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BEYOND BORDERS: Stories of imMigration 2018 >
GALLERY Beyond Borders
INFO Beyond Borders
STORIES Beyond Borders
RISE: Empower, Change and Action 2018 >
INFO Rise
GALLERY Rise
SOCIAL JUSTICE: IT HAPPENS TO ONE, IT HAPPENS TO ALL 2016 >
GALLERY Social Justice
INFO Social Justice
VISAURAL: SIGHT, SOUND and ACTION 2015 >
GALLERY Visaural
INFO Visaural
VISION: AN ARTIST'S PERSPECTIVE 2016 >
GALLERY Vision
INFO Vision
WHAT'S RIGHT, WHAT'S LEFT: DEMOCRACY IN AMERICA 2016 Phoenix Gallery NYC >
GALLERY Democracy
INFO Democracy
Go Fund Yourself
How to Use Entrythingy
Venues and Collaborations
ARTIST COACHING
GutfreundCornettArt believes in building community, including encouraging all artists to bring their creations into the world. On this and its sub-pages, we bring you links to advice and organizations. If you have a fabulous resource to share, send it along via our contact page.
ARCHIVING A SOCIALLY ENGAGED PRACTICE
"In fifty years, there will be a major retrospective on Socially Engaged Art. How will this work be contextualized? What, if any, visual, tactile ephemera is there to show? What about documentation? Related programming? Re-creation of works?
Artists: What can you save to show? What are your responsibilities in preserving your legacy?
Institutions: How are you preserving the memory of this work? What are your responsibilities, whether from the curatorial side or education/public programs?"
The extensive information in this link was generated at a workshop held with California College of the Arts' Social Practice MFA/MFA
http://archivingsea.tumblr.com/2016
ART COMMUNITIES and ORGANIZATIONS
Professional art organizations and where to share information about your work
Artslant New York's Artist Profiles
The Feminist Art Project (TFAP)
International Sculpture Center
The Momentum Directory
Women's Caucus for Art
ART WRITING: ARTIST STATEMENTS, RÉSUMÉS, PRESS RELEASES &PROPOSALS
How to get started, what to include, samples
Writing in Art: An Introduction from Claremont Graduate University
Artist Résumé: Recommended Conventions from College Art Association
Writing Your Résumé step by step by Molly Gordon
Funding for Artists and Arts Organizations: Dos and Don'ts for the Written Proposal by Grant Space, a service of the Foundation Center
Writing a Project Proposal from Chris Sullivan, Professor, Film, Video and New Media, School of the Art Institute of Chicago
How to Get Collectors in the Door with a Winning Press Release by Elena Soboleva for Artsy.net
How to Write Your Artist's Statement by Renee Phillips
CHOOSING THE RIGHT ADHESIVE
As we all know, not all glues are created equal. The people at "Make:" have come up with a chart to to help choose the right adhesive for the right materials. http://makezine.com/2016/03/25/dont-glue-anything-without-handy-reference-chart/
CODE OF BEST PRACTICES IN FAIR USE FOR THE VISUAL ARTS
The College Art Association has published this comprehensive manual, which provides visual-arts professionals with a set of principles addressing best practices in the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, archives, and in the creation of art.
For a shorter overview, check out the editorial "Art Copyright, Explained" by Isaac Kaplan on Artsy.net.
FUNDING/FUNDRAISING/FELLOWSHIPS
20 Top Artist Grants and Fellowships You Might Actually Be Able to Get, By Alanna Martinez, Chloe Wyma, April 19, 2012, Blouin Artinfo
The Robert Rauschenberg Foundation grants program aspires to a vibrant, equitable, and sustainable world through the power of creative problem solving.
A Blade of Grass socially-engaged fellowship to fund artists who are working in leadership roles and in partnership with communities, in ways that are relevant in everyday life, at ambitious scale, to enact social change
A.I.R Fellowship - open to all self-identified women artists who have never had a solo show in NYC, or who have not had a solo show in NYC in the last ten years, outside of an educational or not-for-profit venue. Candidates must live in the NYC greater metro area or plan to live in the NYC greater metro area for the duration of the program.
The Foundation Center - online training, classroom training, training videos, tools and resources
LEGAL ADVICE, EDUCATION AND OTHER ASSISTANCE FOR ARTISTS
"Over the past several decades, lawyers and other advocates have formed organizations across the country to support visual, literary, and performing artists. Volunteer Lawyers for the Arts, formed in 1969 and based in New York City, is the oldest of these. VLA and many other organizations provide legal advice, mediation, education, and other services to artists and nonprofit organizations on a pro bono basis or at reduced fees." This page lists contains links to many of these organizations across the country. http://collegeart.org/ip/ip_legal_assistance
SALES AND DONATIONS
"Due Diligence: Charitable tax deductions" by Bill Frazier's column Law and the Art World, January/February 2013
Bills that have been brought forth in the U.S. Congress to protect artists
H.R. 2482 - Artist-Museum Partnership Act of 2013: Would amend "the Internal Revenue Code to
allow taxpayers who create literary, musical, artistic, or scholarly compositions or similar property a
fair market value (determined at the time of contribution) tax deduction for contributions of such
properties, the copyrights thereon, or both, to certain tax-exempt organizations, if such properties
are properly appraised and are donated no sooner than 18 months after their creation. Limits the
amount of such deduction based upon the donor's artistic adjusted gross income, as defined by this
"Shouldn't Artists Benefit When Their Paintings Auction for Millions? A new bill giving American
artists rights their European counterparts enjoy probably won't pass. It should." by Whitney
Kimball, Slate.com, June 29, 2014
Fedex has a wealth of information under its Learn pages, including Packing, and Opening an Account to save money.
UPS has many helpful tips with its FAQs, How to Prepare for Shipping, and more.
SHIPPING PAINTINGS
"How do the Pros Ship Paintings"
In News, Tips by Contributing Editor PleinAir Today, Andrew WebsterMarch 29, 2016
http://www.outdoorpainter.com/how-do-the-pros-ship-paintings/


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Le titre de cet article comprend le caractère ö. Quand celui-ci n'est pas disponible ou n'est pas désiré, le nom de l'article peut être représenté comme Kurt Roepke.

Kurt Röpke ( à Solingen -  à Göttingen) est un General der Infanterie allemand qui a servi au sein de la Heer dans la Wehrmacht pendant la Première Guerre mondiale et la Seconde Guerre mondiale.

Il a été récipiendaire de la croix de chevalier de la croix de fer avec feuilles de chêne. La croix de chevalier de la croix de fer et son grade supérieur, les feuilles de chêne, sont attribués pour récompenser un acte d'une extrême bravoure sur le champ de bataille ou un commandement militaire avec succès.

Biographie

Promotions

Décorations
 Croix de fer (1914)

 Croix hanséatique de Hambourg
 Croix du Mérite de guerre (Lippe)
 Insigne des blessés (1918)
 en Noir
 Croix d'honneur
 Agrafe de la croix de fer (1939)
  ()
  Classe ()
 Médaille du front de l'Est
 Médaille de service de la Wehrmacht
 Croix allemande en or le  en tant que Oberst et commandant du Infanterie-Regiment 50
 Croix de chevalier de la croix de fer avec feuilles de chêne
 Croix de chevalier le  en tant que Generalmajor et commandant de la 46. Infanterie-Division
  de chêne le  en tant que General der Infanterie et commandant du XXIX. Armee-Korps
 Mentionné dans le bulletin radiophonique Wehrmachtbericht ()

Références
Citations

Bibliographie
  Fellgiebel, Walther-Peer (2000). Die Träger des Ritterkreuzes des Eisernen Kreuzes 1939-1945. Friedburg, Allemagne: Podzun-Pallas. .
  Scherzer, Veit (2007). Ritterkreuzträger 1939–1945 Die Inhaber des Ritterkreuzes des Eisernen Kreuzes 1939 von Heer, Luftwaffe, Kriegsmarine, Waffen-SS, Volkssturm sowie mit Deutschland verbündeter Streitkräfte nach den Unterlagen des Bundesarchives. Jena, Allemagne: Scherzers Miltaer-Verlag. .
Liens externes
  Kurt Röpke sur Lexikon der Wehrmacht
  Kurt Röpke sur TracesOfWar.com
  Kurt Röpke sur geocities.com

General der Infanterie de la Heer de la Wehrmacht
Leutnant de la Deutsches Heer
Major de la Reichswehr
Militaire allemand de la Première Guerre mondiale
Récipiendaire de la croix de chevalier de la croix de fer avec feuilles de chêne
Récipiendaire de 1re classe de la croix de fer
Récipiendaire de la croix allemande en or
Naissance en novembre 1896
Naissance à Solingen
Naissance dans la province de Rhénanie
Décès en juillet 1966
Décès à Göttingen
Décès à 69 ans

redpajama_set_name: RedPajamaWikipedia


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The cast of "Indecent," coproduced by Connecticut's Yale Repertory Theatre and California's La Jolla Playhouse. (Photo by Jim Carmody)
Critic's Notebook | May/June 2016 April 19, 2016 Frank Rizzo	Leave a comment
Back With 'Vengeance': 'Indecent' Examines a Lost History
Sholem Asch's contested Yiddish classic is grist for Vogel and Taichman's meditative new play-within-a-play.
By Frank Rizzo
Paula Vogel and Rebecca Taichman had to decide when it was going to start raining.
The much-mentioned "rain scene"—a pivotal moment in Sholem Asch's 1906 moral melodrama, The God of Vengeance, and Indecent, the new Vogel play about the journey of that work and the people around it—made an emotional connection with audiences when it opened at Yale Repertory Theatre in New Haven, Conn., last October, the first stop of its two-theatre premiere.
Precipitation aside, it was primarily a scene of tender intimacy between two women that had special resonance for the characters in Vogel's play—a moment of love and liberation. But Vogel and Taichman, the show's cocreator and director, were unsure whether they'd placed the cathartic scene at the perfect, and dramatically inevitable, point in the show.
As the show moved to California's La Jolla Playhouse in November, and even throughout the run there, the two creators continued to explore the material, rewriting some scenes, recalibrating others, and repositioning the play's musical numbers, performed by an onstage trio of musicians deftly integrated into the production. The staging's final stop (for the time being) is Off-Broadway's Vineyard Theatre, where it runs April 27–June 5.
In Vogel's elegant script and Taichman's evocative production, the power of Asch's original play, as well as the power of theatre, are presented in profound ways. This is a play about a play in which people are transformed in "a blink in time," as the ownership of a piece of art transfers from playwright to audience. In Vogel's version, the impact of The God of Vengeance lingers to their very last moments, offering deep comfort, sometimes under terrible circumstances.
Vogel remembers first reading a yellowed copy of Asch's play in the library stacks in college in the early 1970s, just as she was coming to terms with her own sexuality, and being stunned by its portrait of a passionate lesbian romance between a 17-year-old girl and a prostitute. She was surprised to learn that the play was written in 1906 by a heterosexual married writer in Poland, who would go on to become a major author of the modern Yiddish literature movement.
The 1906 play depicts Jewish life in a naturalistic way, warts and all, in telling the story of a brothel owner striving to shelter his pure daughter from his corrupt business in the basement of his home. He tries to marry her off to a pious Talmudic scholar, but when she falls in love with one of the brothel's prostitutes, her father's hypocrisy is exposed, and in his rage the Torah is disavowed and desecrated. The story ends tragically.
The Polish play was a staple of the Yiddish theatre throughout Europe. Its popularity continued in the U.S. with immigrant Jewish audiences of New York City's Lower East Side. But in 1923, when Asch's play, translated into English, opened on Broadway at the Apollo Theatre on 42nd Street (it's now the Ford Center for the Performing Arts), headlined by one of the biggest stars of the Yiddish theatre, Rudolph Schildkraut, as well as a young actor named Morris Carnovsky, it outraged many in the Jewish community who didn't want this "dirty laundry" shown to a mainstream Gentile audience.
Rabbi Joseph Silverman of New York's prestigious Temple Emanuel thundered that the play "libels the Jewish religion" and filed an official complaint that led, 15 days after opening, to the cast and producer being arrested by the vice squad, thrown in jail, and put on trial for obscenity charges. The play closed several months later.
Adina Verson and Katrina Lenk in the Yale Rep and La Jolla staging of Indecent. (Photo by Carol Rosegg)
In 2000, Taichman, then a graduate student in directing at the Yale School of Drama, was creating a thesis production called The People vs. "The God of Vengeance", based on transcripts of the obscenity trial, interspersed with excerpts from the play. It didn't hurt that the research material for Taichman and her grad student dramaturg, Rebecca Rugg, sat just a few blocks away: Asch's manuscripts, memorabilia, and even the trial transcripts were housed at Yale's Beinecke Rare Book and Manuscript Library.
After graduation, Taichman—who shares Asch's Polish-Jewish heritage—went on to become a prolific director, most notably for plays by Sarah Ruhl and David Adjmi. But the story surrounding the 1922 production and trial stayed with her. In 2010, she approached Vogel about joining her in revisiting the subject. Sensing the project could be a large-scale one, Vogel was interested but wary.
Vogel, the Pulitzer-winning playwright of How I Learned to Drive and a noted playwriting instructor at Brown and Yale, says that one of her frustrations as a writer is the lack of developmental support to do big ensemble pieces that need to be nurtured over several workshops and productions at several theatres before achieving their final form. She says she thinks that two of her works of such size and scope, Don Juan Comes Home From Iraq and A Civil War Christmas, have not had the chance to grow in the ways they needed.
"It's very hard, that 'virginity complex,'" she says, referring to artistic directors' willingness to produce a large-scale show as a premiere but relative lack of interest in plays' second or third iterations. But the kinds of shows Vogel's been writing "can only be done in a very expensive way with bodies and talent and collaborators in the room. It's not anything you can complete alone on a computer."
For Indecent Vogel found a deep bench of support. The work was commissioned by Yale Repertory Theatre and American Revolutions: the United States History Cycle at the Oregon Shakespeare Festival. Supporting the evolutionary process are Yale's Binger Center for New Theatre, Oregon Shakes, and La Jolla Playhouse. The play was also the recipient of a 2015 Edgerton Foundation New American Play Award, and has received support from the Sundance Institute in Utah and the MacDowell Colony in New Hampshire.
Remarkably, Vogel, who is 64, calls this experience "an unprecedented opportunity for me in my lifetime."
This is not the first time that The God of Vengeance has been rethought for the contemporary stage. In 2002, another Pulitzer winner, Donald Margulies, adapted the play's action to the Lower East Side in 1923, the period when it went to Broadway. The play was produced by the Williamstown Theatre Festival in Massachusetts's Berkshires, and staged by Gordon Edelstein, artistic director of Long Wharf Theatre in New Haven.
But Vogel and Taichman didn't want simply to reenvision the play for contemporary audiences but rather to use the history of the play and its playwright to tell a bigger story. An improvised moment during an early workshop in Oregon was key for Vogel: Actors were asked to take off an article of clothing "and exit as if going to their death. I can't tell you the last time I wept so hard," she says.
That exercise led Vogel and Taichman to consider the theme "of not just the price of art but also its value to others," says Vogel. "At the end of our lives there is that moment, not only when we see our lives passing before us but when we see the art that we made, or saw, that gave us solace. I wanted to go in that direction.
"I knew I wanted it to be more than just about the trial," Vogel continues. But for a long period she and Taichman questioned what the work should embrace.
As it turned out, the answer was: quite a lot. It became the story of a daring and determined playwright who believed passionately in his theatrical vision—until he no longer did. It was the story of the Yiddish theatre, Jewish immigrants, and the pressure to assimilate. It was the story of the powerful forces of censorship as well as the more insidious ones of self-censorship. Indeed, Asch himself stopped authorizing productions of his play after World War II, saying he wrote it for one time and that the times had changed.
"My feeling was he just couldn't bear to do it after what happened to Jews so horrifically," says Taichman. "He couldn't justify this story." A complicated man, Asch lost many of his supporters when he began writing about Jesus and the Virgin Mary. He died in 1957 at the age of 76.
But Indecent transcends one man's tragedy. It's also the story of a resilient and resolute theatre company that believed in the power of art to affect audiences and to change lives. Some of the most moving scenes are among the members of the theatre company, principally the stage manager Lemml (portrayed in the current staging by Richard Topol), who represents the soul of the play and its audiences too.
The cast of Yale Rep and La Jolla's "Indecent." (Photo by Carol Rosegg)
So how to present it? Taichman stages a stunning opening tableau for Indecent that has the troupe literally rising from the ashes, taking the playwright's name to heart while evoking a sense of mortality (immortality as well). Then the narrative kicks in, with Asch first reading the play he has just written to his wife in 1906. It follows the play's journey from a Jewish theatrical salon in Poland, where it is first derided, then finding more welcoming receptions across the stages of Europe, and finally in New York.
"It's not a documentary," Vogel emphasizes. "It's an imagination of all of this."
In Indecent, seven actors play the members of Asch's Yiddish troupe and all other characters. Adding to the highly theatricalized storytelling are Taichman's lyrical and image-rich direction, David Dorfman's mesmerizing choreography and movement, and the atmosphere-setting klezmer music composed by Lisa Gutkin and Aaron Halva and performed by both with Travis W. Hendrix. Tai Yarden's projections illuminate the Yiddish, Hebrew, and English translations and texts.
Vogel's story doesn't end with the court's conclusion. Indeed, the emotional wallop of Indecent comes from the aftermath years later, in seeing the ways Asch's play is kept alive by people who believed in it, even as far as a Lodz ghetto attic under Nazi rule.
At Yale Rep, Vogel and Taichman changed scenes again and again, reflecting not only the out-of-town tryout spirit New Haven theatre was famous for in the middle of the 20th century, but also harkening back to another era.
"What we're doing, in a way, is replicating the Yiddish theatre process," says Vogel, "what the troupe experienced between towns when they were working on a shoestring, creating works quickly, changing things around, with everybody knowing each other so well that they could take those shortcuts in order to grow a piece.
"The first New Haven audience let us know that there was a lot of work to be done but the shape was there," says Vogel, "and that was a huge relief. We knew the wind was going to be at our back."
The feedback was often personal.
"People in the audience," says Vogel, "who were Asian, Latino/Latina said, 'This is about my grandparents, my mother, or me; this is about immigration; this is about coming to America.'"
The 20 days between the Connecticut and California runs were filled with continual experimentation. "We both made changes in the sequencing, the musical numbers, and in the ending—and some of what we learned was that our first instincts were better," says Vogel.
They also found the right place to put the rain scene. No spoilers, but, explains Taichman, "We didn't want to end with death and the loss of hope."
Work will continue, they say, in advance of the New York premiere, in a theatre, the Vineyard, with a much smaller performance space than either Yale or La Jolla. "I'm interested to see what that intimacy does and how we respond to that in the script and in the directing," says Vogel. "We now have the ability to polish…but I still want it to be raw. I just have to get out of the way of it."
For Vogel the play's coming journey to lower Manhattan also has personal significance. "Now I'm going to be walking on the streets where Asch walked, where that troupe lived and worked," she marvels. "The Vineyard is not very far from where the Yiddish Rialto was. We're bringing the play, in a way, back to where it was birthed."
Frank Rizzo lives in New Haven, Conn., and New York City and writes on theatre for Variety, The Hartford Courant, The New York Times, Playbill, and other publications.
La Jolla PlayhousePaula VogelRebecca TaichmanShowcaseVineyard TheatreYale Repertory Theatre
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redpajama_set_name: RedPajamaCommonCrawl


Surveys are great—if you don't ignore them—but there are other ways to solicit feedback. Make sure you actively listen to your staffers and implement action plans to engage them.
At a young age, we all learn the difference between "hearing" and active listening.
Think back to when your mom would nag you about cleaning your room or your teacher would drone on about something boring. Their words sounded like the muffled "wah wawwh wawwah's" of the adults instructing Charlie Brown.
We heard what they were saying, but none of it actually sank in.
Now what about your employees' voices? Are their words and feelings clear in your mind? Or do they sound more like white noise?
Even if you think you're actively listening to the employee voice of your organization, your workforce probably doesn't agree. A 2015 IBM survey found that although 83 percent of workers would participate in an employee listening program—for example, an engagement survey—38 percent of Baby Boomers and 22 percent of millennials don't believe higher-ups would act on their feedback.
What are those statistics telling us?
Employees have something to say, but many don't feel that their employers value their voice enough to consider their suggestions. Unless business leaders heed the staff's collective voice, employee feedback is just a farcical waste of time.
1. Remember the human side of communication.
Thanks to advances in digital communications, organizations are more connected than ever. In mere minutes, a manager can compose and send out a message that reaches every member of the team. Although this method can save time, if relied upon too heavily, it creates (virtual) distance between team members. At the price of efficient communication, employees are reduced to nothing more than their email addresses.
In case you forgot, your employees are living, breathing, feeling beings who deserve human interaction.
Meet regularly and face to face with your employees. This not only gives you and your team members a chance to catch up on their performance, but also allows employees to share opinions or issues they are facing. Airing those grievances face to face lets employees see their manager's reaction and engage in an immediate discussion about what can and will be done.
Now you might be thinking, "But an email thread is sooo much easier!" It's also lazier, and it might be undermining employee engagement. A recent survey found that 85.7 percent of highly engaged companies have regular manager/employee one-on-ones, with 54.6 percent having these meetings as often as every month. Still think email is a better option?
2. Follow up on post-survey commitments and action plans.
Remember that IBM stat about the meager percentage of employees who believe their leader will do something based on employee feedback? The reality is even worse. A 2015 survey by Motivosity looked at 5,000 companies; fewer than 2 percent of CEOs approach employee feedback surveys a second time.
Step 1: Please answer the following questions open and honestly.
Step 2: Upon completion, throw your survey into a trash can.
What's the point of employee feedback if leaders ignore it?
The one way to show employees you have listened to them is to create changes based on their feedback. Analyze the collected data, and commit to action(s) that will make things better.
For goodness sake, tell employees what the plan is and how it reflects their input. This will let them know what to monitor to hold you accountable.
3. Empower employees to tell their own story.
Give your employees the power to share their experiences at your organization. They're already being asked about it: A 2015 LinkedIn report found that when job seekers look for new opportunities, the first thing they do is ask friends and colleagues about possible openings.
Job seekers trust people in their network to be honest about whether a position with a certain company is worth their time and energy. Use that to your advantage by encouraging your employees to share their love of your company, either on social media or through testimonials on your career site. Let them be the voice that attracts and brings in other great talent—unless you're scared of what they might say, in which case you have a different problem to deal with.
It's become not only common but accepted for employee voices to be ignored. Sure, we let them speak through surveys, but there's no real active listening. It's time for that trend to stop and for business leaders to open up to change.
What other ways can you actively listen to your employees?
Greg Harris is president and CEO of Quantum Workplace. Connect with Harris and the Quantum Workplace team on LinkedIn, Twitter and Facebook. A version of this article originally appeared on SmartBrief.


Today we have organized our first S/park lunch for employees of Nouryon Deventer.
They had the opportunity to visit our office and gather information about S/park, what we do and what the plans for 2019 are. In addition, they were able to meet us and contribute their own ideas for innovative projects while eating a tasty sandwich.
It was good to see that our neighbors are interested in our development and the way in which they can contribute to this. At the end of next month, February, we will organize another lunch session! As soon as we know more about this, we will communicate this.


They did it! Despite spirited resistance from England, France sealed their ninth Grand Slam with a tense 12-10 victory over the men in white at Stade de France. The visitors played the best rugby of their campaign – if not the past year – but they got on the wrong side of referee Bryce Lawrence in the earlier stages of the game, and there they remained. They got just one penalty shot at goal in the entire match. Most un-English.
It's fitting that this topsy-turvy Six Nations ended with a cultural about-turn: England got the only try via Ben Foden but France used the soggy conditions to squeeze England out of the game via the set-piece and their half-backs. It's was the semi-final of RWC 2003 in reverse.
And it is the locals' discipline that will be the toast of the Parisian night. Most un-French.
For all the talk of French flair, the Grand Slam was ultimately secured on the back of a defiant defensive performance and a crushingly dominant scrum.
Indeed, all it took was three penalties from Morgan Parra and a drop-goal from Francois Trinh-Duc – all in the first half – to seal victory for Les Bleus.
England were the better team in the second half but only had a Jonny Wilkinson penalty to show for it – and France held out to seal their first clean sweep since 2004.
England had arrived in Paris with a new captain, a revamped back division and a determination to spoil the French Grand Slam party. They came mighty close.
Leicester flank Lewis Moody skippered England after Steve Borthwick aggravated a knee injury in last weekend's drab 15-15 draw with Scotland.
Wilkinson was dropped for only the third time in his career as manager Martin Johnson attempted to inject some vibrancy into England's one-dimensional attacking game.
Toby Flood took over at fly-half, Foden was given his first England start at full-back and his Northampton team Chris Ashton made his Test debut on the wing.
France took an early lead with Trinh-Duc's drop-goal but England's new-look back division played with enterprise from the outset.
It took them just six minutes to click and they did so in scintillating fashion with Foden scoring his first Test try to mark an impressive full debut.
Flood whipped the ball to Riki Flutey and Ashton kept his cool under pressure and showed a deft touch to slip the scoring pass out of the tackle and Foden raced over in the corner.
England were playing with tempo and variety. Tim Payne, Dylan Hartley and even Danny Care made key yards around the fringes, the recalled Mike Tindall crashed into the French defence and the roving Cueto was a danger on both wings.
England lost Simon Shaw to what appeared to be another shoulder injury after just 15 minutes, immediately after he had conceded a penalty for diving over the top.
Parra missed that effort but made no mistake from in front of the posts after Flutey was penalised for being off his feet.
England's vibrant start began to fade in the heavy rain as France assumed control of the first period on the back of a vastly superior kicking game – particularly from the wingers Marc Andreu and Alexis Palisson – and with a dominant scrum.
France had set the platform for Trinh-Duc's drop-goal with a charging run from Imanol Harinordoquy after England had been penalised at the set-piece.
As it was during the first Test of the Lions tour to South Africa, the New Zealand referee was deeply unhappy with the performance of the English tighthead and penalised Dan Cole in three scrums in quick succession, and Parra needed no second invitation to open France a 12-7 half-time lead.
Given the angst on display, the visitors made changes up front during the interval, with Hartley and Cole replaced by Steve Thompson and David Wilson.
With a fresh start, England were able to inject tempo back into their attacking game and Foden almost latched onto a chip kick from Care but the ball skipped on into touch.
England stole the line-out from Harinordoquy inside the French 22 but they were driven backwards and Flood snatched a drop-goal attempt wide of the posts.
After Cueto had run the ball back – something England did so rarely at Murrayfield – Ashton attacked down the left but decided to chip ahead and was beaten to the touchdown by Clément Poitrenaud. It was the wrong option; the Saint had one man to beat and three men in support.
Harinordoquy piled forward again and Trinh-Duc was ready to slot a drop-goal when Parra inexplicably sent up a box kick inside England's 22 and with no chasers Foden claimed it comfortably.
England had been the better side in the first 20 minutes of the second half but needed something to show for it against a defiant French defence.
Mathew Tait's half-break was halted and Dimitri Szarzewski nicked possession back for France. Trinh-Duc cleared but Ashton decided to run the return ball.
Foden was snagged but England won a penalty just in-field from the right touchline and five metres into the French half.
Wilkinson stepped up to strike a monster of a kick and his effort dropped just over the bar and England had closed the gap.
But France closed the game out expertly and Grand Slam glory was theirs. Deservedly so, too. They are the best team in Europe by a distance right now. They possess a rampant pack full of power, a rock-solid set-piece and verve and dynamism out wide.
The same cannot be said for England. But events in Paris seem to suggest that, finally, the foundation stones are being put in place.
Man of the match: We've taken a stick to England over the course of this tournament, but they deserve praise for their efforts today. The back three – bar the mistake from Chris Ashton – played out of their skins, and Ben Foden has surely answered the last of his critics. But our pick of the visitors was Mike Tindall – how soon we had forgotten what an intelligent footballer he is, and how England have missed him. It was a low-key performance by France, held together by little Morgan Parra who called all the right moves at the crucial moments. It was his brains that held the English at bay.
Moment of the match: It was Ben Foden's try, made significant by France's reaction. French teams in the past would have gone to pieces but the class of 2010 thought their way out of what looked like a tight corner.
Villain of the match: Not much niggle from the players and it would be against the spirit of rugby to suggest referee Bryce Lawrence. Like dogs, good teams should learn what all the bizarre whistling means and react accordingly. So how about the lady in the crowd who spent the entire match baiting the man sitting behind her? Martin Johnson looked none too please with the blonde's advances, but she was good enough to applaud Wilkinson's late penalty, so we'll let her off with a warning. A red-faced Raphaël Ibañez, sitting in the BBC's booth, was later forced to admit that the lady in question was his mother-in-law. So there you have it: they are the same the world over. No award.
France: 15 Clement Poitrenaud, 14 Marc Andreu, 13 Mathieu Bastareaud, 12 Yannick Jauzion, 11 Alexis Palisson, 10 François Trinh-Duc, 9 Morgan Parra, 8 Imanol Harinordoquy, 7 Julien Bonnaire, 6 Thierry Dusautoir (c), 5 Julien Pierre, 4 Lionel Nallet, 3 Nicolas Mas, 2 William Servat, 1 Thomas Domingo.
Replacements: 16 Dimitri Szarzewski, 17 Jean-Baptiste Poux, 18 Sebastien Chabal, 19 Alexandre Lapandry, 20 Dimitri Yachvili, 21 David Marty, 22 Julien Malzieu.
England: 15 Ben Foden, 14 Mark Cueto, 13 Mike Tindall, 12 Riki Flutey, 11 Chris Ashton, 10 Toby Flood, 9 Danny Care , 8 Nick Easter, 7 Lewis Moody (c), 6 Joe Worsley, 5 Louis Deacon , 4 Simon Shaw, 3 Dan Cole, 2 Dylan Hartley, 1 Tim Payne .
Replacements: 16 Steve Thompson, 17 David Wilson, 18 Tom Palmer, 19 James Haskell, 20 Ben Youngs, 21 Jonny Wilkinson, 22 Mathew Tait.


text:
package initwd

import (
	"github.com/hashicorp/terraform/registry"
	"testing"

	"github.com/hashicorp/terraform/configs"
	"github.com/hashicorp/terraform/configs/configload"
	"github.com/hashicorp/terraform/tfdiags"
)

// LoadConfigForTests is a convenience wrapper around configload.NewLoaderForTests,
// ModuleInstaller.InstallModules and configload.Loader.LoadConfig that allows
// a test configuration to be loaded in a single step.
//
// If module installation fails, t.Fatal (or similar) is called to halt
// execution of the test, under the assumption that installation failures are
// not expected. If installation failures _are_ expected then use
// NewLoaderForTests and work with the loader object directly. If module
// installation succeeds but generates warnings, these warnings are discarded.
//
// If installation succeeds but errors are detected during loading then a
// possibly-incomplete config is returned along with error diagnostics. The
// test run is not aborted in this case, so that the caller can make assertions
// against the returned diagnostics.
//
// As with NewLoaderForTests, a cleanup function is returned which must be
// called before the test completes in order to remove the temporary
// modules directory.
func LoadConfigForTests(t *testing.T, rootDir string) (*configs.Config, *configload.Loader, func(), tfdiags.Diagnostics) {
	t.Helper()

	var diags tfdiags.Diagnostics

	loader, cleanup := configload.NewLoaderForTests(t)
	inst := NewModuleInstaller(loader.ModulesDir(), registry.NewClient(nil, nil))

	_, moreDiags := inst.InstallModules(rootDir, true, ModuleInstallHooksImpl{})
	diags = diags.Append(moreDiags)
	if diags.HasErrors() {
		cleanup()
		t.Fatal(diags.Err())
		return nil, nil, func() {}, diags
	}

	// Since module installer has modified the module manifest on disk, we need
	// to refresh the cache of it in the loader.
	if err := loader.RefreshModules(); err != nil {
		t.Fatalf("failed to refresh modules after installation: %s", err)
	}

	config, hclDiags := loader.LoadConfig(rootDir)
	diags = diags.Append(hclDiags)
	return config, loader, cleanup, diags
}

// MustLoadConfigForTests is a variant of LoadConfigForTests which calls
// t.Fatal (or similar) if there are any errors during loading, and thus
// does not return diagnostics at all.
//
// This is useful for concisely writing tests that don't expect errors at
// all. For tests that expect errors and need to assert against them, use
// LoadConfigForTests instead.
func MustLoadConfigForTests(t *testing.T, rootDir string) (*configs.Config, *configload.Loader, func()) {
	t.Helper()

	config, loader, cleanup, diags := LoadConfigForTests(t, rootDir)
	if diags.HasErrors() {
		cleanup()
		t.Fatal(diags.Err())
	}
	return config, loader, cleanup
}

redpajama_set_name: RedPajamaGithub


text:
The Ugly Tree Book Series by Tamara Lyon [Author Interview, Series Review & Giveaway]
Considering Cane Kallevik's rocky start, her life has been normal under the watchful eye of Grandma Betty.
Freckle-faced, scrawny, and almost sixteen, Cane has ants in her pants. When she's not running five miles at a crack, she's riding her bike around the rural farming town of Savage, Illinois and engaging in a secret warfare with her former best friend, Mikayla Atwood. The biggest thorn in her side is Jenny Ryanne Schaeffer, her employer, who Cane has nicknamed Jelly Roll for painfully obvious reasons.
When Justice Price, Jelly Roll's gorgeous, older nephew rolls into town, Cane is convinced that their age difference is a minor inconvenience. On the first day they meet, she invites him for a nighttime rendezvous. Despite the tornado warnings that evening, she leaves her house, hoping by some miracle that Justice will show up. While she's waiting, a tornado of epic proportions slides right by her, leveling everything in its path.
Cane's house is destroyed, and Grandma Betty is in a coma. Out of necessity, Cane moves in with the Schaeffer family and spends the summer falling in love with Justice, keeping vigil at Grandma Betty's side, fighting with Jelly Roll, walking a fine line between love and hate with Mikayla, and discovering scandalous secrets about Mikayla's mother, Annette.
Cane endures a summer of waiting, loving, and longing. In a dramatic conclusion her world literally goes up in flames, but instead of losing everything, she finds exactly what she's looking for in the most unexpected way."
Amazon | | Barnes & Noble| Half.com | Goodreads
A compelling beautiful coming of age story, this book deserves much more reviews than it currently has. This is a story of Cane, a girl who is trying to survive her life without the help of a mother or a father. With just her Grandma Betty, Cane is devastated when the old woman is hurt in a tornado and is in a coma. The summer stretches on and Cane has to live with a woman who hates her, the woman Cane calls "Jelly Roll" but Cane still can not figure out why "Jelly Roll" has an issue with her especially since her husband was her dad's best friend. On top of all this, her ex best friend and her are still waging wars on each other. Makela and Cane have a love/hate relationship with each other but they have been friends since they were in diapers.
This is a coming of age story, but not a typical one at all. Cane is feisty and brilliant as the main protagonist in this series. The series opener is beautifully written and well thought out from all stand points. The characters are presented well and the story is just long enough to capture your heart but short enough for a quick read that doesn't drone on and on.
A perfect beginning to an excellent series. One to not miss for sure!
~Book 2 - Cane's Justice~
In this sequel to the award-winning The Ugly Tree, Cane has always known that the handsome and sweet Justice Price, was the one. So, when he pops the question and offers her everything she's ever wanted and more, she readily accepts. But, when Cane learns a secret about Justice she panics, insists she needs some time to think things through and leaves for the summer, breaking Justice s heart and her own. Now in Colorado and living with her college roommate, a successful business woman who owns two companies, Cane takes a position for Caprice as both a maid and marketing co-chair with Caprice's musician cousin, Nikeo. It isn't long before he and Cane develop an adversarial friendship wrought with sexual tension that leaves them both on edge. Though her heart still belongs to Justice, Cane can't deny her attraction to Nikeo. While she's trapped in a love triangle of her own making, Cane discovers that Justice may be in love with someone else. Will she find her happily ever after with Nikeo or Justice? Or will she lose them both?
Amazon | Barnes & Noble | IndieBound| Half.com | Goodreads
I don't usually like sequels better than the first book. For some reason authors seem to lower the bar a bit on a second novel and not try as hard. For me, this book was the complete opposite. This book was better than the first. Since I adored the first, I will explain why I loved this one more.
For starters, the book got more real than in the first. We meet Cane and Justice just as Cane is graduating from college and her family is there. There is a bit surprise for Cane after the ceremony. Justice decides to propose to her in front of every person she knows. Not that this is a bad thing, but Cane is freaking out!!! She can't breathe.
Secondly, this book was funny. There were so many part when I was literally laughing out loud that it was such a joy to read. It was a light hearted and fun read.
Third, I love how the author flashed back to scenes from Cane's and Justices relationship. Since the story picks up many years later, the reader has missed many things in between. The writing did a superb job of keeping us informed though.
Another wonderful contribution to this amazing story. You'll be asking yourself this question. "Am I on the last book already" *sad face* :(
~Book 3 - The Road To Justice~
Feisty and impatient marketing maven Cane Kallevik is desperate to mend her relationship with Justice
Price, slip her engagement ring back on, and sprint to the altar. Justice's feet aren't just cold, though, they're frozen.
Still reeling from Cane's summer fling with dangerously attractive bad boy Nikeo, Justice claims he needs time. But is it really time he wants, or their curvaceous and bubbly co-worker Susan, with her bottomless supply of adoration and baked goods?
When Cane's not seeking advice from Rhonda Riddle at the psychic hotline or planning ad campaigns for Schaeffer Dairy, she's counseling eighteen-year-old Jocelyn Schaeffer through a tabloid-worthy scandal and keeping secrets for her best friend, Mikayla.
Just when Justice seems to be coming around, tragedy strikes, and at the worst possible moment Nikeo shows up on Cane's doorstep . .
Amazon |Half.com | Barnes & Noble |IndieBound | Goodreads
Sequels are sometimes a bummer to read because the author unnecessary stretches the book on to join in the trilogy hype.Tamara Lyon did no such thing. In fact, I think this series could have even had another book with it. I just adored Cane's and Justice's relationship. Sure, they had there problems but they always loved each other.
It is hard to write a review on the last book in a trilogy without spoilers so I will make this last review brief and try not to give too much away. This book is definitely needed in the series and it comes with the same excitement, humor and beauty the rest of the series displayed.
This third book has even more humor than the first two books. Cane's personality really shines through in this last addition. I just fell in love with this character and can really relate to all the trials and struggles she goes through. She is a strong person who has endured a whole lot in life but she still always continues to shine.
The author does not disappoint in this final book. The story is brought together to an amazing and quite unexpected close. An ending you must read to really appreciate.
"On the night that I was born, the circle of life sucker punched my family in the face. Grandma Betty stepped up to the plate, and out of her iron will to make lemonade out of lemons, she named me Cane, claiming it was because I was as sweet as sugar."
I have learned that for me, hope is fickle; it can drag me down just as easily as it can pull me up by my bootstraps, so high that my feet don't even touch the ground."
The timing wasn't right when we met, was it? and even though some things have gone wrong these past six years, so much more has gone right. You make me crazy. You make me sane. You make me laugh harder than anyone can. You make me want to be the best person that I can be. You are the love of my life, Cane. I don't know how to live without you. I want you by my side for all of time. Will you marry me?
When I'm around him, I behave unscrupulously and irrationally. He provokes emotions in me that Justice never has. He unsettles me, challenges me, pushes me, and enrages me. He makes me question who I am and what I believe. He brings out things in me I didn't know were there and things I don't like to acknowledge that are.
Jocelyn has come a long way in terms of confidence over the past few years; with my mentor-ship and help, she's lost a hundred pounds, gained confidence, and even joined the cross-country and track teams at school. Still, the predicament she's in, and the scandal that will surely follow? Even I couldn't withstand something like that.
Unfortunately, she's sweet through and through, a true sugar cube of a person--no one can help but love her . I, on the other hand, evoke more extreme emotion--people either love me or despise me. I'm not a sugar cube. I'm more like a Sour Patch Kids candy, so strong I cause an intense pucker, but stick around long enough, and a burst of sweet comes.
I am so lucky to have Tamara Lyons on Bookish today. Thanks so much for agreeing to talk with me about this series and your writing Tamara and Welcome!
1. How did you come up with the story of Cane and Justice? Honestly, it never started with a love story. The character Cane was the inspiration for the series. I had this picture in my head of this spunky, quick-witted, outspoken teenage girl sitting on top of hill next to a lone tree that was half-dead. From there, her story unfolded. I wanted to give this precious teenager her first taste of love and see how she would respond. First love is always such a delicate, dangerous thing, and I wanted Cane to have a heightened experience of that. Naturally, with all the events that happen in the first story and with Justice being almost six years her elder, that made it all the more tense and dramatic. As for Justice, I strove to make him Cane's counterpart. Where she was confrontational, bold, and sometimes irreverent, he was reserved, quiet, and usually made prudent choices.
2. What music if any helped you through the writing of these novels? For me, music is probably the most powerful storytelling medium. It moves the soul. It consoles you. It performs small miracles. It transports you. Because I'm passionate about music, I wanted to integrate it into The Ugly Tree series. I referenced many of the musicians and songs that were meaningful to me back in the 1990's, and the lyrics just so happen to coincide perfectly with Cane's experiences.
3. What advice would you give to an aspiring writer? Ultimately, my advice for aspiring writers is to write often, even when you don't want to, and never give up. That may be dumbing it down a bit, but in the end, it's true. Publishing a piece of work, marketing it, achieving monetary success, that's all secondary. A writer must write.
4. Favorite books? I can't pick a favorite, because my tastes vary given the day, and I love so many books! Sometimes I want serious literature, sometimes I want a fast, fun read. Some of the ones off the top of my head: Land of a Hundred Wonders, The Secret Life of Bees, The Last Time They Met, The Fault in Our Stars, The Harry Potter series, The Cinderella Pact, Whistling in the Dark, A Dog's Purpose, The Art of Racing in the Rain
5. Favorite authors? Jennifer Weiner, Lesley Kagen, Anita Shreve, Meg Cabot, Mary Kay Andrews, Sarah Strohmeyer
6. Favorite quote? I adore words, and I have about a thousand favorite quotes. I have five quotes on my inspiration board in my office, and the one that resonates the most is by Stephen King. "The scariest moment is always just before you start." I find this to be so true! After thirteen years of professional writing, I'm always terrified to begin a piece of work. Because in doing so, you are risking everything and allowing for the possibility of failure. And, as a writer, there are always more failures than successes.
7. Do have a mentor or someone who made these novels possible? I don't necessarily have a mentor-there's no one in my family or even in my close circle of friends who writes. However, I'm so blessed because everyone I truly love supports my writing. My parents and grandparents are instrumental in encouraging this career path, and my husband, Chris, has championed me from the beginning. Without them by my side, I can't say for sure whether I would be so successful.
8. What are your plans to continue your writing career? I'm pretty certain that I won't stop writing until I die, or until someone pries the keyboard from my hands, let's hope neither happens any time soon. I have a personal goal of writing at least one to two books a year. Currently, I'm working on a novel called Post Traumatic Brazilian Wax Syndrome that will be released sometime in 2014. And, I'm currently brainstorming for my next project!
One Lucky Winner will get a full paperback signed copy of "The Ugly Series" by Tamara Lyon. Good Luck!
~About the Author~
After graduating from Northern Illinois University in 1996, Tamara Lyon pursued a career in
the computer industry and worked at Compuware Corporation in Milwaukee, WI. When her son was born, she decided to leave the corporate world behind and actively pursue her dream of becoming a novelist. While putting her husband through medical school and residency and raising her son, Lyon has been writing novels in addition to running a successful cleaning business. With four women's fiction titles under her belt, The Road to Justice, Cane's Justice (sequel to The Ugly Tree and released July 2, 2013), The Ugly Tree (2011 Indie Finalist, Eric Hoffer Finalist, Midwest Book Award Finalist), and Fixing Forever Broken (IPPY Bronze Medal winner) and more to follow, she understands what it means to persevere despite life's obstacles. Although she continues to write, she has also entered the speaking arena. Her speech titled, Giving Your Dream Wheels, chronicles her personal story and the importance of finding your dreams and making them come true one step at a time.
~Author Links~
WEBSITE | | TWITTER | FACEBOOK | LINKEDIN | GOODREADS
Posted by Debbie
Labels: Book Blog Tour, Book Review, Contemporary Fiction, interview, Young Adult


Democratic presidential candidate Hillary Clinton, speaking on Monday after the massacre in a Florida nightclub, said the United States must find a way to keep the country safe without demonizing Muslim Americans.
Clinton called for "statesmanship, not partisanship" in the aftermath of the shooting in Orlando while Donald Trump, the presumptive Republican nominee, urged the monitoring of mosques in the United States and reiterated his calls for a temporary ban on Muslims entering the country.
Fifty people, including the gunman, the US-born son of Afghan immigrants, died in at the gay nightclub in what was the deadliest shooting in US history.
Clinton, in several television interviews, said she would support stronger measures to prevent so-called lone wolf attacks and urged closer internet monitoring. She said she was committed to protecting the rights of Muslim Americans at the same time.
"We cannot demonize, demagogue and declare war on an entire religion. That is just dangerous," Clinton said on the MSNBC network.
She also called for steps to prevent people who are on the US no-fly list from purchasing guns and said possible restrictions on assault weapons needed to be part of the debate.
Trump plans to deliver a speech on national security at 2 PM EDT (1800 GMT) on Monday in New Hampshire. The topic was a change from his earlier plans to criticize Clinton and what he said was her scandal-prone past.
Trump said on CNN that the United States needed better intelligence-gathering to prevent incidents such as the Orlando massacre.
"We have to look at the mosques ... and we have to look at the community," he said. "And believe me, the community knows the people that have the potential to blow up."


The Center is a 73-storey Grade A+ high rise building in Central, so-called Central Business District (CBD) of Hong Kong. The building is one of the most iconic skyscrapers in Central. Being one of the tallest skyscrapers in Central, the Center has stunning view over the city and Victoria Harbour. It is located over a retail podium, The Center Shopping Arcade which offers great convenience of dining and working.
The Center has a 3-level basement car park with loading and unloading area. The building is at 5-minute walking distance from Central MTR Station via a covered walkway. It has easy access to all main public transports. Bus, minibus, tram and ferry are available nearby. The Center has a convenient location that allows quick access to Hong Kong MTR Station in 15 minutes and the high speed Airport Express in-town check-in in just 45 minutes.
The Center is connected to other superior buildings like International Financial Center (IFC) in 14 minutes walk and the Landmark in 7 minutes walk via an elevated walkway. The sheltered walkway network enables tenants to reach anywhere close by shortly. IT support, secretary service and other serviced office facilities are offered to the tenants.
Bayer, Goldman Sachs and Financial Times are the tenants of the Center.


text:
Harry Gordon
Born 10/21/1960, Ft. Leavenworth, Kansas
Exhibitions & Collections
"When I begin working with a piece of wood, I rotate it until I find a position where it begins to work as a sculpture. Then I start carving. Wood has a spirit and a natural gesture within it."
-Harry Gordon
Harry Gordon was born in Ft. Leavenworth, Kansas and now lives in Lambertville, New Jersey. As a teenager, he started sculpting in a community art class. His teacher arranged for him to an apprentice to Boris Blai, a classically trained Russian figurative sculptor who had worked in Auguste Rodin's studio.
Gordon began his sculpture career with a very classical, figurative beginning. His materials and forms have changed a great deal over the years, but it is still possible to find remnants of the figure in his work. He work now focuses on sculpture that is "larger than life." The materials he uses for his sculptures are primarily wood and granite. He does not create maquettes for his sculptures; he relies more on the natural shape of the wood.
The types of wood that Gordon uses in his sculpture are oak, maple, ash, and elm. Much of his wood comes from trees cut down by tree removal services, as Gordon prefers not to cut trees only for the purpose of carving. He creates larger than life organic sculptures, which are designed to "exist naturally in the landscape."
Photo of Harry Gordon and his work Passage, 2001. Black granite. 11 x 8 x 5 feet. Photo taken at Governor's State, University Park, IL. Image courtesy of the artist.
M.F.A. in Sculpture, Rutgers University, New Brunswick, NJ, 1987
B.F.A., Syracuse University, Syracuse, NY
Studied with Boris Blai (who studied under Rodin) near Philadelphia, Pennsylvania
Rodger Mack, Isaac Witkin, Mark DiSuvero
Harry Gordon resides in Lambertville, NJ.
Patrick Strzelec, Jay Whooly
Major Group Exhibitions
M.F.A. Group Exhibition, Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ, 1987
Six Sculptors, Genest Gallery, Lambertville, NJ, 1987
19 Outdoor Sculptures, Carnegie Center Greenway, Princeton, NJ
Contemporary Sculpture 1991-1992, Quietude Garden Gallery, East Brunswick, NJ, 1991, 1992
Group Show at 112 Greene Street, New York, NY, 1991
16th Annual Bucks County Sculpture Show, Doylestown, PA, 1993
Recent Works: Harry Gordon and Larry Steele, One Main Sculpture Space, Brooklyn, NY, 1994
Exhibiting sculpture at the New Jersey State Museum, Trenton, NJ, 1995-present
Spring/Summer 1995(1996) Exhibition, Grounds for Sculpture, Hamilton, NJ, 1995-1996
Altered Images, The Gallery at Bristol-Myers Squibb, Princeton, NJ, 1995
Five Chinese Elements, The Trenton City Museum at Ellarslie, Cadwalder Park, Trenton, NY, 1995-1996
1996 Station Plaza Sculpture Walk, Trenton, NJ
SUNY Plattsburgh Sculpture Park, Projects and Proposals, Plattsburgh, NY, 1996, 1997-present
Group exhibition, Pyramid Hill Sculpture Park and Museum, Hamilton, OH, 1997-present
Group exhibition, DeCordova Museum and Sculpture Park, Lincoln, MA, October 1997-present
ART/OMI Outdoor Sculpture, Ghent, NY, 1997-present
Art in the Embassies Program, U.S. Embassy, Vienna, Austria, 1998- 2001
Convergence XI, Providence, RI, 1998, 1999, 2000, 2002
Sculpture on the Prairie, 1999, Celia and Willet Wandell Sculpture Garden, Urbana, IL, 1998- 2000
Pier Walk, Chicago, IL, 1999, 2001, 2002
The Artists of Hunterdon County, Hunterdon Museum of Art, Clinton, NJ, 2000
Outdoor sculpture at Woodmere Art Museum, Chestnut Hill, PA, 2000-2001
Artsbridge Gallery, Prallsville Mills, Stockton, NJ, 2000, 2001, 2002
Off the Wall: Sculpture by Artists Affiliated with Rutgers University, Gallery at Bristol-Myers Squibb, Princeton, NJ, 2001
Mass Medium, 5 pieces of sculpture, Garment District, New York, NY
Major Solo Exhibitions
Harry H. Gordon at Morris Arboretum, University of Pennsylvania, Philadelphia, PA, October 1994-October 1996
Outdoor Sculpture at Chapin School, Princeton, NJ, 1999-present
Woodmere Art Museum, Philadelphia, PA, December 2000-December 2001
Outdoor Sculpture Program: James A. Michener Art Museum, Doylestown, PA, January 1-April 30, 2016
Major Collections
Hall Financial Group, Dallas, Texas
The Grove School, Manchester, CT
Mr. and Mrs. Robert Goergen, Greenwich, CT
Ms. G. Finkel Freedman, Delray Beach, FL
Pyramid Hill Sculpture Park, Hamilton, OH
Plattsburgh Sculpture Park, Plattsburgh, NY
Nexus Properties, Trenton, NJ
Grounds for Sculpture, Hamilton, NJ
The State Museum of Pennsylvania, Harrisburg, PA
Lehigh Valley Hospital, Allentown, PA
Mitchell Museum, Mt. Vernon, IL
Mr. Matthew Strauss, Rancho Sante Fe, CA
Runnemede Sculpture Farm, San Francisco, CA
Cheyney University Permanent Collection, Cheyney, PA
Michener Art Museum, Pfundt Sculpture Garden, Doylestown, PA
West Chester University Permanent Collection, West Chester, PA
City of Allentown, Pennsylvania Permanent Collection
Public Art Trust Permanent Collection, Fort Pierce, FL
Ursinus College Permanent Collection, Collegeville, PA
Edinburgh University Permanent Collection, Edinburgh, PA
Lehigh University Permanent Collection, Bethlehem, PA
Mr. and Mrs. Philip Berman, Allentown, PA
Mr. and Mrs. Sidney Dulman, Miami, FL
Mr. and Mrs. Lionel Savadove, Solebury, PA
Fellowship award by the Pollock-Krasner Foundation, Inc., 1992
Grant award by the Herk Van Toneren Memorial Sculpture Fund, 1989
Best in Show, Contemporary Sculpture 1991-1992, Quietude Garden Gallery
Affiliations and Memberships
Artsbridge, Lambertville, NJ
Philadelphia Sculptors, Philadelphia, Pennsylvania
International Sculpture Center, NJ
College Art Association, NY
Flying K


text:
16 June at the Peace Palace: Commission...
16 June at the Peace Palace: Commission on Global Security, Justice & Governance Report Launch
Following over a year of preparations and more than twenty international consultations, the Commission on Global Security, Justice & Governance, a flagship project of The Hague Institute for Global Justice and The Stimson Center (Washington, D.C.), will hold the inaugural launch of its Final Report on Confronting the Crisis of Global Governance from The Hague, The City of Peace & Justice, on 16 June 2015. To register your attendance, pleaseRSVP here.
The Commission's Co-Chairs, former U.S. Secretary of State Dr. Madeleine K. Albright and former Nigerian Foreign Minister and UN Under-Secretary-General Political Affairs Dr. Ibrahim A. Gambari, will present the Commission's chief findings and recommendations. The project has considered new frameworks for collective action on critical issues such as state fragility, climate governance, and the hyperconnected global economy and will offer innovative reform proposals for tackling today's crisis of global governance.
The Report Launch on 16 June (10-11 am) will take place in the Academy Hall of the Peace Palace, an international landmark institution of the City of The Hague. To reserve a place for the Inaugural Report Launch and receive future updates, please register here. Please note: The Peace Palace requires proof of identification to enter the premises, as well as the details requested for this event's online registration.
A few days prior to the official release of the Commission's Report on 16 June, scholars, UN officials, and policy-practitioners will gather at The Hague Institute for a Pre-Report Launch Event from 2.00 to 3.30pm on Thursday, 11 June. This meeting is organized just prior to the Academic Council on the United Nations System Annual Meeting in The Hague. To confirm your participation at the Pre-Report Launch Event, please click here.
International Justice, United Nations
Completed: Commission on Global Security, Justice & Governance
On June 16, 2015, the Report of the Commission on Global Security, Justice & Governance was launched at the Peace Palace in The Hague.…
Active: Distinguished Speaker Series
The Distinguished Speaker Series (DSS) showcases eminent practitioners in international affairs and is the centerpiece of the Institute's high-level engagement with practitioners and academics in the city…
Past Initiative: The Hague Approach
Justice can be a scarce commodity in countries affected by conflicts. The Hague Institute draws lessons from experiences of post-conflict rebuilding activities in Afghanistan…
In 2014, the Institute and the Stimson Center convened the Commission on Global Security, Justice & Governance, co-chaired by former US Secretary of State,…


amfori in cooperation with Stronger Together, a multi-stakeholder business-led initiative working to reduce modern slavery through guidance, training, resources and collaborative sector programmes, will provide online training sessions concerning forced labour due diligence.
Two new interactive e-learnings on will be available on the amfori Academy to support member companies in their due diligence journey towards detecting, preventing and responding to forced labour in their own business and global supply chains.
Forced labour affects millions around the world and is most often found in labour-intense industries with little regulation such as agriculture and fishing, construction, mining, quarrying and brick kilns as well as manufacturing, processing and packaging.
How the amfori BSCI framework supports their due diligence journey, including remedy of modern slavery cases that have been identified in their supply chain.
Forced labour due diligence requirements are deeply embedded into the amfori BSCI system. amfori supports our members with training opportunities, tools and guidance to address risks and remedy forced labour cases in their global supply chains.
For more information, please consult Stronger2Together's website.


Come to Conil de la Frontera to enjoy a good red tuna cooked in 200 different ways. Do you dare to taste all?
Throughout this month, the participating bars and restaurants in Conil, offer you a menu with different original or traditional ways of cooking red tuna.
Almadraba red tuna is characteristic of this area. The almadraba is an ancient and sustainable fishing art that coves off the coast of Conil de la Frontera. It is like a labyrinth of nets, near the coast, where the tunas enter, that go towards the Mediterranean.
The wild red tuna, which is caught in Conil, is a product of the highest quality, culinary delicacy, highly appreciated nationally and internationally, excellent source of proteins of high biological value, rich in vitamins A, B and D and minerals . With the advantage that it is low in saturated fats, and has a high Omega 3 (anti-cholesterol) content.
After seeing all the healthy benefits that the tuna offers us, surely you don´t hesitate to come and taste it. In the tourist office of Conil de la Frontera or in the first bar you enter, you will be given a pamphlet where you will find the 35 gastronomic places participating in the route, including the name and description of the tapa they offer you.
Not only will you enjoy our rich gastronomy, but also the best beaches of the coast of Cadiz and Andalusia, such as Fuente del Gallo Beach, La Fontanilla or Las Calas de Roche. Or its famous sunsets from the beach … Enjoy one of the best part of the Costa de la Luz.
Stay with us at Flamenco Villas and choose among one of our three options: Villa by the sea in Villas Flamenco Beach, an apartment in Hacienda Roche Viejo, where tranquility is the first. Or stay in an apartment in the center of Conil at Villas Flamenco Rentals. Any option is good to spend a vacation and enjoy the exquisite red tuna. Don´t think it anymore! Come to Conil!


text:
UPDATE ON GOLDEN FRAC SAND PROPERTY
Vancouver, March 13, 2017 – 92 Resources Corp. (the "Company" or "92") (TSX.V: NTY) (FSE: R9G2) is pleased to provide the following update on recent developments at and near its wholly owned Golden Frac Sand Property (nee: "Zim Frac"), located near Golden, BC, Canada. In summary:
– Heemskirk Consolidated Limited, the owner of the Moberly Silica Sand Mine, was the subject of a February 13, 2017 takeover bid by Northern Silica Corporation. The total transaction is valued at greater than $42.3 million ASD;
– The Moberly Silica Sand Mine, adjacent to and contiguous with 92's Golden Frac Sand Property, covers a limited portion of the Mount Wilson Formation near Golden, BC. In this area, a friable, mature quartz sand unit 90 to 120 m wide contains well-rounded sand grains with over 99% SiO2;
– 92 has acquired three additional tenures covering 2,404 ha, along an approximately 18 km length, of the favorable Mount Wilson Formation;
– The Company's total land holdings in the area now total 3,212 ha.
Given current market conditions for Frac Sand within western Canada and the lack of domestic supply that necessitates importation of massive volumes of Frac Sand from the upper Midwest USA, the company intends to initiate fieldwork as soon as conditions allow. Planning for such programs, which will include mapping, sampling and drilling, will begin immediately.
According to Adrian Lamoureux, President and CEO of 92 Resources, "The Golden Frac Sand Property may represent a significantly undervalued asset given its potential to host a large, high-quality frac sand deposit. Domestic or western Canadian Frac Sand deposit with suitable quality would benefit from more advantageous transportation and exchange rate costs over foreign competitors. We believe these to be important factors in the recent takeover of the neighboring Moberly Silica Sand Mine, which is slated for production in 3rd quarter of 2017."
About Frac Sand
The evolution of hydraulic fracturing of unconventional oil and gas has resulted in a steady increase in the amount of sand volume per average well. High-intensity "Fracs" can dramatically increase the production profile of a well. In Canada, more than 175,000 wells have been stimulated by hydraulic fracturing.
A majority of Canada's Frac Sand originates from the Upper Midwest USA, where it can be transported distances of 2,500 to 3,000 km or more, from it source to the wellhead. The dominance of the "Northern White" or "Ottawa" sands owe to their exceptional quality measured in terms of purity, roundness, sphericity, grain size and other factors.
The larger volumes of sand used per well have partly offset the drop in demand of Frac Sand, owing to the recent downturn in the price of oil. In 2015, total Frac Sand production was estimated at 67.38 million metric tonnes (USGS) at prices ranging from $70 to $84 US per ton. Within Canada, depending upon quality, Frac Sand (FOB) for the Edson, Alberta area ranged from $155 to $195 CDN per tonne[1].
About the Golden Frac Sand Property
The Golden Frac Sand Property (the "Property") is located within western Canada, near the community of Golden, British Columbia. The expanded property covers more than 18 km strike length of the Mount Wilson Formation, which consists of high-purity, white, quartzite. To date, only initial prospecting, sampling and testing work have been completed on the Property by the Company; analytical results from the most recent program (2014) include:
Silica Content: 98.3% – 99% SiO2.
Size Fractions: 2 of 4 samples analyzed returned size ranges over 65% in the 40-170 mesh range.
Compression: The 2 adequate size fraction samples passed 6000 PSI compressibility testing, each producing 8.1% fines
Given the long-term growth potential of the global frac sand market and recent developments near the Golden Frac Sand Property, the Company is actively evaluating a number of opportunities to unlock value for the company and increase the shareholders' value, while continuing to advance its flagship Hidden Lake Lithium Property near Yellowknife, NT.
NI 43-101 Disclosure
Patrick Kluczny, P. Geol., of Dahrouge Geological Consulting Ltd., a qualified person as defined by National Instrument 43-101, supervised the preparation of the technical information in this news release.
[1] Hannah, T. and Lavender, T. (Nov. 26, 2014) Preliminary Economic Assessment Firebag River Sand Property, Norwest Corporation
For further information, please contact Adrian Lamoureux, President & CEO at Tel: 778-945-2950, E-mail: adrian@92resources.com or visit www.92resources.com.
On Behalf of the Board of Directors,
"ADRIAN LAMOUREUX"
Adrian Lamoureux, President & CEO
Statements included in this announcement, including statements concerning our plans, intentions and expectations, which are not historical in nature are intended to be, and are hereby identified as, "forward‐looking statements". Forward‐looking statements may be identified by words including "anticipates", "believes", "intends", "estimates", "expects" and similar expressions. The Company cautions readers that forward‐looking statements, including without limitation those relating to the Company's future operations and business prospects, are subject to certain risks and uncertainties that could cause actual results to differ materially from those indicated in the forward‐looking statements.


One citizen at the meeting, Tony Palladeno, apparently ran afoul of this warning, and was escorted out after addressing the panel with his comments. As he was being escorted out his wife, who accompanied him, was also arrested. In the video below she can be heard saying, "This is bulls***" just before being forced against a counter and handcuffed.


text:
Sports Collectors Expo to Bring 18 Sports Legends to Batavia | Events
Sports Collectors Expo to Bring 18 Sports Legends to Batavia
Monday, February 2nd, 2015, 7:58pm
Topics: Events, Families, Sports & Recreation
Eighteen stars from the NFL, NHL and Major League Baseball are scheduled to appear from 10 a.m. to 4 p.m. Saturday, Feb. 21, at the Sports Collectors Expo. The event is set to take place at Batavia Downs Gaming, located at 8315 Park Road, Batavia.
Kicking off the autograph signings from 11 a.m. to noon will be baseball greats Luis Tiant, Chris Chambliss and Joe Hesketh, along with former NFL stars George Rogers and Larry Brown. From noon to 1 p.m. are NFL greats Marv Levy, Jack Youngblood, Tom Mack and Vince Ferragamo. Signing from 1 to 2 p.m. will be NFL legend Rocky Bleier.
Signing autographs from 2 to 3 p.m. will be NFL greats Billy Shaw, Ken Jones, Charles White and Don Maynard. Rounding out the event from 3 to 4 p.m. are former NHL stars Marcel Dionne, Danny Gare, Brad May and Matt Barnaby,
Youngblood, Shaw, Levy, Mack and Maynard and members of the Pro Football Hall of Fame, while Dionne is enshrined in the Hockey Hall of Fame.
Admission to the event, which will also feature numerous sports card and memorabilia dealers from across the country, is just $6. Children under age 8 will be admitted free when accompanied by a paying adult. Individuals 18 and older will receive $5 in free play for the casino with the purchase of a ticket to the Sports Collectors Expo. Additionally, paid admission will include one free autograph from Jones and Hesketh.
James Spence Authentication, the industry leader in autograph authentication, will also participate in the event.
For more information, please visit The Sports Corner's website at www.thepurplepeopleeaters.com.


text:
Q: I need this program to find the longest word in a String in Java import java.util.*;
class Exam3
{
      public static void main(String[] args)
{
    Scanner sc = new Scanner(System.in);

    System.out.print("Enter a String: ");

    String word1 = "", word2 = "";
    int l1 = 0, l2 = 0;

    while(sc.hasNext())
    {   word1 = sc.next();
        l1 = word1.length();
        if(l1 > l2)
        {
            l2 = l1;
            word2 = word1;
        }
    }

    System.out.println("Longest Word: " + word2);
    System.out.println("Length of Word: " + l2);
}
}

The code isn't working. Prompting the user is successful, but nothing else happens. If you input a String and press Enter, it goes to the next line, where you can input again, etc. etc.

A: There should be a exit condition in the loop. Please use the following code.
import java.util.Scanner;

public class LongestString {

    public static void main(String[] args) {
        Scanner sc = new Scanner(System.in);

        System.out.print("Enter a String: ");

        String word1 = "", word2 = "";
        int l1 = 0, l2 = 0;

        while (sc.hasNext()) {
            word1 = sc.next();

            // type exit finish the loop
            if (word1.equals("exit"))
                break;

            l1 = word1.length();
            if (l1 > l2) {
                l2 = l1;
                word2 = word1;
            }
        }

        sc.close();

        System.out.println("Longest Word: " + word2);
        System.out.println("Length of Word: " + l2);
    }
}

A: This approach worked for me
public class actual {
    public static void main(String[] args) {
        Scanner sc = new Scanner(System.in);

        System.out.print("Enter a String: ");

        int largestLength = 0;
        String largestWord = "";
        String a = sc.nextLine();
        for(String b:a.split(" ")){
            if (largestWord.length() == 0) {
                largestLength = b.length();
                largestWord = b;
            } else if (b.length() >= largestLength) {
                largestLength = b.length();
                largestWord = b;
            }
        }
        sc.close();
        System.out.println("Longest Word: " + largestWord);
        System.out.println("Length of Word: " + largestLength);
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Bootsie Kidd: December BONUS Devil Girl Spread!
Categories: December BONUS Devil Girl Spread 2018: Bootsie Kidd and Uncategorized
Tags: adorable, boobs, Bootsie Kidd, cartoon, childhood, christmas, cleavage, cute, Dr. Seuss, fun, gifts, gify, gloves, green, Grinch, How the Grinch Stole Christmas, How the Grinch Stole Trashmas, pin-up, pinup, puppy, santa, Scuz, seductive, sexy, thigh high, thighs, trashmas, tree, yule
Hey Gang, it looks like we found one more exemplary Devil Girl spread underneath the Trashmas tree for you this year! Another from the gorgeous, lusty and voluptuous vixen, Ms. Bootsie Kidd! If you are wondering just who stole your Trashmas this year, as well as your heart, and set your yule log ablaze, look no further than this vision of rapturous Devil Girl sinful beauty herself, Bootsie Kidd! Enjoy our final Devil Girl spread of the season!
Silent Night: Dreaming of a Schlock Christmas
Categories: Silent Night (2012)
Tags: 12, 2012, abuse, antlers, axe, bad, balls, battle, blood, blow job, boobs, break, breasts, Brendan Fehr, burn, Canada, child, children, christmas, Christmas Eve, church, cinema, cold, collective, Cortney Palm, crime, Deadly Night, death, deputy, disguise, dismember, Donal Logue, DVD, electricution, Ellen Wong, Eve, flame, flamethrower, Florida, garbage day, gifts, Gore, grandpa, grandson, graphic, gruesome, holiday, horny, horror, illness, impalement, investigation, jail, Jaime King, Jayson Rothwell, Jessica Cameron, kid, kill, killer, law enforcement, legend, lights, limited release, Lisa Marie, Malcolm Mcdowell, Maniac, mask, mass, massacre, mean, mean spirited, mental, messy, molestation, money, murder, mystery, naked, New, Noel, nudity, nuts, parade, photo shoot, pick-axe, police, presents, priest, primal, prison, procedural, red herring, Remake, Root, santa, Santa Claus, scene, schlock, Season, sex, sheriff, sick, Silent Night, slaughter, small town, snow, splatter, spree, Steven C. Miller, suspect, Tallahassee, tazer, testicles, the primal root, tits, torture, Trash, Trauma, tree, ugly, urban, USA, video, video 21, warning, woodchipper, yuel tide
a Primal Root review
If you know me, you know my stance on remakes. It's not something I am incredibly fond of but I will always give them a fair shot as from time to time I find myself surprised and impressed. This is why I gave the remake of one of the best slasher films ever made, 'Silent Night, Deadly Night', a run for it's money. Would it be as heartfelt, tragic, disturbing and filled with campy, inappropriate jet black humor as it's original source material? I had my doubts. I took a deep breath, popped this sucker in my DVD player and braced for impact.
. Seeing as the movie has little to nothing in common with it's source material outside of it's organizing principle (Christmas) the killer's disguise (Santa Claus) and two of the original film's most notorious and popular set pieces this thing hardly registers as a remake. It's more of a springboard for an altogether new slasher film. 'Silent Night' adopts the narrative structure of Wes Craven's 'Scream' franchise with a "Who-done-it?" premise and written in the often imitated style of one of cinema's most acclaimed screenwriters, Rob Zombie. We are introduced to a crazed killer dressing up as Santa Claus in a urine soaked, filth caked bathroom as he puts together his Santa Claus mask and clips his finger nails, which I assumed at the time would be some clue to the killer's identity and kept looking for some with well manicured nails. By the film;s end realized this shit had nothing to do with anything, really.
Our killer takes care of business, dispatching of a screaming woman in an adjoining bedroom and then unceremoniously electrocuting a man tied to a lawn chair with festive Christmas lights down in the basement. The guy shakes, screams, his eyes explode in geysers of blood…and our movie begins. Who were those people? Why should I care that they're dead? Next thing you know, it's Christmas Eve morning and it turns out the guy who just got electrocuted in the previous scene was the local deputy and a young woman is called in to work his shift by the over confident small town America British crime Sheriff, Malcolm McDowell, who plays his character for laughs and it just doesn't work.
As bitchy, spoiled little girls are butchered, men are stabbed in the testicles and large breasted, half naked women are sent slowly through wood chippers, this crack team of police investigators zero in on large people in Santa suits, this being Christmas Eve, the town is overrun by fellows in Santa suits and several of them are disgruntled assholes and violent offenders, so they have their work cut out for them. Why do they not bring in some outside help? Because the Sheriff wants to solve this on his own. Eh, stupid is as stupid does, I suppose.
Just about every character we encounter is brutally slaughtered which I am sure will send us gore hounds off to bed with visions of woodchippered meaty chunks of nude photography models dancing in our heads. There's not much of a moral compass present in this new Christmas slasher, but I guess that's just fine fo0r the approach they;re taking. It's a full speed ahead train of pain where buying a ticket insures a perversely gruesome ride. Mean spirited and full of self interested slime balls, 'Silent Night' is actually a fairly good modern Christmas horror, even if it pains me a little to admit it.
Jaime King as Deputy Sheriff Audrey Bradimore does a damn fine job of trying to give her character the gravity she deserves, but it's all for not, as 'Silent Night' has other fish to fry and body parts to hack off. The rest of the cast play this film as the hamfisted piece of garbage it is and yuk it up with a wink and a nudge as they await their paychecks. You can literally feel the apathy these performers bring to the film.
The film even cherry picks two of the original "Silent Night, Deadly Night"s most memorable moments. you know, the one where loony bin Grandpa warns his Grandson that 'Christmas Eve is the scariest damn night of the year!", only this time Grandpa's voice turns demonic and is delivering this warning to a character who only has one other scene…where he receives some obligatory Holy Night oral before having his head pulped by one well placed whack of an axe. Also, extracted from the original 'Silent night, Deadly Night; is the notorious 'Antler Kill', which seems puzzlingly less effective here. Oh yeah, and there's a reference to it being "Garbage Day". WOKA, WOKA, WOKA!
All in all, 'Silent Night' delivers the sloppy, gooshy, gory goodies but severely lacks the underlying message and heart that made 'Silent Night, Deadly Night' such a memorable and dare I say, classic of the 80's slasher period. As I have mentioned in The Primal Root's Rotten Review for 'Silent Night, Deadly Night;, it is a film about the cycle of violence, the lack of care for the mentally ill, and the failure of our system and religious fundamentalism. Is it shocking? yes. Violent? Of course. Over the top? Most certainly! But it was all for a purpose as opposed to this remake which is happy to deliver nothing but carnage. Gore drenched kills and a town populated by halfwits, unapologetic assholes and sociopaths that serve no purpose other than axe fodder.
'Silent Night' is a bloody hot mess of a stocking stuffer. If you can get passed the annoying, unlikable cast of characters, there's a wonderful mix of nasty kills (including one little cuntface of a child!) and gratuitous Tits and Ass for the old schooler purists. It's trashy to the core and about as dumb as a box of coal but just might make a good stocking stuffer for the gore hound on your Christmas list.
Cabin in the Woods: Roll with the Changes
Categories: The Cabin in the Woods
Tags: Amy Acker, Anna Hutchison, bear, bets, betting, bike, blonde, blood, bloody, bong, boobs, Bradley Whitford, breasts, Brian White, bulge, capital, Changes, chemicals, Chris Hemsworth, city, college, comedy, country, creatures, decapitation, demon, demons, dirt, doom, doomed, Drew Goddard, drugs, elevator, erotic, evil, experiment, final girl, Florida, forest, Fran Kranz, frog, fuck, ghost, god, gods, Gore, government, graphic, harbinger, hidden, homage, honor, horror, husband, impale, Inch, International, Jesse Williams, Jodelle Ferland, Joss Whedon, killer, Kristen Connolly, last, legends, merman, Monster, monsters, motor home, mystery, nails, naked, Nine, nudity, organization, original, paranoia, paranoid, pot, primal, rape, redhead, released, REO Speedwagon, review, Richard Jenkins, roll, Root, rules, RV, sacrifice, secret, sex, Sigourney Weaver, slasher, slit, suspense, swim, swimming, Tallahassee, teenagers, teens, thriller, throat, trap, trapped, tree, trust, unicorn, unique, villager, voyeur, voyeurism, weed, werewolf, wild, written, zombie, zombies
a Primal Root review as originally published in Tallahassee's Capital City Villager
Stop me if you've heard this one before, okay, here goes. A jock, a slut, a pot head and a mousy chick decide to spend a weekend in the woods only things don;t go as planned as malevolent forces beyond their control put a bloody an unexpected halt to their fun filled outing. Sound familiar? To any fan of the horror genre the principle set up could be lifted from any one of the multitude of slasher films released between the late 70's to today.
It's the same formula that's been set up, rinsed and repeated for generations. But this basic premise is where the similarities between "The Cabin in the Woods" and your typical teen body count horror films end and the inventiveness begins. This is precisely what makes the film such a tent pitchingly awesome treat for both hardcore horror fans and even general audiences who have, no doubt. become well aware of such genre tropes. Joss Whedon (the man behind the immensely popular and critically acclaimed "Buffy the Vampire" television show) and co. have created a horror film that not only includes all the fun, over the top brutal violence, imaginative creatures, and gratuitous tits and ass we've all come to expect and love about this type of flick but also imbues the picture with a wealth of knowledge about horror tales in general and uses that as a way to revitalize it by packing enough wit, brains and a plethora of unexpected surprises to keep even the most well versed fan second guessing themselves as to just what will happen next and what cliche will be chopped down and tossed onto the fire. As a connoisseur and life long fan of this well worn cinematic sub-genre, I am purposefully sidestepping any further mentioning of the veritable cornucopia of plot turns and unexpected twists, because to do so would be an unforgivable disservice to any audience plopping their asses down to view "The Cabin in the Woods" for the first time.
"The Cabin in the Woods" from writer Joss Whedon and director Drew Goddard completely annihilates every convention of the genre and reminds all of us that there are still avenues left unexplored in what some might see as an exhausted form of storytelling. It may only be a matter of story tellers hiking off the trail and further, deeper, into the woods.


All the sharks after the poor people!
M3 (total money in circulation) figure has been uncovered!
Interesting graph -- look how house prices are crashing!
DOES ST. NICK SPEAK MANDARIN?
Nov. 06 inflation -- biggest in over 32 years!
Interesting case of couple with cheap 80K house -- it won't sell!
What in the world are derivatives?


Our colds snuck in quietly and started out as innocent (yet annoying) night coughs. However, the coughs quickly transformed into head colds that were sent straight up from the underworld.
My eyes were watery, my nose was stuffy, and I sneezed every 35 seconds. I almost wondered if I was having an allergy attack, that is until my body felt like I lost a fight with Ronda Rousey.
A funny thing happens when everyone in my house has a cold. My standards get thrown completely out the window. No cares are given about anything.
Dog sleeping on the stacked up laundry? GO FOR IT.
You want Little Caesar's for dinner? AT YOUR SERVICE.
Because of my sickness and thus my low standards, my entire house went to crap. I was already behind on laundry when my cold turned me into a zombie. The already large laundry piles quickly began to quadruple into Everest sized stacks. Quite frankly, laundry was the least of my cares when I could only successfully breath through one nostril.
While we were sick we used paper plates approximately one hundred percent of the time. #sorrynotsorry. Mama wasn't doing dishes. Not that time. I was too busy dizzily napping off my head cold to worry about that nonsense.
While we were down and out, games were played but rules were not followed. I no longer cared if my toddler picked up the wrong color acorn with his Sneaky Squirrel. Oh, did you land on a slide during Chutes and Ladders? Didn't see it. Everyone was a winner at every game. I handed out participation trophies like a boss.
Luckily, we've all fully recovered and I spent yesterday afternoon marking things off my ever expanding To-Do List. I'm ready to pack up the Kleenex, and I have my fingers crossed that sickness is long gone.


text:
Q: node-gyp error while depoloying rails 6 with vue app on heroku I'm trying to deploy rails 6 with vue app on heroku, but I'm getting this error:
[4/4] Building fresh packages...
   error /tmp/build_c242c7d78580af478535f5a344ff701e/node_modules/fibers: Command failed.
   Exit code: 127
   Command: node build.js || nodejs build.js
   Arguments:
   Directory: /tmp/build_c242c7d78580af478535f5a344ff701e/node_modules/fibers
   Output:
   node-gyp not found! Please ensure node-gyp is in your PATH--
   Try running: `sudo npm install -g node-gyp`
   /bin/sh: 1: nodejs: not found
   spawn node-gyp ENOENT
   info Visit https://yarnpkg.com/en/docs/cli/install for documentation about this command.

   Precompiling assets failed.

   Push rejected, failed to compile Ruby app.
   Push failed

I tried to search for solution everywhere, but it seems like no one else had this problem. Any idea how to fix this? Thanks

A: I didn't add node buildpack to heroku app, adding it fixed the problem


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