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Posts Tagged 'editing
Interview with Rock & Sling Editor – Thom Caraway
Categories: Poetry and Publishing
Tags: a journal of faith art and literature, a journal of witness, agnostic, ampersand, Angela Ball, Annie Stillar, assistant editor, assistant prose editors, atheist, AWP, B. H. Fairchild, Ball State, bleed, book design, Brevity, Calibri, Californian, Caslon, Chris Howell, Christian art, Christian journal, Christopher Howell, clmp, colophon, Copper Canyon, Copper Canyon Press, cover design, cover letters, covers, Dafont, dan Baltzer, Dear Russel Nakagawa, design, digital printing, distribution, Eastern Washington Univeristy, editing, editing and design class, editor, Editor-in-Chief, Emelie Anskog, Eric Gill, Facebook, faith, faith-based journal, faith-based literature, Franklin Gothic, Fred Johnson, Gala Bent, Garamond, Gear, Gill Sans, gothic sans serif type, Gregory Orr, image, indie bookstores, Ingram, italic, Jeff Dodd, Jeffrey Youngblood, Jonathan Johnson, kerning, Kris Christenson, Laurie Lamon, layout, League Gothic, League of Moveable Type, Lived faith is never easy, Lori Klein, Lost Type, managing editor, master-page style, Michael FitzGerald, North Dakota Quarterly, offset printing, Palatino, Pattianne Rogers, perfect submission, Perpetua, Perpetua Titling, Ploughshares, poetry editor, Poor Richard, Prairie Schooner, prose editor, Redactions: Poetry & Poetics, Roman, running a literary journal, Sage Hill Press, sans serif, serif, Spokane, Submismash, submission, submission guidelines, Submission Manager, Submittable, Sugar House Review, Susan Cowger, The Kenyon Review, The University of Southern Mississippi, The West Wing, Thom Caraway, Tin House, Trajan, trim-size, type, typeface, Ubiquity, UPC, Versal, Weave Magazine, web editor, Whitworth University, Willow Springs, withness
One of my favorite literary journals is Rock & Sling. I remember the women who founded the journal asking me questions about how to start a journal. They asked me circa 2003 when I had only published one or two issues of Redactions: Poetry & Poetics. My advice was very limited. I can't imagine what I could have told them. Now, it is being run out of Whitworth University by Thom Caraway. Under his editorial management, Rock & Sling have been creating journals that are beautiful to hold and putting together journals with the conscientiousness that goes into making a well-designed book. Inside each issue there are also good stories and poems.
On Wednesday, May 16, 2013, during my Publishing class at The University of Southern Mississippi and taught by Angela Ball, I learned that one of my assignments would be to give a presentation about a literary journal of our choice. Rock & Sling was the first journal that came to my mind. I then went home, and asked Caraway if he wanted to participate. He agreed. I quickly typed up questions for him to answer. While these answers came quick, they had lots of thought behind them. Since I now have about 11 years experience in publishing (instead of just one or two), I knew what types of questions to ask. Because I knew Caraway's love of journals and books and putting them together, I knew what questions to ask him, and I also knew what questions I would want asked of me. So the questions arrived with ease. In addition, I asked questions that would be of more direct concern to the other students in the class and to those who are considering submitting their work to Rock & Sling. I emailed Caraway the questions the same night. One week later, he sent me his responses, which appear below.
As I recall, Rock & Sling was started by two ladies in Spokane, WA, around 2003. Who were those ladies, how long did they run the journal, and did it have the same focus as the journal currently does?
Susan Cowger, Kris Christenson, and Lori Klein. The journal came to us through Susan, whose daughter had attended Whitworth University. They were "a journal of faith, art, and literature." Or "literature, art, and faith." Some combination of those words. It seemed like all of the faithy journals had some combination of those. We simplified to "a journal of witness." It captured the essence of what we wanted, and I think we've stayed true to the original mission, though we probably define "faith" more broadly than Susan did.
What prompted them to turn it over to Whitworth University and when did that happen and were you there when it occurred?
We got it in 2009. It had gone on hiatus in 2008, looking for a stable funding source. It was totally independent, but Susan and the other original group couldn't subsidize it any more. I came in on the second or third meeting. Our department was generally in favor of it, but they didn't really know how to make it go. I was the faculty advisor for the school's undergrad journal, and that fall, I had also pitched a class in editing and book design. So it at least looked like I knew what I was doing. I spent the next couple months convincing various administrators that it was good for the university. That's an on-going battle.
How did you get involved in becoming the Editor-in-Chief, especially considering that you teach full time and run Sage Hill Press?
It wasn't going to go if they couldn't get an editor. None of the other faculty had any experience in running a magazine, and I didn't either, but I'd done Willow Springs and North Dakota Quarterly during my grad programs, so I kind of convinced them I knew what I was doing. My experience with Sage Hill Press certainly helped. I knew some design, and enough of the marketing and business side to sound reasonably confident. It turned out there was plenty I didn't know. Teaching the editing and design class really helped, since I could make the business/marketing end of things part of the curriculum and sort of teach myself as I went.
What knowledge did you bring from running a press to running a journal?
It helped to know how a book gets put together (how to pick economical paper and an efficient trim-size, etc.), the printing side of things, and knowing the indie publishing biz. I knew where to go to find things, and had contacts at other presses and journals I could go to for help.
Does the journal help you run the press in any manner? Do you learn things from it that makes your press more effective?
The great thing about a journal is how many authors you can publish at a time. I was used to working with one author at a time, usually for 6-12 months, refining the manuscript, and putting it all together. The journal gave me access to a bigger base of authors. So I've solicited some authors we worked with on the journal to submit a book for Sage Hill. It's also given me a better understanding of marketing and distribution.
On the other hand, the journal takes up much of my non-teaching time, so the press hasn't maintained the kind of production schedule I'd like.
One of my favorite things about Rock & Sling is the colophon. Not many journals do that. What prompted you to include colophon? And how often do you change the typeface?
For me, I can't really design a book until I know what the type will be. I'll experiment with type for hours, sometimes days, until I find the right one. It has to fit the book, speak to the personality of the book, become a vessel for the text. But for books, it's different, because the personality of the text is more unified. It all came from the same author. With the journal, the personality comes from the journal itself, as much as it does from the text. And the text varies wildly, so the type needs to be adaptive and versatile. It needs to speak in a variety of languages. Once I found the right one, and I knew it the minute I'd set any text in it, I wanted to know everything I could about it. The type was Perpetua, the designer Eric Gill. Eric Gill was an interesting dude, and designed a number of persistent types. The colophon itself probably goes back to a design class (which you were in) during my MFA days at Eastern Washington University. Christopher Howell taught that class, and talked at length about type, and the importance of choosing just the right one for books. Or maybe it's just something I got obsessed about as a designer later. I had the standard palette, I think. Garamond, Palatino, Caslon. I started exploring. I also started to notice colophons, often in Copper Canyon books. It added a depth of meaning to the book. Not only did the writer put a lot of time and life and love into the creation of the manuscript, but the designer was also intentional about how the book was set, which was explained in the colophon. That fascinated me. And like any amateur, I imitated until I understood. For me, Perpetua is the personality of the journal. It's beautiful, versatile, and engaging. It creates its own kind of interest, but doesn't overwhelm the text. The colophon was a way of conveying that, the debt we owed not only to the authors, but to the type designer.
I'm not sure the type will ever change for the body of the journal. I just love Perpetua. Everything I submit is set in it. Poems. All of my syllabi. Letters of recommendation. Many of my students now use it, and our poetry editor has adopted it as well. For our first four issues, the titles were set in Perpetua Titling, which is an all-caps type. I wasn't wild about it, but it was consistent with the body. Before laying out 8.1 (our fifth issue), I lost the template from those first four issues on a crashed hard-drive. We reconsidered everything (save the body type), from trim size to title types, page-styles, titles, layout, etc. We're actually going with a new title type, and a new master-page style (in the footer), as well as a different rule style. When you are in the rhythm of journal production, it seems impossible to consider changing things. I don't know why that is. Probably because there is so much other stuff going on; it's too overwhelming to consider a redesign of the whole thing. I also want a consistency in our shelf presentation. If people have several years of our journal on their shelves, I want it to look good. So after all of that reconsideration, we kept the same trim size and spine text. But I've changed some of the more extraneous elements. But it took months to arrive at the right balance. We've gone with a slab sans-serif title type, League Gothic (from the excellent League of Moveable Type), which works well with Perpetua, set in a half-tone black. I'm pretty happy with it. We've also messed with the master-page, the size of it, and what's in it. For me, the design of the book, being the most consistent personality element given the ever-changing nature of the work we accept, has to be precise, so people know they are reading something good, even before they get to the content.
Why isn't there a colophon in the current issue?
It's expensive to print on the inside of the cover. Also, for that issue, we had space. In coming issues, I'd like to move it to the interior, maybe as the last page of the journal.
What typeface is your favorite and what typeface do you think works best for text pages? for covers? and for online?
Perpetua. It's just beautiful. The Roman and the italic. I use it for almost everything now. I also like Californian for text. Garamond is a classic, and very versatile. Caslon is elegant, but not suited for all purposes.
For covers, I love Trajan, but it's become very popular. I don't think you can ruin Trajan through overexposure, but I haven't used it much lately. It's one thing if it's the title type for The West Wing, another entirely if I'm seeing it in terrible flyers posted around campus or in elevators. Perpetua Titling is what we used for the first four issues, and it's a big, wide-based, solid title type, but it feels a little heavy sometimes, heavy-handed. We used it for titles as well, and have moved away from it for both with the new issue. I used Perpetua lower-case this time around, though we kept the ampersand in Poor Richard. That creates some problems. In the same size as what's around it, it's too big, so every time I use it, I have to isolate it and manually change the size and kerning to get it spaced just right. I like doing that kind of stuff though, the kind of stuff only I really notice, like shrinking the kerning, or the font-size of blank spaces.
I've been playing around with some gothic sans serif type for covers. I like League Gothic, and Gear, and pretty much anything at Lost Type or the League of Moveable Type. The internet is such a great resource for designers now. You can find pretty much anything, between Dafont and the other warehouse sites, and most of it is free. Still, lots of stuff doesn't always mean lots of good stuff, so I stick with what I know for the most part. Nothing too showy or flashy. I never want to overwhelm the actual text with the typography.
Online, I appreciate tall, slender sans serif type. I like Gill Sans, and though it's maybe a little basic, Franklin Gothic is nice, too. And boring old Calibri is a very readable screen type, though I am not a fan of it in print.
Another thing I like about the journal is the covers. They are always so beautiful. Where do you find the artwork and who does the cover design?
I handle cover design, which I love doing, despite my limitations as a designer. I've never taken a class in design or anything, so I always feel like I'm missing out on some cool stuff I could be doing. But, I can place art on a page, and move text around, and so far that's been working.
When we first got started, I couldn't get any of our overworked art faculty to sign on as art editor. I said I'd do it in the interim, but as it turned out, I didn't really know any artists. One of my colleagues in the English department, Fred Johnson, kept asking me if I knew such and such artist. After a few of these, I started making a list and checking them out. Turns out he was connected to a lot of artists through his time at Ball State, and they were all fantastic. So I just started emailing them. Some have been hesitant to commit to covers for an ostensibly faith-based journal. Some have said no, for that reason. After the Gala Bent and dan Baltzer covers (6.1 and 6.2), I thought I'd make it look like I was at least trying, so I started asking the artists themselves for recommendations. So dan led me to Jeffrey Youngblood for 7.1, and he recommended Emelie Anskog for 7.2. I've been pretty happy with the results.
For this particular issue (volume 7, issue 2), there's a lot of risk in the design. The logo is right up against the edge of the cover. That's risk because the exactness of trim is not perfect. Many publishers would have pulled the logo in a bit. And the same for the art work. A lot of risk is taken in putting the picture into the bleed and also in cutting off part of the picture, but I like how the art exceeds the cover? Did you feel you were taking risks when designing this cover? How did you feel about those risks? Do you often take those risks when developing covers? (I also ask because in a previous version of this cover, which is on Facebook, the logo was on the left with a safe distance from the spine and the volume/issue/year information was on the right and vertical and a safe distance from the edge of the cover.)
Rock & Sling Volume Seven Issue Two 2012 Final Cover
Rock & Sling Volume Seven Issue Two 2012 Draft Cover
I was so scared for 6.1, I did stuff fairly straightforward. I wanted it to look great, and not piss anyone off. After that one came out, a designer friend and I got to talking over beers, and he suggested I start messing with placement. He said, "Try turning the title text box vertical. Move it around." I'd never thought of that, and I loved it, so tried it for 6.2. Our name isn't even all the way on the front cover for that issue. I placed it so it's half on the front and half on the spine. My theory is just to get out of the way of the art. I love the art. I want people to see the art.
So then I started moving the logo and other elements around. I really like the logo bleeding off the page a little, like who we are is incidental to the work we are publishing. It freaks our printers out. They always want me to move it in or up a ¼ inch. The only cover where we lost a bit of the content was 6.2. dan's work has so much going on in it, and I cut an inch or so off one side to get it to fit vertically on the page. If I'm going to bleed it, I make sure that what is cut is still implied by what remains. And the artists have all been pretty happy (as far as I know) with their covers. I could shrink the art down to fit the cover, and frame it with a solid-color bar or something, but that's just boring to me. The only reason I can see for that is to make sure people get a good look at the name of the journal. That's much less important to me.
I think some journals might get a little used to themselves. I worked for North Dakota Quarterly, which has looked the same for forty years. Same size, same gothic type, same white cover and spine, same kind of cover image. That's great, to have traditions like that, but one thing I love about journals is how responsive they can be, so I've been hesitant to make the issues look the same, at least on the outside. If I have to move our issue info to the back to feature the art more effectively, then that's what I'll do. If anyone is going to pick up the journal, it will be for the art, not for what issue number it is. So that stuff can go on the back if it needs to. Each issue has its own personality, which starts with the art. I like to think that we are conforming to what we get, rather than conforming or choosing material based on who we are.
As for the text page design. The title of the poem/story is all in caps, below that is a line that extends most of the width of the page, below that is the author's name in gray, then there is some white space between the author's name and poem or story. Also in the footers, the page number is black and Rock & Sling is gray. What overall effect do you think that creates?
Similar to my design aesthetic with art and the cover (get out of the way), I think the work is more important than the author. We went back and forth before the first issue. Some designs had the author info on top and bigger than the title info. I just didn't like it. For me, the shape of the page is big title ("ooooh"), author, in a half-tone ("who's that, oh, there's the poem . . ."), and then to the work ("aaaah"). The author's name is off set, and the title and text align with each other, so a straight line connects them. I wouldn't mind moving the author's name elsewhere, but I don't think authors would like that (as an author, I wouldn't like that).
With 8.1, I moved to a different type for the titles. Perpetua Titling is an all-caps type, and it just felt too big. So there is more distinction now between title and text, and I changed the rule from a heavy line of left-slashes to a lighter double thin line. The authors are in a small-caps Perpetua, and solid (the titles are half-tone now). We switched from an offset printer to a digital printer, and smaller half-tones (<10 pt) looked like crap (you can tell in 7.2). So the half-tone is on a larger slab sans serif type, and should print better. [For a good article about the difference between offset and digital printing, go here: http://www.printlocal.com/offset-digital-printing.htm.]
As for the footer elements, those are different now, too. I love the design of Versal, and they have massive page numbers in the footer, so I beefed up ours a little (18 pt League Gothic), and switched out "Rock & Sling" for just the Poor Richard ampersand. It looks maybe too contemporary, and probably will only last a few issues before I start to feel self-conscious about it.
I see you are member of CLMP. What does this do for the journal?
CLMP is a good resource for marketing and administrative information, plus it gets us on their lists and makes us look like a legitimate journal. It doesn't cost much, and the resources are really useful, as are the list-servs. There's lots of experience to draw from, which, given my lack of knowledge at the outset, was really important.
On the copyright page, it reads:
The editors of Rock & Sling believe that the act of writing and of reading literature is a way of witnessing to the truth of experience, drilling down to the core of language's vitality, and accepting an understanding of artistic language as a kind of testimony. The word "Witness" means to testify: to tell the truth. The demands of the word are bracing in its charge to the writer to understand that his and her work matters not just as expressions of experiences and responses but as an active language engaged morally as well as aesthetically. To tell the truth is an act of responsibility as well as an expression of hope. To testify is an act of responsibility as well as an expression of faith.
Why do you have this theme? How is it different than, say, Image.
That definition was written by our poetry editor, Laurie Lamon, when we took over the journal. We use it as a framework for understanding our mission as a "Christian" journal. We publish a lot of work that isn't overtly faith-based, at least in Christian terms. (I think specifically of your Paleolithic poems). But that work engages ideas of faith, or of something bigger than itself. Whatever you call it, that's faith, which means it involves God, or god, or divinity.
As far as how we are different than a journal like Image, I'd say that on the surface, we really aren't We're probably the AAA ball-club for Image, and that's fine. But I think we are also perhaps more responsive to what Christian or faith-based literature could be or is headed toward. Image has a tradition. Every issue looks the same, and generally, every issue sounds the same. It's a good sound, don't get me wrong. I'd love to be publishing Pattianne Rogers, Gregory Orr, and B. H. Fairchild. They get great writers. But I think we are better able to take risks, because we don't have much of a reputation at stake. And things are going on, especially in the evangelical church, that art will need to respond to, that won't look or sound like traditional mainline Christian art. And that's kind of where I want us to live.
With such a religious theme, what type of submissions do you receive and how do you decide what to publish?
Laurie and I agreed at the outset that our final consideration for taking a piece of any kind was "Does it demand to be published." We get a lot of poems called "Psalm." Lots of retellings or rehashings of familiar Bible stories. Poems or stories from Judas' POV, or Lazarus'. Lots of annunciation poems. A lot of what you'd expect for a Christian journal. But the best pieces are those that are comfortable with ambiguity, those that acknowledge that doubt is a facet of faith, that in fact, one is meaningless without the other. That's the central tension of most of the work we publish, I think, though it takes many forms. In that way, I don't think we're that different than any lit journal. Is it beautiful? Does it move me in some way? Beauty, even terrible beauty, is an expression of faith. I guess that seems apologetic of sorts. For me, beauty implies aesthetics, and aesthetics requires a big, pure, perfect Something. We call that God, but you don't have to, and we like work that inhabits some space in between.
Part of my mission as the editor of a Christian literary journal is to show people what Christian lit can be. It isn't all easy answers, Scripture, and parables. Lived faith is never easy, and the art that comes from it shouldn't be either.
I'm an atheist with hope, and you've published me. Do you think you've published other atheists? Do you recognize a difference in poetry between atheists and those who believe in something other?
God, I hope we've published other atheists. I was an atheist when I took over the journal, or at least a hopeful agnostic. We don't have a Shibboleth or anything. The work speaks for itself, and using your poems (or Jeff Dodd's "Dear Russel Nakagawa" poems in 8.1) as an example, the work demonstrates a kind of faith, regardless of the writer's beliefs. My favorite pieces we've published aren't explicitly Christian. But as Jonathan Johnson always said, "You're subconscious is smarter than you are."
How do you generate submissions?
I have no idea. People knew us from before we took over, and we still get submissions from them, though we probably publish fewer of those folks now. So there is some previous name recognition. Mainly, I think it's having a good-looking book and taking it to AWP. Our submissions always spike after AWP. We typically get 250-300 submissions a month. Ad swaps with other journals help, I think. We swap with folks like Sugar House Review and Weave Magazine, and some bigger journals, like Prairie Schooner, Ploughshares, and Willow Springs. That gets our name out there. Probably half of our website hits come off of searches for "Christian literary journal." So being a kind of niche helps. We get somewhat higher submissions from places where I know we are selling the journal in stores, or have it in libraries. But we get stuff from all over the world, which is awesome. I really wish I understood how people knew about us, or why they submit work. I hope it's because the journal looks great, and the work is awesome, and people want to be a part of that.
What do you look for in a submission? That is, do you want a cover letter? What do you want in the cover letter? What's a perfect submission for you, aside from quality poems and stories?
Ah, cover letters. I train my interns not to read them. I always read them. I like parsing the bullshit. I remember one author, when I was poetry editor at Willow Springs, with a full page of publishing credits. I had never heard of 10% of them. So I started looking them up. Maybe they were so local or small that they had no web presence or even Google hits. But most of them were made up. I kind of loved that. So I have a pretty cavalier attitude about cover letters. I'd rather a cover letter told me a good joke then tried to convince me that I should publish something because The Kenyon Review or Tin House published them. At the same time, I'll probably read something a little closer if they've been published in The Kenyon Review or Tin House.
A perfect submission follows the guidelines (upload each poem separately, not as one doc with five pages), has a three-sentence cover letter ("You guys are awesome. Love the design. Hope you like these poems/this piece."), and blows me away from the first sentence or line of the submission.
Are you pro or con Submittable.com? If you use it, what benefits does it have over email?
I admit to some nostalgia for the days of snail mail submissions, and writing comments on the envelopes, the arguments for various sizes of envelope. But I love Submittable. We got on board when we started up (after having met Michael FitzGerald at AWP), when they were still Submishmash and cheeky. It has built-in organization, which I lack entirely. It catalogs and archives efficiently, it tracks information I'd be too lazy to input, and it makes it easy to get work out to lots of readers, and to comment on that work. I've never used Submission Manager, but I don't see any reason I would switch. And beyond that, it's still free. That's amazing, considering the service.
Do you take postal submissions? Why or why not?
No. I lose them, or forget to respond.
The journal has an Editor-in-Chief, which is you, and a poetry editor, prose editor, web editor, managing editor, assistant editor, and assistant prose editors. What do these roles do? How many are students, professors, and contractors?
The poetry editor is faculty. The nonfiction editor is staff, a senior editor in University Communications. (She has an MFA, and serves as the craft essay editor for Brevity, a terrific online creative nonfiction journal, probably the best there is.) Our prose editor is currently an alum, and three-year assistant, a terrific writer and editor. The managing editor is the English department program assistant (Annie Stillar, the daughter of my middle school shop teacher, and she is amazing. The journal wouldn't happen without her), and she manages the budget, invoices, mailings, booking travel, and all of the many detail things that would kill me. The assistant editors are students who have been around a while, or who have taken my editing and design class. They manage their genre's submissions, recommend stuff for editorial meetings or for rejection. I do that, too, to help clear out backlogs, but they handle a lot of it. The editorial assistants are all students. They read the work the assistant editors cull from Submittable. If it gets approved in the meeting, it goes up to the genre editors for final approval. I'm kind of in each of those steps, nudging. I've bypassed the readers on occasion, and passed stuff up that they didn't like. It's all a learning process for them. They are really sophisticated readers, but still not always paying enough attention.
How do you raise money?
Badly.
How many subscribers do you have? How many are people, libraries, swaps with other journals?
Around 100 subscribers. Another dozen libraries, and a half-dozen journal swaps.
What is your print run?
Now, it's 400. We started at 1000, hoping to get picked up by Ingram (which demands 400 copies just for them). That hasn't happened, alas. 1000 is enough to get onto an offset printer, and the quality is so much better. So that's my aim, to get the subscriber base high enough to justify the expense. (Though it really is more cost effective on an offset printer, 2.05/copy vs. 3.25+/copy with a digital printer.)
What is the best form(s) of publicity? Do advertisements in other journals work?
The journal itself is our best publicity, followed by the authors. I try to design the book so that when people see it, they must pick it up. And I like it when our authors get excited about it, and start telling their friends about it. A great table at AWP doesn't hurt.
Ads with other journals do work. I've seen it in cover letters. "I saw your ad in Redactions, and was intrigued …". (I've really seen that.)
What's the most enjoyable part of the journal for you?
I'm happy that I still get to do the design. If I had to choose between being the editor or being the designer, I'd probably pick designer.
Also, putting the journal together, once all the work is accepted. The interns have a big hand in that, and I just love watching them reason through an order. We place a big emphasis on the opening and closing sections, and they do a good job of helping see the entire arc of the issue.
Do you ever get lost in doing layout as you would when writing?
How many times do you proofread the journal before sending it out?
Probably five times. After that, I have to stop. It could go on forever.
Do you proofread the proofs or do you just thumb through to make sure there are no glaring errors?
The latter. Widows and orphans, typos, and that's it.
When you get the final product, do you look through it or are you too scared and already involved with this next issue?
The latter, again.
By the time the final copies arrive, are you bored with that issue already?
I wouldn't say bored, but I'm already thinking about the shape of the next issue. But when it arrives, I've never sat down and read it. I know the work. I know it's good.
What does your journal provide that other journals don't or what do you do that other journals don't?
I think one thing we do that not many other journals do is focusing so much on aesthetics. I want the entire experience of the journal to be beautiful, down to how it looks when we mail it out, where the shipping labels go. I can think of a number of journals who publish really great stuff, but just look like crap. Nobody has paid any attention to what the thing looks like, from the paper to the type to the margins. So I think we build a beautiful container.
I think our specifically faith-focused mission is also somewhat rare. There's less than a dozen journals with our kind of mission. And of those, I think we are putting out some of the best work, and certainly the most aesthetically appealing journal. My goal with the journal is to reach a wider audience, to get into the hands of the "regular" lit journal audience. The work holds up. I want to teach people that Christian art, or art made by Christians and non-Christians doesn't have to trite or cliché or boring.
The UPC is on the back cover. Typically, journals put that on the front cover. (I think it's a law or something.) Why did you put it on the back cover? Why do you even have an UPC?
I put it on the back because it's ugly, and mucks up the front. I've worked in bookstores, and it's just as easy to scan a bar code on the front as it is on the back. We have the UPC to make it easier to sell to bookstores, which are reluctant to sell anything without a bar code of some sort. It helps them track inventory.
Do you have distribution? Who distributes for you? Where does the journal get sold?
We have distribution through Ubiquity, who specializes in selling journals to indie bookstores, which are more likely to carry a selection of literary journals. Ingram has turned us down twice for distribution, and I think that is largely a function of our longevity (they want to make sure we'll be around for a while) and the decline of the big-box bookstore.
We've also started handling some of our own distribution, which is a bit labor and time intensive, but allows us to track copies more effectively. Ubiquity doesn't provide any reporting on where the copies are going, which sucks. But I'll get emails or texts from friends saying, "Hey, I saw the new issue at a store in Houston, looks great!" So I know they are out there. We also see occasional spikes in submissions and subscriptions from particular regions or towns, so I suspect that stores have copies thereabouts.
What part of working on the journal do you like least?
Budget stuff. At least once a year, I have to defend, usually in written form, the journal as a printed thing. "Why not just have it online? That's free." Administrators, trustees. People concerned with the bottom line, which I understand. My first response (which I have to restrain) is, "We cost under ten thousand dollars a year. How much to baseball uniforms cost? How much do these ridiculous university-emblazoned water bottles cost?" But there's a significant value to the students who help staff the journal, and it's hard for some folks to see past the economic argument, which isn't even true.
Do you pay authors? What do you pay them?
Two copies. Someday, I'd like to pay money, but that will take some doing. If we can get some big donations and establish an endowment . . .
Do you think it is unethical to not pay authors in money or contributor copies?
Yes. All journals should at least be able to afford to pay in copies. The work is valuable; it's what makes the journal what it is. Copies are at least a nod in that direction.
For the downloadable Rock & Sling Tip Sheet I made for the presentation, click Rock & Sling Tip Sheet.


text:
Q: Rails + Ember.js + Devise freelance journalist app - data scoping Apologies, I have been in ember.js-land for so long, I'm fumbling Rails + active_model_serializers JSON api basics.
So let's say I'm a freelance journalist and am building an app where a writer can publish Articles to different Company-specific sites through a single user account.
Rails Relationships

User has_many :company_memberships
User has_many :companies, :through => :company_memberships

Company has_many :company_memberships

Company_membership belongs_to :user
Company_membership belongs_to :company

Article belongs_to :company_membership
Article has_many :comments

Comment belongs_to :article

I am using Rails 3+, Devise, Active_Model_Serializers, Ember-Data and Ember.js.
I want to set up a flow where the user comes to the site, logs in (very easy using devise) and is redirected to a rails page where he can select which Company's dashboard he wants to go to (by just clicking on a link).
Now comes the tricky part. When he clicks on a specific company's link, he should be directed to a Rails view that contains an ember app whose serialization scope is set to the current_company_membership or current_company and not just the current_user.
How do I create a rails or active_model_serializers method that scopes data to just the current_company as dictated by current_company_membership, and then passes along this data to the ember app?

Also, as a bonus, I need the name and email address of the current_user - how do I pass this information along to the ember app as well? I have seen this dude's article, but have not been able to get it working when trying to scope data through just company_membership and not current_user.
Any help would be awesome! I'll add more detail and code if need be, but I have a feeling I'm forgetting something pretty simple here.

A: Update: Way to access current_user and current_company rails methods in ember app described at bottom of answer and the github demo app has also been updated.

If I understand correctly what you're trying to do, below is one way to get the job done quickly. If anyone has a better answer, please edit my question. I have put up on github an ember + rails + devise demo app that combines the answer to this question and my last ember.js stackoverflow question to show that everything is working as it should be. Below I use the model Post instead of Article, but it's basically the same concept.
1) In the Rails Companies view, on specific company link_to click, you should pass the company variable to a rails controller action that's passed onward to an application helper method to set a devise session variable for current_company.
<% @companies.each do |company| %>
    <%= link_to 'Company Dashboard', set_current_company_company_path(:id => company) %>
<% end %>

class CompaniesController < ApplicationController

  def set_current_company
    session[:company_id] = params[:id]
    redirect_to assets_path
  end
  ...
end

class ApplicationController < ActionController::Base
...
  helper_method :current_company

  def current_company
      @current_company ||= Company.find_by_id!(session[:company_id])
  end
...
end

App::Application.routes.draw do

resources :companies do
    member do
      get :set_current_company
    end
  end
...

The set_current_company method will set the current_company variable session-wide and redirect the user to the assets/index.html.erb rails view that contains your ember application.
2) You now need to scope your rails api data for Posts (and Comments, Company_Memberships) for current_company that you want to use in your json api/ember models, like so:
class PostsController < ApplicationController

 def index
    @posts = Post.where(company_id: current_company.id)
    render json: @posts
  end

def create
    @post = Post.new(params[:post].merge :company_id => current_company.id)

    respond_to do |format|
      if @post.save
         render json: @post, status: :created, location: @post
      else
    render json: @post.errors, status: :unprocessable_entity
      end
    end
  end

3) Then you should serialize the data through AMS to the ember app in a normal way:
class PostSerializer < ActiveModel::Serializer
  attributes :id, :title, :body, :company_id, :user_id
  has_many :comments
end

4) Then on to the ember model.
App.Post = DS.Model.extend({
  title: DS.attr('string'),
  body: DS.attr('string'),
  comments: DS.hasMany('App.Comment')
});

5) Ember Controllers, Views and templates should behave as expected. Check out the demo app to see super basic implementations.

In order to gain access to current_user and current_company, use active_model_serializers meta data serialization and then this guy's temporary solution to map your serializer so that it grabs the meta data and sets it to a global variable in your ember app. This may not be best practices, but for now, it gets the job done.
1) First, set your store.js grab the meta data from your json and set it to a global variable in your serializer:
App.CustomRESTSerializer = DS.RESTSerializer.extend({
  extractMeta: function(loader, type, json) {
    var meta;
    meta = json[this.configOption(type, 'meta')];
    if (!meta) { return; }
    Ember.set('App.metaData', meta);
    this._super(loader, type, json);
  }
});

App.Store = DS.Store.extend({
  revision: 11,
  adapter:  DS.RESTAdapter.create({
    bulkCommit: false,
    serializer: App.CustomRESTSerializer
    }),
});

App.ready = function() {
  App.CompanyMembership.find();
}

2) Second, in your rails company_memberships_controller.rb render the meta data:
render json: @company_memberships, :meta => {:current_user => current_user, :current_company => current_company}

3) Finally, call any current_user or current_company attribute straight from your templates:
Logged in with: {{App.metaData.current_user.email}}
<br>
Current Company: {{App.metaData.current_company.name}}

A: Simply override the methods in the serializer.
def custom_association
  # scope is the current user
  CustomObjects.ownedBy(scope)
end

A: I'm not sure if I understand your problem completely, but:
You can set the serialization scope in your controller class definition (or on the ApplicationController base class):
serialization_scope :current_company

You can also pass a scope to the serializer when you instantiate it. So to return the JSON for record, you'd do this, in your controller method:
record.active_model_serializer.new(record, scope: current_company).as_json

redpajama_set_name: RedPajamaStackExchange


Today I followed my mom to Tesco because she wanted to buy a washing machine to use while our current one is rosak, and also to buy a Nokia N70 Music Edition. Not being fair to me, I grabbed a speaker set and placed it in the trolley. Hey, what could I do - it was too frickin' cheap! It was only RM50 (after Tesco discounts it). Hmm RM50 AFTER discount.. that is the normal LowYat price! But who cares, you'd probably spend more money on petrol than any savings.
It's a Sonic Gear Evo 3nity! I felt like trying out a stupidly cheap surround sound system, but Tesco doesn't have any long audio extension cables (which I need to place some speakers behind me) and the speaker set is already inside the basket. Too much energy will be wasted to carry the thing back to the shelf. Anyway, it's a 2.1 channel audio rating and comes with a standard subwoofer and two satellite speakers. The 'woofer is now under my desk (with my legs resting on it) and the two satellites are wedged beside the monitor.
The sound isn't as good as my Logitech X-240, but when combined just pushes it up to 'Okay'. Perhaps I should have gotten an RM500 set like Altec Lansings, or if I double up the ante I'd get Razer Mako!


text:
Q: How to fill a dataframe within a loop? I have a dictionary of daily temperature data for 3 stations TemmpDict. The keys are the station names and the values are the temperature data series.

I want to loop through this dictionary and create a data frame that contains the tmax data and mean tmax value for each station. I tried to do this with the following loop:
d=[]
for j in TempDict:
    df=TempDict[j]
    df.tmax=df.tmax.apply(pd.to_numeric,errors='coerce')
    d.append((df.tmax,df.tmax.mean()))
LargeFrame=pd.DataFrame(d,columns=('tmax','meanmax'),index=StationList)

This appears to work when I print LargeFrame.

But when I loop through and try to plot the tmax data for each station I get "TypeError: no numeric data to plot"
for j in LargeFrame:
    LargeFrame.tmax.plot()

How can I store this data in a data frame so that I can still plot it?

A: The issue isn't with how I'm storing the data, but with how I was looping through to LargeFrame to try to plot tmax. This is how I am able to get the plots I was looking for:
for index, row in LargeFrame.iterrows():
    LargeFrame.tmax[index].plot()


text:
Q: Yandex Map - Get traffic data I try to get traffic data at a spesific time and place using yandex maps. I look this page( api of yandex maps ). And I can show traffic data on my own map. Using geocoding, I extract some data(place names, coordinates etc) from yandex maps. But I don't know how I extract only traffic data. How can I do it? Is there any function on yandex map api?
My simple code that shows traffic data on map is below
ymaps.ready(init);
    var myMap,
        myPlacemark;

    function init(){
        myMap = new ymaps.Map ("mapId", {
            center: [28.968484, 41.01771],
            zoom: 7
        });

        myPlacemark = new ymaps.Placemark([28.968484, 41.01771], {
            content: 'Moscow!',
            balloonContent: 'Capital of Russia'
        });

        // This page should show traffic and the "search on map" tool
        ymaps.load(['package.traffic', 'package.search'], addControls);

        myMap.geoObjects.add(myPlacemark);
    }

    function addControls(map) {
        myMap.controls.add('trafficControl').add('searchControl');
        var trafficControl = new ymaps.control.TrafficControl({shown: true});
        map.controls.add(trafficControl);
        function updateProvider () {
             trafficControl.getProvider('traffic#actual').update();
        }
        // We will send a request to update data every 4 minutes.
        window.setInterval(updateProvider, 1 * 60 * 1000);
    }

A: There is no legal way to do it. There are some notes at forums, where people use internal api of Yandex maps, but they as far as I know rapidly banned by Yandex team. Yandex does not provide you any traffic data separatly from maps. I recommened you to take a look at Google Maps Api, there you could get traffic info on route your have specified. Example:
    final String baseUrl = "http://maps.googleapis.com/maps/api/directions/json";// path to Geocoding API via http

    final Map<String, String> params = new HashMap<String, String>();
    params.put("sensor", "false");// if data for geocoding comes from device with sensor
    params.put("language", "en");
    params.put("mode", "driving");// move mode, could be driving, walking, bicycling
    params.put("origin", "Russia, Moscow, Poklonnaya str., 12");// start point of route as address or text value of lon and lat
    params.put("destination", "Russia, Moscow, metro station Park Pobedy");// the same for end point
    final String url = baseUrl + '?' + encodeParams(params);// generate final url

    final JSONObject response = JsonReader.read(url);// perform request and read answer where we could also get coordinates
    //results[0]/geometry/location/lng and results[0]/geometry/location/lat

    JSONObject location = response.getJSONArray("routes").getJSONObject(0);
    location = location.getJSONArray("legs").getJSONObject(0);
    final String distance = location.getJSONObject("distance").getString("text"); // get distance for route
    final String duration = location.getJSONObject("duration").getString("text"); // get duration for route

For more info just take a look at https://developers.google.com/maps/


text:
Local time: 20:10 USH CSKA
CSKA Moscow survived yet another tough test to become the first team to make it to the Top 16 when rallied to beat Panathinaikos 75-72 at home in Moscow on Wednesday night. CSKA improved to 9-0 and remains the uncontested leader in Group C, while Panathinaikos dropped to 5-4, good enough for at least a third-place tie. CSKA rallied in the final period despite playing without starting center David Andersen, sidelined due to an injury. Dimos Dikoudis led CSKA with 20 points on 9-for-14 shooting and pulled 7 rebounds. Marcus Brown added 18 points for the winners, but Theo Papaloukas was the man of the game, scoring all his 9 points in the final period to help CSKA overcome an eight-point deficit. For Panathinaikos, which led most of the game, Fragiskos Alvertis had 14 points on 4-for-4 three-point shooting. Tracy Murray added 13 points and Vlado Scepanovic 11 for the guests. CSKA stays unbeaten in all official competitions, extending its winning streak to 22 games between the Euroleague and the Russian league.
CSKA started the game at full speed, with strong defense and a fluid offense. J.R. Holden fed Alexei Savrasenko for a dunk, Brown added a three-pointer and Dikoudis fired in a couple of mid-range jumpers to give CSKA a 9-1 lead after 3 minutes. Panathinaikos needed a go-to guy and Batiste obliged. His dunk ignited a 0-6 run in which he had another basket that brought the Greens within 9-7. Brown got CSKA back on track, drilling a mid-range jumper and adding his second hit from beyond the arc as his team doubled Panathinaikos on the scoreboard, 14-7. After a timeout, Panathinaikos improved its aggressiveness, looking for second-chance options, but Holden and Brown scored around the basket to help CSKA keep a 20-13 edge after 10 minutes.
Sergei Panov opened the second period with a three-pointer, pushing CSKA's lead to double digits at 23-13. It took the Greens almost 2 minutes to score, when Nikos Hatzivrettas stepped up with a mid-range jumper. Martin Muursepp immediately answered with an easy basket, as the game turned into a defensive battle - until Murray stepped on court. The hosts now struggled to score, while Scepanovic stepped up with a basket-plus-foul right before Panathinaikos began its three-point exhibition. Murray, Giorgios Kalaitzis and Fragiskos Alvertis drilled one shot each from downtown in a 1-17 run that turned the game on its head. Scepanovic had 7 points along the way as the Greens surged ahead 31-37 late in the half. Dikoudis and Alvertis exchanged jumpers for a 33-39 Panathinaikos lead at the half, by which time the guests had outrebounded CSKA 8-16.
Panathinaikos kept a small lineup early in the third quarter, with Alvertis giving headaches to CSKA's defense at the power forward spot. A mid-range jumper by Granger brought CSKA within 37-41, but Murray matched that at the other end. Both teams exchanged baskets for a while, as a long jumper by Scepanovic and a second three-pointer by Alvertis boosted the Greens to a 41-48 edge. CSKA started to lose its patience on offense against the Greens' organized defense, as Patrick Femerling grabbed one defensive rebound after another. Dikoudis followed Holden's layup with a big three to make it a two-point game, 46-48, but free throws by Murray and a three-pointer by Batiste gave the Greens some fresh air. Again, Panathinaikos finished the quarter strong, as Jaka Lakovic drilled 2 technical foul shots, fed Kostas Tsartsaris for a basket-plus-foul and added his own layup for a 52-60 margin after 30 minutes.
CSKA needed a quick comeback to get back into the game and as usual, Theodoros Papaloukas delivered for the hosts. He stepped up with a layup and fed Dikoudis for an easy basket, while Holden capped a 7-0 run with a three-pointer to bring CSKA within 59-60. A put-back layup by Hatzivrettas finally got Panathinaikos going, as Scepanovic followed it with a basket in penetration to extend the Greens' edge to 59-64. Sergei Panov immediately answered from downtown, while Papaloukas broke 2 scoreless minutes with a three-point play to put CSKA back in front, 65-64, with 4 minutes to go. The game turned into a thriller once Alvertis tied the game in crunch time, 69-69, with a big three-pointer. CSKA did not panic, however, as Papaloukas - who else? - and Brown stepped up with back-to-back layups for a 73-69 margin already with under 2 minutes remaining. Panathinaikos called timeout, but a put-back by Dikoudis sealed CSKA's win and made it the first team in the Top 16!
Referees: JUNGEBRAND, CARL; PUKL,SASA; DOZAI, SRDAN; RESSER, EFIM
CSKA Moscow 20 13 19 23
Panathinaikos 13 26 21 12
4 PAPALOUKAS, THEODOROS 18:00 9 4/6 1/1 1 1 5 3 2 4 18
5 BROWN, MARCUS 36:00 18 4/7 3/5 1/2 4 4 2 2 1 4 5 20
6 PANOV, SERGEY 15:45 8 2/2 2/2 2 2 2 1 1 1 11
9 DIKOUDIS, DIMOS 33:30 20 8/13 1/1 1/1 3 4 7 3 2 1 1 2 3 24
10 HOLDEN, JR 34:00 8 2/5 1/6 1/2 1 1 4 2 1 3 3 1
11 PASHUTIN, ZAKHAR 2:00 1 1
12 MONIA, SERGEY 4:00 1 -1
13 MUURSEPP, MARTIN 14:45 4 2/2 0/1 0/1 1 4 5 2 3 5 1 2
14 SAVRASENKO, ALEKSEY 16:00 6 3/7 0/1 3 2 5 1 2 2 7
21 GRANGER, ANTONIO 26:00 2 1/6 1 2 3 1 1 2 1 -3
52.2% 46.7% 60%
Head coach: IVKOVIC, DUSAN
4 ALVERTIS, FRAGISKOS 19:00 14 1/2 4/4 1 1 1 1 3 2 15
5 KALAITZIS, GEORGIOS 8:45 3 1/1 1 1 1 4
6 PAPANIKOLAOU, DIMITRIOS 1:00
7 LAKOVIC, JAKA 31:15 6 1/3 0/3 4/4 1 1 1 3 4 4
8 BATISTE, MIKE 20:00 7 1/6 1/1 2/3 1 5 6 1 1 1 2 8
9 FEMERLING, PATRICK 17:45 4 1/4 2/2 7 7 1 2 4 1 1 9
10 HATZIVRETTAS, NIKOS 23:45 6 2/5 2/2 2 2 4 1 1 4 4 5
12 TSARTSARIS, KOSTAS 22:15 8 3/4 0/1 2/3 3 1 4 1 2 3 4 13
13 DIAMANTIDIS, DIMITRIS 17:00 0/1 0/1 1 3 4 2 2 3 1
14 SCEPANOVIC, VLADO 19:00 11 4/5 0/4 3/3 2 2 3 2 5
15 SAKOTA, DUSAN DNP - - - - - - - - - - - - - - -
30 MURRAY, TRACY 20:15 13 2/2 2/4 3/4 3 3 3 2 1 2 2 15
Team 1 2 3 2 3 2
Totals 200:00 72 15/32 8/19 18/21 9 24 33 9 10 18 3 1 20 23 80
Head coach: OBRADOVIC, ZELJKO
January 5 20:40 CET LIVE FINAL
Adecco Estudiantes 77
Scavolini Pesaro 95
Opel Skyliners 58

redpajama_set_name: RedPajamaCommonCrawl


text:
ses 12 channel list
SEC Network is available nationwide with satellite, cable and telecom providers. Read Getting Started to learn how to enjoy this hobby. Travelxp 4K is all about bringing the world into viewers homes by providing a closer and fascinating look at the world's most beautiful travel destinations, cultures, heritage like never before with 100% original and exclusive 4K programming. Satbeams has updated its cookie policy. The official calendar schedule of the Chicago Blackhawks including ticket information, stats, rosters, and more. The channel — Fight COVID-19 — broadcasts content that is aimed at providing underserved and rural communities with critical information about how to limit the spread of the virus. Eutelsat 8 West B. Eutelsat 36B / … UHD1 by Astra / HD+ . Complete List Of 230 + Free-To-Air (FTA) Channels Under The New Cable TV Rules TRAI's new Cable TV Rules will now come into force effective January 31st, 2019. North & South America: TV Channel Name: Video: Freq Pol S/R: Sys Encrypt : God's Learning Channel: FTA: 3710 V 4340: DVB-S: GEB America: FTA: 3716 V 4775: DVB-S2 MPEG-4/HD: Me TV: 3725 V 10000: DVB-S MPEG-4/HD : Me TV: FTA: Me TV Alternate: Viacom Media Networks HD … SES 2 - 87.0° West (22 TV, 7 HDTV, 1 Radio, 0 Data) Show Transponder List (10) TV Only ; Radio Only; History Clear Encyrpted Data HDTV Feed Analog; Frequency Polarization: Symbol Rate: Channel Name: Category: Encryption: Audio PID: Video PID: i: … SES 12: Back to the list: Satellite Name: SES 12 Status: active Position: 95° E (95° E) NORAD: 43488 Cospar number: 2018-049A Operator: SES S.A. | Here is latest updated channel list from SES8/NSS6 satellite which is temp. Select a subscription package to see all … Channel Finder. SES 360 Media Platforms Who We Work With Open. Satellite tp list. The Country Network is an innovative music video TV network dedicated to providing today's country music enthusiasts with more choices in televised and digital programming. Forums. Sr. ... 12 Educational TV channels for class 1st to 12th – PM e-VIDYA . Satbeams has updated its cookie policy. Daily updated. Image Channel on G-Sat 9: News at LyngSat Stream: Cutlery Corner Network: Wine TV: North America C (C band) Click for interactive version: EIRP (dBW) 41: 40: 39: 38: 37: 36: 35: 34: 33: Size (cm) 90-115: 100-125: 115-145: 125-160: 145-180: 160-200: 180-225: 200-255: 225-285: The EIRP values are based on footprint maps from SES. Explore our channels – across a variety of genres, including nature, sports, movies and documentaries – to learn more about the linear 4K Ultra HD content you can offer to your subscribers. | It will replace and augment the services currently being provided on SES's NSS-6 satellite. 497 days ago SEC Network . Channel Name. Partially unencrypted. You can browse through the master channel list, look at the list of channels from just one satellite, or see all the channels in one language. Join isatDB. Also Watch. JOIN. With hundreds of channels to choose from on Astra Satellite television, you benefit from an unrivalled choice of drama, sport, films, comedy, information, and more content, for all ages. Channel 16 is used for calling other stations or for distress alerting. To learn more about The Country Network 4K channel, its feeds and shows, please visit https://tcncountry.net/. SES-12 will operate under the authority of the Netherlands and will replace and augment the services currently being provided on SES's NSS-6 satellite. SES 12 satellite has good satellite coverage within India, including Bangladesh, Sri Lanka, Nepal, Bhutan, and Pakistan. Frequency and Polarisation + info 11038 V. SR 22000. CLICK THIS LINK for a complete list or contact your provider for availability. Astra 1 KR-L-M-N. Nilesat 201 / Eutelsat 7 West A. Eutelsat 16A. How to Install New Frequencies in SOLID SD-615, SD-912, SD-939 Set-Top Box ? SES-12, is equipped with wide beams and high throughput beams and will provide video, fixed data, mobility and … (2020-12-02 08h33) Hellas Sat 3 (39E) - ERT 2 is now transmitted Free To Air (12224.00MHz, pol.H SR:13381 … SES has reported that its SES-12 satellite was successfully launched onboard a flight-proven SpaceX Falcon 9 rocket from Cape Canaveral in Florida. free to air. We transmit the world's largest bouquet of 4K Ultra HD programming. | NASA has partnered with Harmonic, a worldwide leader in video delivery infrastructure, to launch NASA TV UHD. X. This is a great satellite for Louisiana PBS and a few other odds and ends. Explore our channels – across a variety of genres, including nature, sports, movies and documentaries – to learn more about the linear 4K Ultra HD content you can offer to your subscribers. Become an Editor for SES 8 / NSS 6 And Make Money. Frequency - Polarization Symbol Rate - FEC. 17 Sky Cinema. This first-of-its-kind channel is available as linear television via cable/satellite, and as streaming SVOD (subscription video on demand) across OTT apps. This site lists Ku-band channels, which are easy to receive. Millions of households across Africa, Europe, and Asia-Pacific will be able to access a free-to-air TV channel via SES satellites dedicated to delivering reliable, informative content about COVID-19. To proactively protect our staff and our customers in response to COVID-19, our retail space will be closed until further notice. It will also have a flexible multi-beam processed payload for providing broadband services covering a large expanse from Africa to Russia, Japan and Australia. More. Amazon SES is an email platform that provides an easy, cost-effective way for you to send and receive email using your own email addresses and domains.. For example, you can send marketing emails such as special offers, transactional emails such as order confirmations, and other types of correspondence such as … DTH 2. Provided through Vivicast Media. Update &flix. Added NHK Japan on SES-3 Ku-band 12 Srvc 02. Log in. FEC 5/6. The channel showcases the breathtaking beauty and grandeur of space sourced from high-resolution images and video generated on the International Space Station and other current NASA missions, as well as re-mastered footage from historical missions. Travelxp 4K, the world's first 4K travel channel, offers audiences compelling stories from faraway places. We also provide access to special 4k Ultra HD sports and music events; stay tuned for the next one! DISNEY … Here you can find SES 8 / NSS6 satellite position, satellite settings, frequency list, transponder setting, footprint with longitude details. INSIGHT TV is a reality, entertainment and sports channel aimed at the millennial audience. Türksat 3A-4A. SiriusXM Channel Guide Music, sports, talk, news, comedy, and more. Once you have registered or logged into My Shaw, you can view your subscribed channel listings. Provided through Vivicast Media. Names, Display, Storage, Prices, and more! View My channels list. 14 BFBS Extra Delay. 54 Ku-band transponders to provide television broadcasting and telecom infrastructure services from one end of Asia to the other, with beams adapted to six areas of coverage. UHD1 is a general entertainment channel programmed by SES. The Country Network gives country music fans what they want: the best in country music videos and country music–inspired content each and every time they tune in. Fashion One 4K provides the latest fashion updates and in-depth interviews with designers and celebrities. Channel Count: 8. Privacy Policy All frequencies and tv channels of all satellites Facebook Twitter Instagram Pinterest Tumblr */ ?> POPULAR SATELLITES. | Viewing the channels yourself is the best way to determine if this is the content your subscribers want– plus you'll get the latest news and updates as we further develop this bouquet of 4K Ultra HD programming. $3,575.00. Federal News Network covers the latest issues and breaking stories within the U.S. government that affects federal employees and our communities. Need more info? en. SES-3 is a communications satellite operated by SES World Skies, then by SES … Language. Register. Epix. 12688 - V - 27500 - 5/6. Password Get 12 months of Apple TV+ free. 5 biss key 95 biss key 9xm biss key 9 bangladesh biss key 95e 2017 biss. EP. Site. SES 5 satellite list channels & frequencies . It takes the viewer on an adventurous journey to explore and interact with incredible stories. Epix Read more. Channels; Packages; Contact; You are here: Home Satellites. Website Terms. It is available on the Ku-Band beam which can be received by using a small DTH antenna from the size of 55cm to 120cm. ... HD Television channel owned by the Shi'a political party SIIC ... 12 BBC Two Delay. NSW urged to 'Get Ready' for summer. The satellite will join SES-8 at 95 degrees East. For details of all satellites in the Indian Ocean Region s see Lyngsat Asia. It is available on the Ku-Band beam which can be received by using a small DTH antenna from the size of 55cm to 120cm. Last update: August 28, 2017. SES-12 will operate in the Ku and Ka bands with a total of 76 active transponders, and will be equipped with eight antennas. Prepare your bushfire survival plan, don't drive through floodwater, swim between the flags, and make sure your home is fire safe this summer – these are some of the safety tips NSW emergency service agencies have shared ahead of the 2020 summer season. 4K Ultra HD provides the most vivid TV viewing experience yet. Badr 4-5-6-7. English. 'Power Rangers Dino Fury' Season 1: Release Date, Time & TV Channel. 30/11/2020 11:28:59 AM. English. The channel has added in new satellite SES 12. The channel serves as a venue for up and coming UHD channels, and highlights unique content from multiple sources. 4K Ultra HD provides the most vivid TV viewing experience yet. 13 ITV Delay. Replacing NSS-6 satellite. What channel is the SEC Network on DirecTV, DISH, AT&T U-verse? Call for availability. Grid Options Sort By: | Show: Channel Name Language Freq Pol SR VPID APID TitanTV; Florida Channel, The (DVB-S2) www: English: 12044-V 3200: 49 50 : Louisiana … If you are losing any of the above DD Free dish MPEG-2 TV channels in then you can scan your DD Free dish set-top box by using simple instructions, you can note DD Free dish latest frequency from here.. From niche sports stations, to longstanding fan favourites, to channels from around the globe, there's always something new … Together with SES-8, SES-12 will reach 18 million TV homes from its orbital position. NEW. Available through SES. 03.08.2018 &flix HD. All ships of length 20m or greater are required to guard VHF channel 13, in addition to VHF channel 16, when operating within U.S. territorial waters. We use own cookies to provide you the best experience on our website as well as third party cookies that may track your … Sat List Packages HD TV UHD TV 8K TV FTA TV Launches Sat Info Track Update Form SES-8/12 @ 95° East . All FTA Ku-band channels on SES 2 (87.0 W) Notes: SES 2 moved here in October 2011, taking over for AMC 3. SES has announced a change of launch vehicles and launch slots for its SES 12 and SES 14 satellites. For more information, please visit www.4kuniversenow.com. Exclusive Leaks! SatBeams - Satellite charts (channels) Intelsat 10-02 (Intelsat 1002, Intelsat Alpha-2, Intelsat X-02, IS-1002) / Luch (Loutch, Olymp) / Skynet 4E / Thor 5 (Thor 2R) / Thor 6 (Intelsat 1W, IS-1W) / Thor 7 It is also available with streaming services. 1 channel listing satellite tv current as of may 26, 2017. Here you can find the updated DD Free dish TV channel list (MPEG-2) Updated on 3 December 2020 In 2020 also, lots of DD Free dish viewers are still using MPEG-2 (free-to-air) Set-Top Box, because normal FTA MPEG-2 set-top box still available in the market at as low as Rs 400-800. The channel features original programming in the form of innovative documentaries, accessible reality series, and cutting-edge factual infotainment, as well as high levels of interactive new formats that enable immediate sharing of content via social media. All frequencies and tv channels of all satellites. The satellite replaces NSS-6 at this location and is co-located with SES-8. Just getting started? How to watch IPTV in HDS2-6033 / HDS2-6024 and HDS2-6141. The AEQ BRAVO 12-channel analog mixing console has all the features for any station format, including balanced 4 mic/line channels, 8 stereo line level channels, built-in dual telephone hybrid and . LA 1. SatBeams - Satellite charts (channels) Luch 5V (Loutch-5V, Луч-5В) / SES 12 / SES 8 / Skynet 5A. Originally, SES had tasked SpaceX to launch SES 14 on an unclear launch date in Q1 2018. Before 23500 3/4. 2011© SATHINT.All rights reserved. UHD. (2020-12-02 08h33) Hellas Sat 3 (39E) - ERT 1 is now transmitted Free To Air (12224.00MHz, pol.H SR:13381 FEC:3/4 SID:10 PID:138[MPEG-4]/650 Greek). However, to mitigate revenue losses from the failure of two satellites earlier this year, SES has now tasked Arianespace to launch SES 14 in early Q1 2018, while SpaceX will launch the heavier SES 12 on … 4KUNIVERSE™ is the first 24/7 4K Ultra HD general entertainment channel in North America, offering picturesque TV series, action-packed movies, informative documentaries, live sports and primetime programming – all in stunning 4K resolution. SES has announced a change of launch vehicles and launch slots for its SES 12 and SES 14 satellites. We transmit the world's largest bouquet of 4K Ultra HD programming. Every month, Rogers offers exclusive free previews of TV channels. SES 4K is a demo channel that provides test video sequences that can be used by MVPDs for the technical assessment of UHD programming. UHD. SES-12 is the latest satellite that SES has launched to that orbital position where it will operate under the authority of the Kingdom of the Netherlands. Here is a free list of all SES 5 TV Channels frequency, Watch your channel on SES 5 satellite by updating your STB reciever with the following parameters. We use own cookies to provide you the best experience on our website as well as third party cookies that may track your use of Satbeams and show you relevant advertising. Fantasy 'Max Borenstein's Game of Thrones Spin-Off' Season 1: Release Date, Time & TV Channel. Arrakis ARC-15 15 Channel Broadcast Console. Boaters should normally use channels listed as Non-Commercial for their working channel. Remember Me, Forgot password? SES-12 is a replacement for NSS-6 (New Skies Satellite-6) which was launched back in December 2002. The last day for Wendy on 12 D02 is 11/2/2018. This new channel will begin on 10/29/2018. $2,979.17. So that you can scan all the FTA channels from SES 8 / … List of Television Channels at Satellites 19.2°E Astra ... SES UHD Demo Channel. Need a new TV channel to watch? It includes never-seen-before footage of street style, beauty tips, fashion week, and red carpet events. The channel is independently produced in San Diego by highly acclaimed filmmaker David Huting. Forgot username? The SEPOCT18B database has the following changes: FOX News Channel on Galaxy 16 Ku-7 and Ku-9 changed. Find out which shows you can watch right now with Sky Box Sets. Added RT America on SES-3 Ku-band 12 Srvc 01. Plus, get an Apple TV 4K for only $99. List Price. Under the TV section select Manage TV & BlueCurve TV; Under TV Settings select My Channel List . Added NC Lottery on SES-3 Ku-band 12 Srvc 09. Epix. NEW. Up to date orbital elements for the satellites in our fleet. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube. Beam Europe Ku-band beam. Originally, SES had tasked SpaceX to launch SES 14 on an unclear launch date in Q1 2018. Satellite Astra 1L. Tokenisation of the asset provides possibility to invest to popular financial markets worldwide using crypto. SatBeams - Satellite charts (channels) Luch 5V (Loutch-5V, Луч-5В) / SES 12 / SES 8 / Skynet 5A If you need assistance or would like to ask about our services, our Customer Experience Group is here for you 24/7. Photo: SEC Network. Dish TV SD/HD Channels List With Numbers 2020. Updated Mar 07, 2019; Posted Sep 29, 2018 Peter Burns, left, Dari Nowkhah and … The SES-12 satellite expands SES's capabilities to provide direct-to-home (DTH) broadcasting, VSAT, Mobility, and High-Throughput Satellite (HTS) data connectivity services in the Middle East and the Asia-Pacific region, including rapidly growing markets such as India and Indonesia. New SR and FEC. CLAN TVE. UHD1 by ASTRA / HD+. Discover all the channels available with Cogeco TV packages. Get Satbeams on your smartphone! There's always something good playing on SiriusXM. Username Thor 5-6-7 / Intelsat 10-02. SES-12 was about 3 times the distance compared to the previous capture hence the ~10dB drop in signal. Satelit SES 12 akan mengorbit di 95E bersandingan dengan SES 8. Click here to download the 4K UHD Platform Channel Contacts, Customer Terms 12535 - V - 43200 - 3/4. Tonight's TV-October 8, 2020 0. 979 - iPhone 12 - HERE YOU GO! Satellite TV charts. Switch to T-Mobile and subscribe to TVision Live TV+ or Live Zone for live sports & news you'll love with an awesome unlimited plan. SES 12 satellite has good satellite coverage within India, including Bangladesh, Sri Lanka, Nepal, Bhutan, and Pakistan. All models!
Ashworth College Payment, Class 9 Chapter 2 Extra Questions, Aldi Marzipan Cake, Morrisons Farmers Box, Realism In Literature Pdf, Biology Research Jobs For Recent Graduates, The Shipwreck Turner, Hiragana Practice Sheets,
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text:
Set Up Facebook Advertising - Moorabool & Macedon Ranges
by Melbourne Innovation Centre
Tue., 17 November 2020
10:00 am – 12:30 pm AEDT
[FREE ONLINE WORKSHOP via Zoom]
This online workshop "Set Up Facebook Advertising" is being delivered as part of the ASBAS Digital Solutions program.
**If you have any questions please call MIC on (03) 94901402 or email asbas@melbourneinnovation.com.au**
To successfully register for this online workshop, you must fit the eligibility criteria below:
Active ABN
Victorian For-Profit Business
Under 20 employees
Due to limited spots available, only one person may register per ABN
Please note: Participants of the ASBAS Digital Solutions program can access up to 30 contact hours. This include workshops, webinars, and mentoring.
Melbourne Innovation Centre's Privacy Policy must be read before registering. The Privacy Policy can be viewed at https://www.melbourneinnovation.com.au/privacy-policy/
Set Up Facebook Advertising
Facebook offers one of the largest advertising opportunities available online. Refining your ads and reaching new audiences can take your business to the next level. But it can be overwhelming and too easy to waste money on poorly set up ads.
If you want to understand how to advertise your business on Facebook, this activity-based workshop is for you! Within this session, our presenter will take you through several activities so you can walk away with tangible outcomes.
In this workshop, you will complete the following activities:
Prepare engaging copy for your first ad
Create your own target audience
Set up a Facebook advertising campaign from scratch
Important: you will need a Facebook Business Page to advertise on Facebook. Please have one set up prior to this workshop.
This session is for businesses that have an established online presence through a Facebook page and a product/service to promote via a website or landing page. This is not a session for beginners who are yet to settle on their business or product idea.
Register for this online workshop to actively create your first Facebook ad.
Please Note: Delivered via Zoom. Activity-based workshops will not be recorded, therefore replays will not be available. Recording will not be applicable due to the nature of the workshop being interactive.
** LIMITED SPOTS AVAILABLE - only 1 attendee per business - BOOKINGS ARE ESSENTIAL **
Online Workshop schedule:
https://www.melbourneinnovation.com.au/replacement-online-workshops
ABOUT THE ASBAS DIGITAL SOLUTIONS PROGRAM
The Australian Small Business Advisory Services (ASBAS) program provides low-cost, high-quality digital advisory services to small businesses across Victoria.
The program is being delivered by Melbourne Innovation Centre.
The program supports your online business needs by offering the following:
One-on-one mentoring (2 hours)
ASBAS Digital Solutions portal
How much will the program cost? - The ASBAS Digital Solutions program requires a single $55 payment, which grants you full access to the above outlined components of the program.
Am I eligible? - If your business has an ABN and less than 20 employees, you are eligible for the ASBAS Digital Solutions program.
Purchase your $55 ticket to this event via this page
You will automatically be added to the ASBAS Digital Solutions portal
You will receive a "Welcome to the ASBAS Digital Solutions program" email
Follow the prompts to confirm your registration for the program
Once you are fully registered, you will be able to access a code on the ASBAS Digital Solutions portal that will enable you to sign up to the other events in the series.
We're here to help.
For more information about ASBAS Digital Solution program, visit https://asbas.melbourneinnovation.com.au, email us at asbas@melbourneinnovation.com.au or call us on (03) 9490 1402.
This program is delivered by:
This program is proudly supported by:
Melbourne Innovation Centre
Tue., 2 Feb. 10:00 am
Boost Business with Facebook Advertising
Tue., 2 Mar. 10:00 am
Thu., 28 Jan. 12:00 pm
Facebook for Small Business Simplified
Thu., 25 Feb. 12:00 pm
Wed., 27 Jan. 10:00 am
Digital Marketing Essentials
Wed., 24 Feb. 5:00 pm
Tue., 16 Feb. 10:00 am
Engage Real Followers on Instagram
Wed., 3 Feb. 5:00 pm
Social Media Marketing 101
Get Going on Google Analytics
Wed., 3 Mar. 5:00 pm


The house has 4 bedrooms with modern appliances. We love to have barbeques on the deck in summertime and look foward to sharing delicious food with you. We often go to the beach and you are welcome to join the summertime fun with us.
Hi, we prefer a tidy person thanks.
The room has basic furnishing such as bed drawers and closet.
Our home is situated on the north shore approx 15 Kms to the CBD. Bus stop is approx 2 mins walk from our house. We are within 30 mins drive to popular beaches.


Psalm 11. For the director of music. Very nice.
I appreciate the vote of confidence there Angel.. But take it easy on Nesta.. He's just misinformed.. Well maybe not. He lies continuously and says that Black Trump supporters are "just plain stupid".. Yeah that seems pretty wicked..
hemphILL is ill, swollowed up babylons lies in a little orange pill.
No, 40% of black americans do not support trump. At most it maybe half of that, more likely its around 13% and some polls have him in single digits still.
No, rasta don't drink orange koolaid.
Or is it MSGA make slavery great again, because that is what america has done, enslaved the world, thats as true today as it was when the whiteman first came to the native land, they stole the riches and enslaved the people. Today they do the same through the corporations and pupet goverments they setup and force upon the world.
Rastafari is the root and InI know our history, world history. And if you don't know your history, then the truth will remain a mystery.
Do some research bud. Latest poll shows 40% Black support for Trump. Highest ever! Thanks to Kanye West and Candave Owens + many others getting Black Americans to leave the democrats plantation!! Even mainstream media admits it!!
You people have no evidence for anything you say.. You just say it then get pissed when I bring in the facts!
Oh but wait.. Here comes the propaganda line from 'snopes' or 'politifact' owned by George Soros..
Half retarted liberals desperate to hold onto your fleeting world view..
Facts destroy your precious little snowflake bublle and you cant handle it!! Its beautiful!
You are literally repeating exactly what comes out of Hillary Clinton's mouth..
Saying Trump is bringing back slavery.. Hahahaha oh the delusion knows no bounds!!
Bill Clinton presidency: Most Blacks imprisoned ever.
Barack Obama presidency: Most Blacks on welfare ever.
Donald Trump presidency: Most Blacks employed and owning Businesses ever.
Trumps and Clintons are the same: wicked polytricksters. Conservative media and liberal media both are telling little truth and lots of lies. One has to be able to remove the truth from the lies.
Reasoning with hemphILL is more like a playground fight, than rastas linking up to sharpen one another.
They are not same.. Couldn't be further apart in actuality.
But your brainwashed mind contorts reality to fit your anti-American rhetoric.
Oh yes they are the same, two parties of the one babylonian system. You've shown your true colors get behind me duppy.
See that? Right there.. That is the key sign of a brainwashed mind! 'Amerikkka'. You sir have taken the mark of the beast and swallowed the globalist propaganda.
Of course Haile Selassie is King. He put Trump in office as president to help destroy the devils of the New World Order!
Get ready for the triggered explosion!!


text:
Q: React doesn't render a SVG Hi I created a template in React that use a Object to fill it. But the SVG is not rendered and I don't know why. The path of the folder and de svg image is all correct.
Here is the object:
export const homeObjOne = {
    id: 'about',
    lightBg: false,
    lightText: true,
    lightTextDesc: true,
    topLine: 'Gym Application',
    headLine: 'For Our Fitness Lovers',
    description: 'Lorem',
    buttonLabel: 'Get started',
    imgStart: false,
    img: require('../../images/svg-1.svg'),
    alt: 'Growth',
    dark: true,
    primary: true,
    darkText: false
};

And here is the template where de object is passed:
const InfoSection = ({
  lightBg,
  id,
  imgStart,
  topLine,
  lightText,
  headline,
  darkText,
  description,
  buttonLabel,
  img,
  alt,
  primary,
  dark,
  dark2
}) => {
  return (
    <Img src={img} alt={alt} />
 );
};

export default InfoSection;

I have only writed the essential code because is more easy to read and answer the question. The app doesn't send any error about htat the path or de svg-1.svg doesn't exist, and all the other components of the object are rendered well so I don't know what's going wrong.
If anyone could help me, please let me knonw. Thanks!

A: import imgUrl from '../../images/svg-1.svg';

export const homeObjOne = {
    id: 'about',
    lightBg: false,
    lightText: true,
    lightTextDesc: true,
    topLine: 'Gym Application',
    headLine: 'For Our Fitness Lovers',
    description: 'Lorem',
    buttonLabel: 'Get started',
    imgStart: false,
    img: imgUrl,
    alt: 'Growth',
    dark: true,
    primary: true,
    darkText: false
};

This should work. Here you can check the reasons: https://create-react-app.dev/docs/adding-images-fonts-and-files/


When families decide how to spend their money, there's usually a universally shared agreement that you must live within your means. Only spend what you can afford, look after your savings, and, in general, be very careful with your money.
You also typically have someone – such as the head of the family – to take control over financial matters. They'll look after the bank balance, curb unnecessary spending, validate the bills you receive, and make sure the family finances are in order.
But when it comes to an organisation, no matter the type or size (commercial, non-profit, or even government) people's behaviours and attitudes towards money suddenly change.
Even the largest of organisations had to start small. And in the beginning, with one or more founders, it's relatively straightforward. You know what your company is all about, you have a feel for how it should spend its money, and you're able to constantly communicate with one another.
In these early stages, you and your fellow founders are the ultimate decision makers on all matters, and you don't need to consult with anyone else to ensure your organisation's money is spent appropriately.
Typically, you'll work with an in-house or external accountant, who'll help you pull everything together for tax and – for regulated companies – audit purposes. This is simple too, what with everyone working in the same space. Everything can be done in person; inbound invoices and bills can be printed and signed; and you can seek quick clarifications on any questions that might arise.
In short, everyone is aware of their responsibilities, and they can be confident of making the right decisions over how the company's money should be spent.
However, this all changes as the organisation scales and evolves. Be it through growth, increased turnover, or in some cases personnel changes, the decision making process can become more convoluted. With more people involved (in-house and remote), opinions over how to manage spending can begin to vary. Different departments will have differing points of view, and not all of this information will make its way back to the ultimate decision makers.
And if the organisation has not established proactive spending control measures, such as Spending/Purchase Orders (POs), it could easily find itself dealing with lots of invoices and bills from suppliers for goods and services it might not require.
The organisation's accounting department – in-house or outsourced – could also find itself in a complex situation. In such a scenario, they would have to dig through emails to find out if the invoice or bill was actually approved by someone with the correct level of authority within the organisation, as well as carry out time consuming data gathering activities to ensure that the spending was properly coded and accounted for in their system.
Chances are, the old paper/email approach to doing business would start creaking under the pressure at this stage, either because it takes too much time to get a bill processed, or because you're frequently forced to dispute a bill with a supplier.
However, unless the organisation has the people at the top with experience of overcoming this kind of challenge, most can be slow to recognise and deal with it. Usually it comes down to a dramatic organisation-level indicator to prompt action, such as a fast receding amount of available cash, rising late-payment fees from suppliers, or missing critical customer deliverables due to billing errors.
Frequently, such organisations do not understand that the problem is systemic, and that to solve it, drastic and quick changes are required. And these changes must begin with the internal processes, and extend to the systems used to support them.
You process all of your invoices via email, before printing them, and asking your executives to sign them. They're then manually entered into your accounting/ERP system.
You have multiple locations with people with the authority to order goods and services for which you are then invoiced and billed as the central organisation.
You don't have a proactive approach to the management of your spending, for example using a Spend/Purchase Order.
As an accountant, you spend a lot of time chasing people trying to understand how to code their bills correctly.
You spend too much money with a few suppliers, or spend money with different suppliers for the same goods and services.
You spend a lot of your time dealing with suppliers that complain about your organisation not paying them on time.
Most of your purchases/invoices end up in the "Other" category in your accounting system.
If you found yourself nodding along to two or more of the points above, chances are you need to take a closer look at your spend management, and make the necessary changes to how your organisation looks after – and spends – its money.
To discover the very best practices for dealing with company spending issues, join the upcoming ApprovalMax webinar, aptly named 'Best Practices for Spend Management' on Tuesday August 28th, 2018.


Our clients require an experienced RVN to join their OOH team on a permanent basis.
This is a multi-discipline practice with an RCVS hospital status.
When working here you will see a varied case load, including first opinion to orthopaedic, ophthalmology, dentistry and dermatology referrals, and OOH emergency services.
Shift pattern will, it will be a 4 on 7 off mainly, but there may be occasions where you will work 3 on 7 off. Hours will be from 7pm to 8am. – Occasional weekends will be included.
You will be working with a fantastic vet on site all night and an RVN and Ward Assistant until 11pm.
Equipment includes in-house blood analysers, digital x-ray, ultrasound, endoscopy, 2 aseptic theatres, large prep/intensive care area, walk-in kennels, separate dog and cat wards, and isolation. Interesting caseload, CPD funded and encouraged. Use of nursing skills guaranteed.
Our clients can offer a very competitive salary, which is all dependant on experience.


*I use small amounts of honey, bananas, and blackstrap molasses in some of my recipes to enhance the flavor and texture. Those recipes are not strictly sugar-free. However, the carbohydrate count per serving of every dessert on this website is less than 10 grams net carbohydrates (total carbohydrates minus the fiber) per serving, making the desserts very low in sugar. If you're on a strictly sugar-free plan then you can choose to avoid those recipes with honey and molasses. For reference, most regular desserts contain 20-40 grams of carbohydrates per serving!
You might hear any of the above listed sweeteners referred to as "healthy, natural alternatives to white sugar." Regardless of the presence of any trace nutrients found in these sweeteners, they still contain the sugars glucose and fructose, and are NOT sugar-free! Consuming significant amounts of those sweeteners listed will prevent you from reaping the benefits of eating a low sugar (i.e. low fructose and glucose) diet.
I personally consume as little sugar as possible (not including fruit) because sugar triggers my appetite like no other food! Have you ever seen someone who can eat a pint of ice cream in one sitting? I am that person. Research shows that some people are much more prone to sugar addiction than others. It's not just about willpower when it comes to controlling your portion sizes of sugary foods.
Readers of this blog left comments over at one of my old recipe posts explaining why they limit their sugar consumption. Feel free to share your own story below!
Here are some of my favorite nutrition science resources with information concerning the effects of sugar on the human body. I am not a medical professional, so nothing on this website constitutes medical advice. Please consult your own health care provider for advice on your unique situation before beginning any nutritional program.
Stopping Addition to Sugar: Willpower or Genetics?
8 Comments on What is "Sugar-Free"?
Hey Lauren! Your site is terrific – I am pretty stingy about low carb/sugar sites because many times the recipes are chock full sucralose, aspartame, etc. Thank you for developing something that uses some other alternatives such as stevia. I also am very appreciative of your transparency on what is defined as sugar free vs. not. Keep up the great work!
James, you are very welcome! Thank you so much for the nice comment.
Hi, Jenny! Do you have links to journal articles about differences in how the body absorbs the glucose and fructose in honey and maple syrup vs table sugar? According to the nutrition labels, 1 tablespoon of honey contains 17 grams of sugar, and 1 tablespoon of maple syrup contains 12 grams of sugar. I am primarily concerned about the effects of glucose and fructose on insulin secretion and blood lipids.
Thank you for sharing that information about the polyphenols and minerals in those sweeteners.
I was looking for your recipe to make your own Stevia/Truvia but could not find it. Could you send that to me so that I can make my own. Thanks and I love this site.
One more thing. I'm reading your book again. This time as a text book and am taking copious notes. I'm also checking out the sources you listed for further reading.Thanks again.


I hear a lot about white flies, aphids and spider mites. What attracts them? What are the signs to look for? And how do I solve the problem?
You have named three of the most prolific and perennial pests of greenhouses and production areas. All of the ones you have named feed on the sap of leaves, so they are all considered "sucking" insects as opposed to "chewing" insects, which have movable jaws.
If it looks like your leaves are being chewed on, the pests you are asking about are not the culprits. If you notice speckled, mottled, curled or puckered leaves and fine webbing, then you likely have one of these pest infestations.
Whiteflies are most often, as their name implies, white in appearance and about an eighth of an inch long. They are found, like aphids and mites, on the undersides of leaves. With heavy infestations, you can gently shake the plant and be greeted with a cloud of whiteflies.
Whiteflies love Solanaceous plants such as tomatoes, eggplants and peppers, and are a common pest of tropical plants as well. The key to controlling whiteflies is in the frequency of your chosen remedy, not so much your choice of application. There is no pesticide that I am aware of that will kill all of the life stages of whiteflies, meaning repeated applications will be necessary since you will not kill their eggs even if you kill all of the adults.
Aphids are the largest of the three pests you mentioned and are the easiest to spot. They feed on almost any kind of plant. Their damage is usually found on new growth, and their feeding distorts leaves, causing them to pucker or curl.
Aphids are fairly easy to control, but thorough applications must be applied. These little suckers are born pregnant, so if you miss a few, a few days later you will have hundreds or thousands show up again. Aphids can be controlled by a strong stream of water, insecticidal soaps, any insecticide containing pyrethrins, or by releasing predatory lady bugs.
Spider mites, which are not actually insects, cannot be controlled with insecticides. They are arachnids, and their biology is completely different than aphids or whiteflies. Spider mites tend to favor outdoor evergreens, but if you find them indoors, they will feed on almost anything. They are best controlled with suffocants, such as horticultural oils.
If you catch them early enough, hosing your plants down may suffice, but mites multiply quickly and can cause a lot of damage in short order. If you see a small spider where you suspect spider mites, leave it alone. It is probably eating some of the mites that are too small to be seen without the aid of magnification.
To see if you have mites, take a white sheet of paper and tap the suspicious-looking leaves or needles over top of it. The sight of tiny, moving specks will validate your suspicions.


text:
Ex-soccer star George Weah elected Liberia president by wide margin
By: Associated Press |
Published: December 29, 2017 10:00:22 PM
Former FIFA World Player of the Year George Weah has been elected Liberia's new president by a wide margin as the West African nation faces its first democratic transfer of power in more than 70 years.
Former FIFA World Player of the Year George Weah has been elected Liberia's new president by a wide margin as the West African nation faces its first democratic transfer of power in more than 70 years. (Image: Reuters)
Former FIFA World Player of the Year George Weah has been elected Liberia's new president by a wide margin as the West African nation faces its first democratic transfer of power in more than 70 years. Vice President Joseph Boakai conceded on Friday, congratulating the ex-soccer star. With more than 98 percent of votes counted, Weah received 61.5 percent of the ballots while Boakai received 38.5 percent. Africa's first female president, Nobel Peace Prize winner Ellen Johnson Sirleaf, is stepping aside after two terms at the head of the nation founded by freed American slaves. She led the country from back-to-back civil wars and saw it through a deadly Ebola outbreak that killed nearly 5,000 Liberians but was criticized for not better tackling corruption.
The 51-year-old Weah, a senator who entered politics after retirement from soccer more than a decade ago, led the first-round vote in October but didn't receive enough ballots to win outright over the 73-year-old Boakai, who has been vice president for 12 years. Sirleaf didn't publicly support either candidate. In his remarks conceding the election, Boakai offered a "hand of goodwill" to Weah and dismissed the idea of challenging the runoff results in court, alluding to past conflicts. "I refuse to subject our nation to such an experience," he said. "I reject any temptation of imposing pain, hardship and uncertainty on our people." Weah is expected to take office in January. Though voter turnout for Tuesday's runoff was low, he drew support from the younger generation, which makes up a majority of Liberia's population of 4.6 million people.
Qassem Soleimani said bad things about US before he was killed in strike: Donald Trump
Despite shake-up, Vladimir Putin rejects idea of Soviet-style leaders for life
US: Donald Trump sends Senate fiery response to impeachment summons
"We are young people and have suffered in this country for so long," said one supporter, Love Norrision. The commission said 56 percent of the country's 2.2 million registered voters cast ballots in the runoff, which was contested twice in court amid claims of irregularities, with its original Nov. 7 date delayed. This was Liberia's first independently run election since the end of its civil wars. The United Nations has helped to oversee past votes. Weah led the ticket for a coalition party, the Congress for Democratic Change, with Jewel Howard-Taylor as his vice presidential running mate. She is a senator and the ex-wife of imprisoned former warlord and President Charles Taylor, which raised concerns among some Liberians. Weah had run in the country's last two elections, winning the first round of the 2005 vote that eventually went to Sirleaf. He ran as the vice presidential candidate with diplomat Winston Tubman in the 2011 poll; they boycotted the runoff that granted Sirleaf her second term.
Weah's rags-to-riches story has been an inspiration to many supporters who call him "King George." He was born in a slum of the capital, Monrovia, and showed early promise in soccer. He played for top local clubs before starting his international career in Cameroon, then moved on to AS Monaco and Paris Saint-Germain, where he became famous. While with AC Milan, Weah in 1995 won World Player of the Year. He later played for Chelsea and Manchester City. Weah's limited educational background hurt his political aspirations, and he returned to school after the 2005 attempt for president.
He obtained a high school diploma abroad and earned a degree from Illinois-based DeVry University. As Liberia grappled with the Ebola outbreak in 2014, Weah was elected as a senator, defeating Sirleaf's son Robert for the seat. Weah's critics have argued that his lack of political experience makes him unequipped for Liberia's top job.
Ex-soccer star George Weah elected Liberia president by wide&nbspmargin
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