us.. how we can depend on them. it was 3.5/4.0 stars for me..
I enjoyed how the characters connected and revealed their demons. Excellent performance too. Worth a listen!


This dish can be prepared in advance left in the refrigerator and put into the oven whenever you're ready to eat. The large conchiglie pasta shells are generous stuffed with a flavorful Italian sausage and three of your favorite Italian cheeses of ricotta, Parmesan, and mozzarella. Placed on a bed of rustic marinara sauce, you and the family will come to love eating these wonderful large stuffed shells that are filled with traditional Italian flavors. Buon Appetito!
2Cook jumbo pasta shells according to package instructions. Let the pasta shells cool in a bowl of ice water. Take out and lay on a baking sheet lined with paper towels. Set aside.
3For the pasta shell filling, heat a large saute pan over medium-high heat with 2 tablespoons of oil. When oil is hot, add in chopped onions and garlic. Cook until onions are softened and garlic is fragrant. Add in Italian sausage and cook until meat is done. Add in spinach, and cook until wilted. Take sausage mixture off heat and allow to cool to room temperature.
4In a medium mixing bowl, add in ricotta cheese, mozzarella cheese, Parmesan cheese, oregano, eggs, kosher salt and freshly ground black pepper. Mix together. Stir in cooled sausage mixture.
5Grease a 9"x13" baking pan. Spread two-thirds of the marinara sauce on the bottom of the baking pan. Using a spoon, fill pasta shells with sausage ricotta mixture. Set filled shells in baking pan on top of the marinara sauce. Top pasta shells with mozzarella cheese and ½ cup of parmesan cheese.
6Cover with foil and bake for 20-25 minutes. Remove foil and bake for another 10 minutes or until cheese begins to brown. Garnish with parmesan cheese, torn basil leaves, and remaining marinara sauce.


text:
<?php

declare(strict_types=1);

namespace CodeGenerationUtils\GeneratorStrategy;

use CodeGenerationUtils\FileLocator\FileLocatorInterface;
use CodeGenerationUtils\Visitor\ClassFQCNResolverVisitor;
use CodeGenerationUtils\Visitor\Exception\UnexpectedValueException;
use PhpParser\NodeTraverser;
use PhpParser\NodeTraverserInterface;

use function file_put_contents;
use function rename;
use function trim;
use function uniqid;

/**
 * Generator strategy that writes the generated classes to disk while generating them
 *
 * {@inheritDoc}
 */
class FileWriterGeneratorStrategy extends BaseGeneratorStrategy
{
    private NodeTraverserInterface $traverser;
    private ClassFQCNResolverVisitor $visitor;

    public function __construct(protected FileLocatorInterface $fileLocator)
    {
        $this->traverser = new NodeTraverser();
        $this->visitor   = new ClassFQCNResolverVisitor();

        $this->traverser->addVisitor($this->visitor);
    }

    /**
     * Write generated code to disk and return the class code
     *
     * {@inheritDoc}
     *
     * @throws UnexpectedValueException
     */
    public function generate(array $ast): string
    {
        $this->traverser->traverse($ast);

        $generatedCode = parent::generate($ast);
        $className     = trim($this->visitor->getNamespace() . '\\' . $this->visitor->getName(), '\\');
        $fileName      = $this->fileLocator->getGeneratedClassFileName($className);
        $tmpFileName   = $fileName . '.' . uniqid('', true);

        // renaming files is necessary to avoid race conditions when the same file is written multiple times
        // in a short time period
        file_put_contents($tmpFileName, "<?php\n\n" . $generatedCode);
        rename($tmpFileName, $fileName);

        return $generatedCode;
    }
}

redpajama_set_name: RedPajamaGithub


text:
> Fancy git-tagging for npm modules.

This project provides a command line utility to create git tags of an npm
install-able version of your module.

The npm package manager allows you to install modules directly from a git
endpoint. This is great but can lead to larger package installs than necessary.
in-version creates tags that include only those files which npm would grab
during a publish - usually whatever is listed in the [main attribute][npm-main]
of your package.json.

## Installation

You will typically want to install in-version globally:

```shell
npm install --global in-version
```

For pro points you can install in-version locally:

```shell
npm install --save-dev in-version
```

## Usage

Once installed, in-version makes the `inv` command available to you. This
command behaves a lot like [`npm version`][npm-version].

```shell
inv minor
```

After running the above:

- The minor version number in your package.json will be incremented (a la `npm
  version`)
- A published-things-only tag will have been created (e.g. v1.1.0)
- The working copy will have been tagged as the corresponding dev version
  (e.g. v1.1.0-dev)

If in-version was installed locally you can either invoke it directly from
`./node_modules/.bin/inv` or create an npm script to run it.

For more information run `inv --help` or take a look at [usage.txt][usage].

## License

MIT

[npm-main]: https://docs.npmjs.com/files/package.json#main "npm main attribure"
[npm-version]: https://docs.npmjs.com/cli/version "npm version"
[usage]: https://raw.githubusercontent.com/iVantage/in-version/master/usage.txt "usage"


text:
<component name="libraryTable">
  <library name="Java WebSocket">
    <CLASSES>
      <root url="jar://$PROJECT_DIR$/../../Library/Java WebSocket/java-websocket-1.3.0.jar!/" />
    </CLASSES>
    <JAVADOC />
    <SOURCES>
      <root url="jar://$PROJECT_DIR$/../../Library/Java WebSocket/java-websocket-1.3.0-sources.jar!/" />
    </SOURCES>
  </library>
</component>


Let QTI add any cable, connector, or wire harness needed to connect to your sensor element or assembly at the system level. Both commercial grade and MIL-DTL-38999 connectors can be designed and manufactured to be delivered to the end user as complete, tested assemblies. Save your program both time and money by sourcing your sensor and harness from a single approved source.


Rev. Dr. S.L. Gardner - Spokane Valley, WA U.S.
Ladies and gentlemen, leaders of the world. I, the Prime Minister of Israel, am speaking to you from Jerusalem in the face of the terrible pictures from Kfar Kana. Any human heart, wherever it is, must sicken and recoil at the sight of such pictures. There are no words of comfort that can mitigate the enormity of this tragedy. Still, I am looking you straight in the eye and telling you that the State of Israel will continue its military campaign in Lebanon.
We will not hesitate, we will not apologize and we will not back off. If they continue to launch missiles into Israel from Kfar Kana, we will continue to bomb Kfar Kana. Today, tomorrow and the day after tomorrow. Here, there and everywhere. The children of Kfar Kana could now be sleeping peacefully in their homes, unmolested, had the agents of the devil not taken over their land and turned the lives of our children into hell.
us, you can stop visiting us and, if necessary, we will stop visiting you.
Today I am serving as the voice of six million bombarded Israeli citizens who serve as the voice of six million murdered Jews who were melted down to dust and ashes by savages in Europe. In both cases, those responsible for these evil acts were, and are, barbarians devoid of all humanity, who set themselves one simple goal: to wipe the Jewish race off the face of the earth, as Adolph Hitler said, or to wipe the State of Israel off the map, as Mahmoud Ahmedinjad proclaims.
now capable of standing up to those who seek their destruction - those people will no longer be able to hide behind women and children. They will no longer be able to evade their responsibility.
Every place from which a Katyusha is fired into the State of Israel will be a legitimate target for us to attack. This must be stated clearly and publicly, once and for all. You are welcome to judge us, to ostracize us, to boycott us and to vilify us. But to kill us? Absolutely not.
Four months ago I was elected by hundreds of thousands of citizens to the office of Prime Minister of the government of Israel, on the basis of my plan for unilaterally withdrawing from 90 percent of the areas of Judea and Samaria, the birth place and cradle of the Jewish people; to end most of the occupation and to enable the Palestinian people to turn over a new leaf and to calm things down until conditions are ripe for attaining a permanent settlement between us.
The Prime Minister who preceded me, Ariel Sharon, made a full withdrawal from the Gaza Strip back to the international border, and gave the Palestinians there a chance to build a new reality for themselves. The Prime Minister who preceded him, Ehud Barak, ended the lengthy Israeli presence in Lebanon and pulled the IDF back to the international border, leaving the land of the cedars to flourish, develop and establish its democracy and its economy.
What did the State of Israel get in exchange for all of this? Did we win even one minute of quiet? Was our hand, outstretched in peace, met with a handshake of encouragement? Ehud Barak's peace initiative at Camp David let loose on us a wave of suicide bombers who smashed and blew to pieces over 1,000 citizens, men, women and children. I don't remember you being so enraged then. Maybe that happened because we did not allow TV close-ups of the dismembered body parts of the Israeli youngsters at the Dolphinarium? Or of the shattered lives of the people butchered while celebrating the Passover seder at the Park Hotel in Netanya? What can you do - that's the way we are. We don't wave body parts at the camera.
And Ariel Sharon's withdrawal from Gaza. What did it get us? A barrage of Kassem missiles fired at peaceful settlements and the kidnapping of soldiers. Then too, I don't recall you reacting with such alarm. And for six years, the withdrawal from Lebanon has drawn the vituperation and crimes of a dangerous, extremist Iranian agent, who took over an entire country in the name of religious fanaticism and is trying to take Israel hostage on his way to Jerusalem - and from there to Paris and London.
An enormous terrorist infrastructure has been established by Iran on our border, threatening our citizens, growing stronger before our very eyes, awaiting the moment when the land of the Ayatollahs becomes a nuclear power in order to bring us to our knees. And make no mistake - we won't go down alone. You, the leaders of the free and enlightened world, will go down along with us.
and burned down large cities in order to repress the revolt in Chechnya. And when NATO bombed Kosovo for almost three months and crushed the civilian population - then you also kept silent. What is it about us, the Jews, the minority, the persecuted, that arouses this cosmic sense of justice in you? What do we have that all the others don't?
In a loud clear voice, looking you straight in the eye, I stand before you openly and I will not apologize. I will not capitulate. I will not whine. This is a battle for our freedom. For our humanity. For the right to lead normal lives within our recognized, legitimate borders. It is also your battle. I pray and I believe that now you will understand that. Because if you don't, you may regret it later, when it's too late.
18. THE U.N. WAS SILENT WHEN THE JORDANIANS DESTROYED 58 SYNAGOGUES IN THE OLD CITY OF JERUSALEM. IT REMAINED SILENT WHILE JORDAN SYSTEMATICALLY DESECRATED THE ANCIENT JEWISH CEMETERY ON THE MOUNT OF OLIVES, AND IT REMAINED SILENT WHEN JORDAN ENFORCED APARTHEID LAWS PREVENTING JEWS FROM ACCESSING THE TEMPLE MOUNT AND WESTERN WALL.
The King's Gardeners Ministries cannot accept responsibility for what is said on this site or for the contents of websites linked to this site. Articles are public domain and are the stated opinion of the author. This forum is pro Israel but we are anti no one.


There was plenty of discussion in the wake of what happened in this year's race.
Now we see official confirmation that the ACO is going to begin its next wave of changes - starting with the Porsche Curves.
Club president Pierre Fillon explained that it was "important to learn the lessons" of Simonsen's accident while retaining the current track layout.
But he stressed that many of the changes planned for 2014 were already under consideration before this year's race.
These include the increase in run-off in the Porsche Curves, the only changes that the ACO have confirmed so far.
Run-off at the right-hand entry of the sequence will be increased in size, while gravel run-off will be added at the off-camber Chevrolet left-hander, formerly known as the Karting S.
This was all in the offing prior to Allan's accident, specifically the Corvette curve alterations. I'm pretty sure that was where we saw the huge hit for the Status car in the night this year.
It was quite striking how the gravel on entry did precisely zero to stop Lapierre's Toyota go off in the final hours. Will be interesting to see how these solutions pan out and also what else is in the pipeline. Will they invest in some Teckpro barriers in certain areas such as the exit of Tetre Rouge.
In my opinion, Le Mans organizers should have invested in better barriers at Tertre Rouge a long time ago.
Nevertheless, Le Mans will always be dangerous. Drivers know when they step into their car, whether at the start, the evening, the night, the morning, or Sunday afternoon, their lives are at risk. Le Mans is so high speed, and that's why it's dangerous. But that's why its Le Mans... the danger and risk adds character to the track.
However, we need to ensure the thread stays on topic as to likely/actual changes.
With respect to your comment Beetle, I couldn't phrase what I wanted to say prior to you adding that. Whilst it's a cliché (but very true) that motorsport is a high-risk activity, at what point would the safety features end at Le Mans (or any circuit I suppose).
I don't know anything of the technicalities of safety barriers, so won't comment that the current system is lacking at TR, and equally won't suggest what could go in to even lessen the risk through impact. But where would it stop? Not only is it a fast circuit, it's also partly a road course, and as such would it ultimately run the risk of having the circuit as it stands dropped due to some of the possible inflexibilities in operating on that basis?
Last edited by Muppetdave901; 10 Oct 2013 at 13:23. Reason: Finished typing my comment after yours came through Aye - wasn't trying to veer OT!
Interesting to note driver reaction to this news.
Jann Mardenborough called for gravel on twitter instead of simply adding extra tarmac run-off. Thankfully that seems to be what the ACO is looking at, but the drivers clearly still want the challenge to remain.
Alex Brundle said it best when he commented: "how to improve safety without losing the essence of the place, massive challenge."
I think that's what we all fear. Not to say we don't fear a bad accident more. But there's certain parts of the course which simply can't be changed. It would be very difficult to tackle that mid-section of Porsche Curves for example given it goes over the public road.
Anyone seen the drawings for the extended run off at the first right hander at the Porsche curves? It looks over-ambitious to me. If the plans are correct, then the road leading the Beausejour will have to be wiped and a new one found somewhere else.
I'm sure they won't get rid of the trees at TR. Not only would it be sad to see them go, but it would be a lot of hassle considering there are other solutions which could be cheaper and more effective.
I think it will be a SAFER barrier there, moved further away from the trees. Tire barriers would be a disaster - you don't want cars bouncing back into the track.
Are they talking about where they leave the public road, which is a right hander. Looking at Google maps, there is already a gravel trap there, and what looks like one of the circuits car parks. I could see them pushing back into that park to make a deeper (longer?) gravel trap. That's a bit before the track crosses over D92.
Just past the crossing, there looks to be room, drivers right, to push armco back towards access road.
Anyone seen the drawings for the extended run off at the first right hander at the Porsche curves?
Where can we see those?
Agreed - there will always be freak accidents but the barriers must be capable of doing what they are designed to do - ie deform to cushion the impact and contain the crash.
Credit to Autosport for the image, which at the same time is only an artists impression. It's not from the ACO.
I didn't realise at first but, if this was implemented, it would take out a few private campsites on entry to Porsche Curves. I don't realistically see how it can, or needs, to go that far back. The existing gravel trap is tiny in comparison to this. It would look like the first corner almost. The more I think about it the more it couldn't happen.
I've taken to a bit of (poor) photoshopping to put the change into perspective. This shows to me that if they mirrored the Autosport impression that it would be OTT and likely not feasible. Something more subtle is required I think.
It's worth pointing out too for those that haven't been that the area in question isn't all flat. There's a big rise up to where the spectators currently stand.


�is what I wanted to do.
�the way he wants me to.
�to be put "back on track."
So I started reading my bible.
�From the front to the back.
�me to be more like HIM.
I am tired of "religion."
�and joy I now feel.
�I know to be so true.
He can also do FOR YOU!


text:
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JMU HAC Access and Affordability
Item 166 #2h
First Year - FY2015
Second Year - FY2016
Education: Higher Education
James Madison University FY2015 $4,543,159 FY2016 $4,815,108 GF
Page 155, line 2, strike "$269,179,442" and insert "$273,722,601".
Page 156, after line 10, insert:
"J. 1. Out of this appropriation, $4,543,159 the first year and $4,815,108 the second year from the general fund is designated for the following:
a. $998,640 the second year from the degree incentive pool for a two percent faculty bonus;
b. 334,316 the second year from the degree incentive pool for a two percent classified bonus;
c. $1,232,691 each year for the operation and maintenance of new buildings;
d. $487,535 each year to increase the number of full-time teaching faculty;
e. $297,926 each year to improve retention and graduation rates;
f. $264,000 the second year to expand the 4-VA public-private partnership;
g. $1,200,000 each year to complete the increase in access for in-state undergraduate students begun in the 2011 Session;
h. $1,325,007 the first year from the degree incentive pool.
2. James Madison University shall reallocate up to two percent of its fiscal year 2014 general fund appropriation for educational and general programs to cover the nongeneral fund share of the two percent bonus for faculty and classified.
K. Out of this appropriation, James Madison University may use up to $46,000 the first year and $175,000 the second year from the general fund to implement a consortium, coordinated by the State Council of Higher Education for Virginia, between James Madison University, Old Dominion University, University of Virginia, Virginia Tech and the Virginia Community College System. The purpose of this consortium is to develop and administer a pilot program geared towards helping Virginia's veterans and military members in applying previous military training and education towards completing existing bachelor's degree and professional certificate programs."
(This amendment provides general fund money to support faculty and staff compensation, in-state undergraduate enrollment, the operations and maintenance of new buildings, additional full-time faculty, retention improvement, institution-specific initiatives and in-state undergraduate tuition moderation.)
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Budget Bill - HB30 (Introduced)
Educational and General Programs (10000) $269,179,442 $269,611,855
Higher Education Instruction (100101) FY2015 $144,645,430 FY2016 $145,077,843
Higher Education Research (100102) FY2015 $749,158 FY2016 $749,158
Higher Education Public Services (100103) FY2015 $1,161,323 FY2016 $1,161,323
Higher Education Academic Support (100104) FY2015 $34,629,329 FY2016 $34,629,329
Higher Education Student Services (100105) FY2015 $15,994,955 FY2016 $15,994,955
Higher Education Institutional Support (100106) FY2015 $39,666,674 FY2016 $39,666,674
Operation and Maintenance of Plant (100107) FY2015 $32,332,573 FY2016 $32,332,573
Fund Sources:
General FY2015 $78,208,003 FY2016 $78,630,673
Higher Education Operating FY2015 $189,110,353 FY2016 $189,120,096
Debt Service FY2015 $1,861,086 FY2016 $1,861,086
Authority: Title 23, Chapter 12.1, Code of Virginia.
A. This Item includes general and nongeneral fund appropriations to support institutional initiatives that help meet statewide goals described in the Restructured Higher Education Financial and Administrative Operations Act of 2005 (Chapters 933 and 945, 2005 Acts of Assembly).
B. As Virginia's public colleges and universities approach full funding of the base adequacy guidelines and as the General Assembly strives to fully fund the general fund share of the base adequacy guidelines, these funds are provided with the intent that, in exercising their authority to set tuition and fees, the Board of Visitors shall take into consideration the impact of escalating college costs for Virginia students and families. In accordance with the cost-sharing goals set forth in § 4-2.01 b. of this act, the Board of Visitors is encouraged to limit increases on tuition and mandatory educational and general fees for in-state, undergraduate students to the extent possible.
C. Out of this appropriation, $1,820,338 the first year and $1,820,338 the second year from the general fund is designated to continue the increase in access for in-state undergraduate students begun in the 2011 Session, support the projected growth in transfer students and improve retention and graduation through additional advising for both transfers and students in high demand majors.
D. The 4-VA, a public-private partnership among George Mason University, James Madison University, Virginia Tech, University of Virginia and CISCO Systems, Inc, was established to utilize emerging technologies to promote collaboration and resource sharing to increase access, reduce time to graduation and reduce unit cost while maintaining and enhancing quality. Instructional talent across the four institutions will be leveraged in the delivery of programs in foreign languages, science, technology, engineering and mathematics. The 4-VA Management Board can expand this partnership to additional institutions as appropriate to meet the goals of the 4-VA initiative. It is expected that funding will be pooled by the management board as required to support continuing efforts of the 4-VA priorities and projects.
E. Out of this appropriation, $3,345,282 the first year and $3,345,282 the second year from the general fund is designated to support the institution's approved six-year plan, consistent with the objectives of the Higher Education Opportunity Act of 2011.
F. Out of this appropriation, $79,220 the first year and $79,220 the second year from the general fund and $39,019 the first year and $39,019 the second year from nongeneral funds are designated to support increasing enrollment and graduation in STEM programs.
G. Out of this appropriation, $303,912 the first year and $323,652 the second year from the general fund and $149,668 the first year and $159,411 the second year from nongeneral funds are designated to redesign courses to improve student success.
H. Out of this appropriation, $46,000 the first year and $175,000 the second year from the general fund is designated to implement a consortium, coordinated by the State Council of Higher Education for Virginia, between James Madison University, Old Dominion University, University of Virginia, Virginia Tech and the Virginia Community College System. The purpose of this consortium is to develop and administer a pilot program geared towards helping Virginia's veterans and military members in applying previous military training and education towards completing existing bachelor's degree and professional certificate programs.
I. James Madison University shall reallocate two percent each year of its FY 2014 general fund appropriation for educational and general programs for strategies that serve to advance the objectives of the Higher Education Opportunity Act of 2011. The amounts to be reallocated for this purpose are estimated at $1,396,177 the first year and $1,396,177 the second year. These reallocations are in addition to previous reallocations implemented by the institution in the 2012-2014 biennium. Specific programs and strategies for these reallocations shall be documented in the institution's six-year plan.


In Part I, we looked at the UK Representation of the European Commission's answer to the charge that "Europe is undemocratic and that power lies with unelected, faceless bureaucrats," and dealt with the claim that the Council of Ministers conferred a democratic element to the European Union.
In this second part, we look at the European parliament, the only directly elected institution in the EU, and assess whether it confers any democratic element to the European Union.
All the Commission claims of the parliament is that "direct elections" have "created a body with a clear mandate from the electorate". "MEPs", it continues, "are accountable for their work on legislation and in scrutinising the other EU institutions".
The use of the word "mandate" in this context is interesting. It is generally held to mean the sanction given by electors to members of parliament to deal with a question before the country. In other words, the candidates for the election set out their stalls, the electors look at the rival offerings and choose between them.
In national elections, this choice has some validity because the winning party – or coalitions – go on to form a government, which then (in theory at least) executes the voters' mandate. But in the European parliament, this cannot happen.
For a start, the election does not produce a government, so the parliament has no power or authority to execute a mandate. It cannot, for instance, decide to repeal any EU laws – it cannot even initiate any laws. Those powers lie elsewhere. Therefore, the candidates – or the parties they represent – cannot produce manifestos in any meaningful sense of the word, as they have no means by which they can deliver on promises made.
Furthermore, in a parliament of 732 members, Britain elects only 78 MEPs, and then from different parties. But even if all were from one party and were clearly set on one course of action, they do not have the numbers to dictate terms. Even as a united bloc, they are swamped by the members from other member states.
Therein lies one of the central defects of the European parliament. The essence of a parliamentary system is that it is the core of a system of representative democracy, where the members go to parliament to represent their electors' views (and safeguard their interests). But British MEPs cannot represent the interests of their electors – there are not enough of them to do so.
Furthermore – and this strikes at the heart of the concept of a supranational parliament – there is no commonality of interest in the peoples of the member states that would enable discrete blocs to emerge that could be adequately represented by a multi-national coalition of MEPs. In other words, there is no European demos and, without that, there can be no European democracy.
As for being "accountable for their work on legislation and in scrutinising the other EU institutions", as the UK Representation of the European Commission claims, the suggestion that the EP is "accountable" begs the question of to whom? Without any meaningful manifestos, the electorates have no yardstick (metrestick?) against which to measure the performance of their supposed representatives, so there can be no way of holding representatives to account.
Further, due to the arcane voting system in the parliament, MEP voting performances in the main (plenary) sessions are most often not recorded. By far the bulk of votes are settled by a show of hands, which means there is no record kept of who voted for what. The average voter has no ready means of determining how their MEPs behaved.
But the ultimate indictment of the system is the way that legislation goes rolling on, even when a new parliament is elected. In the UK system, when parliament is prorogued prior to an election, all outstanding legislation – not yet passed – falls. Not so in the EP. Newly elected members can and do find themselves voting on the second or third readings of laws that were introduced to the previous parliament. The names and faces may have changed – the voters may have completely shifted their allegiances – but that makes absolutely no difference to the nature of the progression of legislation through the parliament.
Then there is the scrutiny of "other EU institutions". In fact, there is no EP scrutiny of the Council, but the only scrutiny worth a light is, in any case, of the Commission. Here, commissioners do put themselves up for questioning by MEPs but, as recalled in an earlier Blog, anyone who has seen this done knows full well what a charade this is.
The strategy is well established and cynically transparent. First you have a sympathetic "chairperson", who is able to make sure the "right" people are picked to ask questions - and also allow for the token antis (just to prove they are "democratic"). Next you pack the committee with patsies who can be relied upon to "soft-ball" the commissioner. Then, you take questions in blocks of five, so the commissioner can "cherry-pick" the bits of the package he/she wants to answer.
You also impose a time limit on the whole session, and let the commissioner waffle on as long as he/she likes, until time runs out without any of the awkward questions from the token antis being answered. And, of course, supplementaries are either not allowed or severely curtailed. As a result of this, the questioning sheds light only on this issues which the commission wants to reveal, and no serious examination every takes place. Sessions end up as an opportunity for commissioners to propagandise or, as the case may be, evade accountability, while giving the appearance to the outsider of being open to scrutiny.
Some apologists for the EU, however, take a different tack when discussing the democratic legitimacy. They point to national parliaments, like Westminster, where most law is passed in the form of regulation, passed automatically through parliament without even a vote; where the government majority can ensure the passage of Bills without being troubled by the opposition.
But there is a difference. Individual MPs do represent their constituents and, if the nation really gets worked up about something, the House collectively can force a change. Even the mighty Thatcher government was forced to look again at the poll tax. Even at a minor level, with technical regulations that are causing problems, chances can be secured by the intervention of an MP, concerned at the loss of votes, or seeing the opportunity to attract some favourable publicity.
That difference tells the whole story. No matter what individual MEPs might think about an existing piece of EU law – and even if all 732 members wanted it changed (which is highly unlikely) – it cannot force a change. The unelected commission has the absolute right of initiative, and can ignore parliament completely.
This makes the parliament a toothless entity but – more to the point – its existence does not confer democracy on an essentially anti-democratic organisation.
Romania ready for EU accession?
Looking in the wrong direction?
Elimination of subsidies would be "utopian"
Will the real Señhor Barroso please stand up?
Just how common is this policy?
Reversing the drivers of regulation?
The end of a love affair?
Have we sunk this low?
"They will soon wring their hands"
Should justice begin at home?


July 27, 2014 – Why Can't I See God's Will for my Life?
As we continue this week with our sermon series, today we are looking at the question, 'Why can't I see God's will for my life?' We are probably all familiar with the story of Elijah and his encounter with God on the mountain. After he had defeated the prophets of Baal, the queen was not very pleased and put a hit out on Elijah. He took off running and ended up in the mountains where thunder roared, earthquakes shook, fire broke out, but finally God spoke to him with the silence – that still small voice. Rarely does God speak to us in the thunder or the earthquake. It happens, but not very often.
The author of our text shares a story of a farmer who goes out to plow one day, only to see a cloud configuration with the initials 'PC.' He immediately sets out to become a pastor because he thought 'PC' stood for 'Preach Christ.' As the story goes on the farmer was a complete failure as a pastor and once again returned to farming. When questioned about his decision, he noted that he thought God was calling him to preach Christ when actually God was calling him to plant corn!
We don't often get a clear picture of what God is calling us to do. I would venture to say that we probably miss God's message to us even after repeated attempts by God to get our attention. Here's a scene from the movie 'Bruce Almighty' that presents this really well. Note all the physical 'signs' put in front of Bruce while he asks God to show him a sign. [play video] I feel that way with my call to ministry. Perhaps God was nudging me toward ministry long before I clearly heard the call. But once I did, there was no doubt for me. When God told me I was one of the six from my home church being led into full time ministry, the message was crystal clear! I would argue that kind of clarity is often rare.
We have to ask a few questions in order to better understand how we can discern God's will for our lives. First we need to understand what we mean by God's will. Are we talking about a set of precepts and principles to follow or are we talking about God directing every aspect of our lives, including every decision, action, or word we speak? With this question comes another one – is God's will irresistible? Where does our freedom of choice fit into the picture?
I finally found the answer concerning this quote I keep coming back to. It is from Shakespeare's play entitled As You Like It – 'All the world's a stage, and all the men and women merely players; they have their exits and their entrances; and one man in his time plays many parts.' (Act 2, Scene 7) Are we merely playing out our predetermined lives on God's stage? Is every event, decision, action, trial we encounter part of God's ultimate plan? Complications arise with this belief when we try to reconcile it with a loving, caring, compassionate God. We would have to accredit every evil action, illness, every amount of suffering we encounter to God. That doesn't sound like a merciful and loving God to me.
If we are merely playing out a preplanned course of action where the outcome is certain, it seems like life would lose a bit of its meaning. I know I've been channel surfing a time or two only to come across a movie I've seen a lot. My husband and I will joke a little saying things like, 'Wow it was close that time. I wasn't sure he was going to make it.' We knew the ending of the movie. We knew for sure he was going to make it. The wonder of the movie – the enjoyment was clearly diminished after seeing the same movie again and again. Would there be much enjoyment or meaning to life if all we were doing is following a script? At times we do want to relive exciting moments in our lives – it's probably why so many folks take pictures or movies of family activities. But after a while, we need to move on to something that is new and different.
There is another viewpoint concerning God's will that others have presented. This one allows for free will and for God's plan. It states that God has a plan for our lives and if we follow that plan we will be fully within God's will, but we can choose to follow the plan or not. Here's the problem with this line of thinking to consider – God doesn't share this perfect plan with us. We are left to discern God's will for ourselves. Think of the farmer planting corn. It is not very often that we hear God in the thunder – it is often the still small voice that we may miss entirely.
So if we stray from God's will, does everything after that point become skewed? Since we are not given a clear image of God's will for our lives, and we can choose to follow God's will or not, how will we return to God's will if we have already chosen not to follow on a particular issue? Back in the day, I was looking at colleges and I went to Oklahoma to visit Oral Roberts University. The place was amazing. I had already sent in my application and was invited to spend a long weekend on campus. Rather quickly, that door was closed to me and I looked at 2 local colleges and was accepted at both. What if I made the wrong choice? What if something was supposed to happen to me at God's planned college, and I strayed from that plan? Does that mean that everything I have done since then is outside of God's will? It gets extremely complicated to follow this line of thinking.
Perhaps we can look at God's will another way. The author of our text suggests this, 'What if God is inviting us to collaborate on a general plan for our lives?' Maybe God has some sort of outline for our lives but allows us to work together to make choices and shape our lives according to this outline, or stray from it entirely if we choose? If we choose to go against God, as we learned this is within our human nature to do, we potentially miss out on God's blessings for us. We naturally turn toward sin, but when we turn around and follow God, we are able to experience the blessings of forgiveness, peace, hope, and love that would have been missing from our lives.
You have probably heard the stories of those who seem to have everything – money, possessions, fame, fortune. Yet we continue to hear how these folks end up destroying themselves, steeping so deep in despair that no comfort seems to be available to them. When we push God out of the picture, our restlessness and dissatisfaction often takes over. But when we experience the peace of Christ, the forgiveness for our shortcomings, the understanding that we have a grand two-fold purpose – to love God and love our neighbor, we can truly experience a little taste of heaven, right here on earth.
Those of you who have children or grandchildren, or maybe you work with children; you have hopes and dreams for these children. You want them to be healthy, happy, and as Christian parents, you want them to love God and live counter-culturally, helping others and sharing God's love. We cannot plan out everything for our children but we give them tools and guidance in order to enhance their chances of living into your hopes and dreams for them. Maybe it's like that with God. Maybe God has hopes and dreams for each of us. Maybe God gives us tools and guidance, but leaves the choices up to us. God is not necessarily dictating everything detail of your live, but providing guidance and direction and unconditional love.
Again we return to the original question, 'Why can't I see God's will for my life?' The author suggests that we need to be reminded that we are not the only ones with which God is collaborating a life story. We mentioned last week that each of us may be the answer to prayer for someone else. Some will call these encounters with others as coincidences, but perhaps these are 'God-incidences.' When we tune into what is going on around us, we often find meaning and purpose in our lives as we share love with our neighbors in some way.
This sounds so blessed. It sounds as if we will know God's will when we get that warm, fuzzy feeling inside. But keep in mind that following God's will is not easy. Every life story will be filled with heartache, trials, and pain. But as we follow the will of God, as we tune into what is going on around us, as we seek to develop a deeper relationship with God, we will also experience joy, hope, and a sense of real peace. Our life stories will not end in the dark, but God will see us through and bring us into the light of eternal life.
As a congregation, when we celebrate Holy Communion we are reminded that the son of God did not have an easy life while on earth, but instead was nailed to a cross. But out of that pain and suffering, came the redemption of the world. I hope you feel the presence of Jesus with you each time we share a bit of bread and juice together as this body of Christ. Let us continue to encourage each other as we seek God's will for our lives as individuals and as this Christian community of believers. Amen.


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