text:
What you on
The distinctive smell of the most popular recreational drug (after alcohol) is a common scent on the bus, some routes more so than others. Some folks don't even try to hide it, the nostril-flaring aroma boards the bus before they do, a reeky red flag to give away what they were doing while waiting. There's no shame in their game, and it's not a problem on the bus because it didn't happen on the bus. And really, there's rarely a behavioral problem since most of the time everyone stays mellow and loose, a welcome alternative to the derangement that flakka unleashed last year.
The scent is hard to hide, and when it occasionally wafts up to the driver's area, I'm compelled to see what's going on behind me. If there's no smoke, there's no fire and we're all good. Usually I get a whiff of something due to my habit of always having my window open, regardless of temperature. So we could be passing a particular hang out spot, or a partaker could be in the car that just pulled up next to us at a red light. Once we get moving again, the odor is gone.
Other times the smell is not from smoke, but simple exposure to whatever especially strong strain is being rolled that day. A cursory walk-through of the bus at the end of the day reveals the evidence: the unused tobacco contents of a cigarillo in a small pile beneath a seat.
If anything seriously illegal is going on, other passengers are generally good about pointing it out. Then there's the time an older man came up to me and confessed he found a joint on the floor and went to pick it up; it turned out to be a french fry.
The flip side of all this piques my curiosity the most. As bus operators controlling heavy equipment and transporting passengers, we're obviously in a safety-sensitive position. Naturally, the County routinely conducts random drug and alcohol testing on its employees. A minuscule percentage of operators may fail the test, but the vast majority value our jobs too much to abuse any substances, so we're among the cleanest people on the bus. Still, some passengers assume we're doing something we shouldn't. This tends to happen at the end of a long shift, when the stress of the day helps us achieve a strung out, bedraggled, bloodshot appearance.
One day on the 40, a youth looked at me knowingly and promised he wouldn't tell, holding his finger to his lips. Most recently on the 50, another young man, a self-confessed fan of the herb nearing the end of a work-release program, studied my visage for a second before we pulled out for my last trip. With a winning grin he delivered the line of the day: "Can I have some of what you on?"
By BusTropical at April 27, 2016 No comments:
In with the new
It was an early afternoon on the 50. We'd just pulled in to the NETC about 10 minutes down, so I was looking to do a stop & drop and book it back on the road asap. When we get down that much, we're picking up passengers waiting for the next bus, so there was a good number of folks waiting to board. The whole transition went smooth, I closed the doors and checked to make sure the coast was clear to pull out. Then I saw her. A runner. Rather, a woman trying her best to run toward the bus. A plump middle-aged woman with freshly styled short blond hair, she was putting her best foot forward. She was within range, her effort was heroic, so we held the bus for her.
Gasping for air as she boarded, I suggested she catch her breath as she confirmed she had a pass. We pulled out before the rest of Pompano descended upon us. There must not have been any seats available, because she stayed up front supporting herself against the luggage shelf.
"Whew! I quit smoking 8 weeks ago after smoking 43 years, started when I was 8 or 9. I promised my mom on her deathbed that I'd quit."
You're a lucky woman to have a mom looking out for you like that at the end.
"Yeah, she was a smart one. She also said I should quit my husband, so I did that too."
Sometimes it's just time to move on.
"Out with the old, in with the new!"
On my Saturday morning 72 piece, I usually had no problem keeping it on time. Even with 15 minute headways I never got caught by my follower, and you know a few poorly-timed red lights and a draw bridge can eat up that time quickly. The day before Valentine's something was going on, because traffic got heavy earlier than usual. Last minute gifts for a loved one? Enjoying the weather? Weekend events? Most likely the holiday played an influential role in Oakland Park Blvd being extremely crowded all the way from Sawgrass Mills to the Galt Mile. Ridership was decent, if someone wanted a seat there was always one available - a far cry from weekday afternoons when the sardine-can effect is in full swing. Regular westbound riders at that time are familiar with the "Sawgrass Shuffle". On top of the external obstacles, the old workhorse of the fleet, bus 601, was moving a bit more sluggish than usual.
My second eastbound trip around lunch time was the most trying. At University Drive I was already down 4 minutes, and that's the quietest stretch of the trip. When we departed 441 we were down 9 minutes, and we had yet to hit the choke points at I-95/Powerline or US 1.
Just west of the I-95 overpass we caught up to a young man in running gear, jogging at a brisk pace on the southside sidewalk. He was running the same direction we were crawling, outpacing the bus.
By the time we crossed the Powerline Road lights we were down 12 minutes, and that 15 minute headway was evaporating like a puddle at noon time. Occasionally glancing in the mirror for any sign of my follower, I knew he must be nearly empty since at this point I was picking up his people. Pretty sure there were no more empty seats now, but it's hard to see what's available 50 feet behind you in an artic.
Several minutes later we crossed Andrews Ave and the runner was still outpacing us. This was getting embarrassing. He was on course to beat us to the end of the line. Finally, around NE 4th Ave, he hit the brakes and resumed a walking speed. I have to applaud him on his stamina for over a mile. Well done, sir.
Shortly before US 1 any chance of getting back on time was a pipe dream. I was getting ready to pull into a pull-in stop to load a passenger in a wheelchair, when my follower came to the rescue and took over the picking up duties. Dispatch instructed me to turn around under the Intracoastal bridge, so I snaked it by the marinas and restaurants and reemerged onto OPB back on time.
Go ye
A couple months ago the Good Year blimp base off Dixie Highway in Pompano got a makeover. It was a common sight to see crews replacing roof panels at precarious positions from enormous manlifts. More recently they completed the work by replacing the signage. For several weeks, a few letters were missing so that the building read GOO YE. I couldn't help but take it to heart as a reminder to never 'tire' after a long day, and it became a sort of silent mantra that energized me for the last few trips of my shift. Now the sign is finished and the mantra is no more, though the building's occupant continues it's forward motion, buoyed by air. The nearby orbiting bodies pounding out the miles on the railroad and Dixie Highway complete their terrestrial circuits. Some bodies are fixed in their paths, still others break routine and venture into new avenues.
The April pick starts today, so expect to see new faces at the wheel as drivers shift positions. I always make a point of picking the 50 at least one day a week if available, and my good fortune continues for the next couple months since I'll be over there every Monday afternoon. Come on, let's go...
P.S. You'll also find me on the 19 Saturdays, the 34 several days a week and the 95 Express Route 109. Oh yeah, and a bonus tripper on the 10 once a week. So I'll be disappearing uptown for awhile but still transporting my peeps at Central Terminal.
For the past few weeks the yellow tabs have been in bloom all over South Florida, spinning straw into gold. Most of us natives are accustomed to northern transplants complaining to us how there are no seasons here. Sure, our most pronounced seasons are the wet and the dry cycles, whereas more northern latitudes have showy displays of fall foliage and snowfall. Yet somehow our flora knows it's springtime and decides to put on an outrageous explosion of golden color. My current theory is that despite the sometimes violent nature of our weather, for the most part the changes are subtle and help develop an extra-sensitive awareness in those who pay attention.
This was just another day on the 50, which meant there was not much chance of getting bored. I relieved the previous driver as usual at the NETC, and as I adjusted the mirrors some passionate singing wafted up from the rear.
"How great Thou art..." came the feminine voice, squeaky and totally off-key in a Jamaican accent. I instantly recognized the voice as that of a regular rider, an older lady with a habit of singing hymns on the bus. She's always crying poor but keeps on keepin' on, routinely trudging off to the Swap Shop with a folding cart full of wares. This trip we were going the opposite direction, so hopefully she had a successful day that led her to be thankful on the way home.
As we pulled into the north end layover in Deerfield, there was heavy police activity on the back street so I advised everyone to be careful out there. Something in me hesitates to deliver my passengers into the midst of potential danger, but since we don't do door-to-door service and the police appeared to have things secure we made the best of it.
A lively older gentleman boarded, the rusty gait and deliberate movements testified to a time-worn body. His mind was well-oiled however, firing on all cylinders. He was talking at that volume which is meant for everyone, a tacit invitation to the other boarding strangers to join in conversation.
"I don't want a woman who only loves my money. I want a woman who loves me and my money, and God in heaven."
A younger man took his cue, and the two engaged in a back-and-forth about women, Jesus, and resurrection.
Down the line, Mr. Herpes Ace and Equal Hearts boarded.
It was an especially heavy ridership that day, my leader was loaded and running late on our next northbound. She called in to dispatch to report that she had to pass up three passengers in wheelchairs since she already had two aboard. I was a little concerned myself since my bus was nearing a full seated load and there were passengers using the seats in the two wheelchair areas. What I like to do to motivate people on the bus in this situation is just pull right on up to the wheelchair passenger, pop the doors, kneel the bus, unbuckle my seat belt, turn around toward the cabin and ask in bus driver voice "Do we have room for a wheelchair?" Generally whoever is in those seats will readily move, since the sooner we get everyone on board the sooner we get moving again. They're certainly not required to move, they have as much right to those seats as anyone, so I always thank them. "You guys are the best! Thank ya thank ya!" And sure enough, we were able to reconfigure ourselves and make room for everyone.
Our next southbound at Copans, line crews have closed the right lane to install utility poles. They're replacing older wooden poles with upgraded concrete models. Traffic is backing up.
At SW 2 St in Pompano the free-range yard chickens at one apartment complex are pecking around in the weedy lot. They may be skinny, but they're not dumb; I've never seen one as roadkill on Dixie Highway.
At Central Terminal boarding for our next northbound trip, a solidly built gentleman with trim mustache in BurgerFi uniform swipes his pass and looks at me a little longer than usual.
"I remember you from the 72 last year! You're the only handsome driver," he sweet-talks.
"Oh, there are many more," I reply with my usual humility.
He makes a comment about my positive attitude standing out from other drivers. This naturally follows into a conversation about positive thinking, and he has a paragon of this particular virtue waiting at home. His wife had both kidneys removed 11 years earlier and has to take 9 hours of dialysis daily, yet she maintains a positive attitude despite this inconvenient and unpleasant necessity. As he tells me more of this incredible woman, I can only shake my head in admiration and tell him flat out that he's a lucky man.
It's now our last southbound trip. Hopefully a smooth run to Central Terminal then we'll take it home to the garage. The reality of the 50 at this time of day makes that wishful thinking. As we work our way down the line, I'm getting bad reports from passengers of long waits, a regular complaint at any time, however the growing load lends credence to this. It's as if my leader has disappeared, but I haven't heard anything on the radio about it going out of service so I can only apologize for the inconvenience and keep it moving.
At Sample we pick up another regular, a middle-aged man who's counting down the days till his driver's license gets reinstated after a DUI.
"Just a few more days and you'll never see me again," he promises.
I congratulate him and wish him well.
Halfway through the trip and the bus is still packed, including a wheelchair passenger. Some get off only to be immediately replaced. Normally we'd get some elbow room after servicing the NETC, but the double-load theme continues and it's not till we get way down to Five Points that we get some breathing space. We pull into D Aisle at Central, everyone exits to make their connections, I switch the head sign to NOT IN SERVICE, flick the cabin lights off, and we roll out back to the barn, just me and a bus full of the ghosts of the day.
A couple months ago I was doing my Saturday morning run on the 72. It's a nice piece, I don't go into service until after 8 so I've missed most of the morning madness and can enjoy the trips at a realistic pace. Completely opposite from the chaotic morning and afternoon runs on weekdays. That said, it's still early enough that you can see who is a morning person and who isn't, who may have had a long night, and who's just getting started.
At one stop, an especially chipper young man in his 20s boarded, clearly a morning person.
"How's it goin'?" I greeted him.
"I'm going to make the doughnuts!" he exclaimed with a toothy smile.
He wasn't wearing any obvious logos to indicate he was actually going to make doughnuts, so I thought to myself this must be some new slang. Yes, I am a child of the 80s so I fondly remember Fred the Baker, but how in the world could this young guy know about that?
STD (Stay True Dixie)
Welcome one and all to the 50 bus. Sorry there's no red carpet, but we have no need for such formalities. When you're here, you're family. So expect a smile and a kind word, but please clean up after yourself. Just kidding, we have a maintenance crew to handle that.
"I'm back again - just like herpes" he greets me with melancholic monotone, in plain polo and khakis. We don't always have time to exchange names, so against any sense of decency I call him Mr. Herpes. I used to pick him up every Sunday morning on the 50 but this pick I shifted to afternoons and don't see him so regularly. Still, like he says, he pops up occasionally like the gift that keeps on giving.
Most of us have been in his shoes: a promising youth of excitement and opportunity that eventually settles into resigned monotony. His training ground was off the ground in the world of aviation, an unlimited horizon spread before him. Haven't we all soared at one time, high on life and the future, confident in our ability to go in any direction we chose, like a bird in flight. We can only defy the laws of nature for so long. Gravity has a way of bringing us back to earth, weighing us down under our accumulated experience. Maybe we clip our own wings, tiring at the relentless assaults we face. This is all the more reason to defy the cages and preen our plumage. Even little birds can be nursed back to Life.
It is a periodic passage of life that we traverse the valleys of ennui and dejection. When you've had your fill of that place, get stubborn, get rebellious and rise again. Don't doubt the value of your presence. You, in your living humanity, are the most valuable resource on this planet. That means you, Mr. Homeless, Ms. Student, Miss Fast Food, Old, Young, Powerless, Forgotten, Nameless, Speechless, Hopeless, Failure, Has-Been, etc.
Mr. Herpes, despite his sad-sack demeanor, still has the spark within and hasn't fully given up.
"Don't worry, I'll be back" he promises.
He now has a new nickname: Ace.
A penny for your thought
The whole episode is kind of a blur to me now, though even at the time I could sense the significance of it. There weren't any lightning bolts or tremors, just a cool breeze on a sunny day. Even so, there's no denying that I got schooled that day. I didn't take notes, but certain parts are still vivid in my memory so that will have to suffice.
It was a Sunday morning on the 60. It was most likely our first northbound trip, which has zero wiggle room timewise and pretty much requires the bus to be constantly moving. We were approaching Commercial Blvd, preparing to stop for some exiting passengers. One of them was an elderly woman who spoke in stunted English that was occasionally comprehensible. A sweet lady, but seemingly confused and flustered. I'll usually ratchet up my patience in these situations to ease the customer's experience on our buses and assist in any way I can.
While others were exiting, she lingered to make sure this was her stop. I assured her it was, glancing at the traffic light to determine if we had time to make it through before it went red. It was looking good, she was preparing to exit - then she stopped. She squatted and bent down to the floor and came up with a solitary penny. Not sure if it was hers or an errant coin, but the time it took for her to retrieve it was enough for the light to go red and delay us a few more minutes on top of the several we were already down. Then I did something out of character, but hardly offensive. I raised my arm to the light and uttered a sigh about missing the green. By now I'm resigned to the whims of our signal system and rarely get annoyed by them, even when they're clearly malfunctioning. For some reason on this morning the timing was such that I was more sensitive to the lost opportunity than the needs of the poor woman navigating her way around town.
"It's alright, bus driver" I heard a calm voice behind me pipe up.
Apparently my moment of weakness did not go unnoticed. A young man standing by the luggage shelf saw the whole scene. His measured tone is still with me, no judgment in it, just acceptance of the situation. He went on to elucidate about time and preparation, verging into philosophy. The precise words escape me now, but the lesson was learned, the reminder duly noted.
The County instructs us operators to never sacrifice safety for schedule, and I'd like to think that every day the goal of safety becomes more sacred to me. On the same level - of equal priority - may I strive to never sacrifice service for schedule.
So here's to the old, the young, and the lowest coin of the realm - the smallest and most undervalued of our society. Truth, wisdom, and Life give power to the powerless.


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J.K. Kelly
What a year it's been…
When I was a kid and complained about how long the school day took or how long the priest's sermon was my parents would always say, "Wait until you get older. Time will fly." They were right and 2022 sure did with one heck of a lot between the start of the year and today, New Year's Eve.
For me, January started out with an invitation by Judy Stropus, an incredible publicist and member of the Motorsports Hall of Fame of America, to the Road Racing Drivers Dinner held at the Speedway Club in Daytona's infield during the ROLEX 24 weekend. It was an incredible experience, getting to meet some of the greats who gave one of my books very favorable reviews as well as connect with people I'd worked with in racing in the past (and a few I'd like to work with in the future). I was honored to sit with quite a cast of characters for dinner including brilliant photographer/former rally racing champion Jeff Zwart, Indy 500 winner Danny Sullivan, the always-entertaining David Hobbs, motorsports journalist and author of IS THERE MUCH MORE OF THIS – Andrew Marriott, and Judy. My only regret from that trip was not getting to connect with John Hindhaugh from RadioLeMans to thank him for his kind words. Couldn't do much about the rain while I was there but love the fact that IMSA races rain or shine, light or dark and in this case – for 24 hours!
Next up was a long week in Burbank, California speaking with people in the entertainment industry. So many readers who enjoyed my DEADLY DRIVER said it should be a film or limited series and since I agreed wholeheartedly I went west to see what I could learn. Having read and enjoyed the book as well, English film & television director Kevin Connor was kind enough to meet for lunch and was a wealth of information, advice, and candor. In a world that seems faster, colder, and crazier than ever it was extraordinary to be in the company of such a generous person. Many others have given advice along the way and for that I am forever grateful. I capped off the trip attending NASCAR's Clash at the Coliseum at the invitation of Steve Harrison, a great guy and someone I had worked with while he was at IMSA and I was with VP Racing Fuels.
Once back east I was back writing – a lot. The pilot script for DEADLY DRIVER began to take shape. I see it as a limited series as there's so much story to tell. For those of you who might think the odds of getting this made are against me I can only say two things; you can't hit a home run if you don't pick up the bat and walk to onto the field and second – read on. Tenacity and creativity comes in handy now and then.
The book reviews kept coming in and one in particular, from former U.S. Secret Service Agent C.E. Albanese, who authored DRONE KINGS and is one-third of the CREW REVIEWS podcast, made me very proud. In the months to come, SPEED SPORT's Ralph Sheheen would take 'driver' on a long-haul plane ride from the U.S. to Australia and on his return he gave it a big thumbs up as well.
In addition to learning how to navigate FINAL DRAFT I was a good way through writing my next thriller THE BLOOD COMPASS that is now in the hands of agents in search of a good home. I poured everything I could into that baby. What I learned from decades of international travel, my own personal journey, editor Ryan Steck's advice and critique on two of my earlier novels, and what editor Jim Thomsen painted over this with his editing expertise.
In mid-summer I applied a lot of what I had learned to DEADLY DRIVER and released an upgraded version with an even more exciting opening scene and an even bigger twist at the end. Attentive to concerns that were voiced over the 'Deadly' title I also upgraded the title to SPY DRIVER. After all, so many reviewers wrote that it reads like an American James Bond I found that very appropriate.
In script writing they tell you to capitalize SUDDENLY to really bring attention to a scene. Well in mid-June, I received a communication from someone I had never met and SUDDENLY my world was turned upside down. After exchanging phone numbers via email a woman called me and said, "I gave birth to you…." I had been aware that I was adopted at birth by a great set of parents who loved me as their own and gave me everything I needed and then some. Both died when I was in my twenties but out of respect for them, although curious, I decided not to pursue finding out just where I came from. Thanks to my oldest daughter and Ancestry.com we now know. My birth mother is in my life now, our lives now, and all my questions have been answered. Writer that I am, yes – there is another thriller in the works now as a result of this most recent adventure and I hope to have that finished by this time next year. Oh, and then there's the sequel to SPY DRIVER that I expect to have completed by Memorial Day.
During the summer I got to meet someone I admire greatly – Jack Carr and then waited impatiently with the rest of the world until his Terminal List was released on Amazon starring Chris Pratt. Then the work of another author I really appreciate – Mark Greaney – made it to the big screen when THE GRAY MAN with Ryan Gosling was released in theaters and then on Netflix. Months later, Ryan Steck's debut novel FIELDS OF FIRE lit up the Kindle and another great read ensued. My wife Lisa and I finally got the chance to celebrate our wedding anniversary after three cancellations due to COVID restrictions. There's a photo below that hints at where we wound up and you may find something telling about THE BLOOD COMPASS if you look through some of my earlier blogs.
Then, all of a sudden, it was November. Where'd 2022 go? I flew out to attend the SEMA Show in Las Vegas and while there I wanted to jump on a shuttle to Burbank to start banging on doors with my pilot script in hand. Actually, that's not my style but I am known for working outside the box. Here's an example. I had always wanted to be on CBS Survivor. Year after year I submitted the videos and applications and heard nothing but crickets in return. Very well aware of Einstein's definition of insanity I opted to forgo their submission requirements and wrote a letter to Mark Burnett, the show's executive producer. SUDDENLY, as I turned on my phone after landing months later at London Heathrow I retrieved a voicemail from someone at the show (Keith I think?) who asked if I could be in L.A. for an interview in a few days' time. So changing things up worked. But, dedicated employee that I was, I declined the opportunity as I was now in Europe for meetings that had taken months to orchestrate. Maybe next time…
Then it was December 2022 and the six hundred mile drive from Philly to Indianapolis for the PRI show. It was like that first day back to school after summer break. I got to visit with so many people in person, without a mask and not on Zoom that I hated for the event to end. Got to attend the press conference for SPEED SPORT1 – the new motorsports network and breakfasted with Chris Cyr who owns Team O'Neil – the rally school in New Hampshire. While at VP we had featured one of their rally cars in one of the trade shows we did and I also set a few critical scenes in 'Driver' that involved the school and its extensive training.
A quick trip on Amtrak to the Big Apple wrapped the year up with the Madison Avenue Sports Car Driving & Chowder Society Christmas party at Sardi's on West 44th Street and then it was off to Rockefeller Center, Bryant Park, St. Patrick's and more.
Time flies when you're having fun and so here we are. With another year in the can that early retirement I took seems to be working well for me; I'm busier than ever – well almost. Thankful I don't fly 120,000 miles per year anymore and blessed to be surrounded by such a great family, friends, and a woman I never thought I would ever meet – again.
If you've made it to this point thank you for reading and best wishes for a safe, happy, healthy, and prosperous 2023 to you and yours. JK
DEADLY DRIVER IS READY TO GO
Copyright ©2023 J. K. Kelly. All rights reserved.

redpajama_set_name: RedPajamaCommonCrawl


Amazon began life as an online bookseller, of course, but now there are few products you can't buy on the site. New research led by HBS's Feng Zhu investigates a common worry of Amazon's third-party sellers: What happens when, instead of just matching buyers and sellers, the platform decides to offer competing products itself? Zhu's team examined 164,000 products sold exclusively by third parties and found that 10 months later, Amazon had begun directly selling items in 3% of those product categories. Further, the items sold directly by Amazon often became the default option in search results. The team recommends that sellers using the Amazon platform take some defensive steps: They can reduce the odds of Amazon's entering the market by signing exclusive deals with suppliers (or manufacturing some products themselves) and focusing on a large selection of niche products rather than widely popular items. This reprint contains three additional Idea Watch articles. "Do CMOs Really Add Value?" looks at extensive new research aimed at providing a once-and-for-all answer to this persistent question (the conclusion, in brief: Yes). "The Wrong Way to Reduce Churn" describes a study of a wireless communication firm whose seemingly customer-friendly outreach effort--offering overspending consumers a better plan--backfired and cost it customers, and offers some theories as to why. And "Quitting Time" is a visual depiction of when employees in a million-person sample left their companies--showing that in today's candidate-driven job market, people move on surprisingly soon.


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South Carolina deputy caught in child sex sting by his own department
Updated: 2:20 PM PDT Aug 15, 2019
Officials from a South Carolina sheriff's department said they caught one of their own deputies last week in a child sex sting that netted over a dozen other people. Richland County Sheriff Leon Lott announced the arrest of Deputy Derek Vandenham on Tuesday."That was something that made me sick to my stomach," Lott said during a press conference. "To know that one of my deputies that I trusted and that we put out in this community was one of these monsters." Twelve other law enforcement agencies assisted in "Operation Relentless Guardian," during which deputies pretended to be 13- to 15-year-old girls and chatted with men online.The men who solicited sex from the "girls" were arrested at an agreed upon meeting site. Lott said the meet-up site was changed so Vandenham wouldn't know he was about to be arrested. He was immediately fired.The sting also led to the arrest of former South Carolina department of transportation commissioner 72-year-old John Norton Hardee.
COLUMBIA, S.C. (AP) —
Officials from a South Carolina sheriff's department said they caught one of their own deputies last week in a child sex sting that netted over a dozen other people.
Richland County Sheriff Leon Lott announced the arrest of Deputy Derek Vandenham on Tuesday.
"That was something that made me sick to my stomach," Lott said during a press conference. "To know that one of my deputies that I trusted and that we put out in this community was one of these monsters."
Richard County Sheriff's Department
Derek Vandenham
Twelve other law enforcement agencies assisted in "Operation Relentless Guardian," during which deputies pretended to be 13- to 15-year-old girls and chatted with men online.
The men who solicited sex from the "girls" were arrested at an agreed upon meeting site. Lott said the meet-up site was changed so Vandenham wouldn't know he was about to be arrested. He was immediately fired.
The sting also led to the arrest of former South Carolina department of transportation commissioner 72-year-old John Norton Hardee.


Israel's President Reuven Rivlin generated a major controversy after his January 28 speech at the UN General Assembly in New York.
As Speaker and member of the Knesset (Parliament), Revlin had led the struggle for many years to have Israel recognize the Armenian Genocide. But, after becoming President, like Pres. Obama, Revlin has been reluctant to reconfirm his principled position on this issue.
Last month, Pres. Rivlin delivered a powerful speech at the UN General Assembly's annual International Day of Commemoration in Memory of the Victims of the Holocaust. Regrettably, Israel's President made two serious errors. He called the Armenian Genocide a massacre and, to balance those comments, referred to the Azeri deaths in Khojalu during the (Karabagh) Artsakh war.
Distinguished scholar Yair Auron, Professor at Open University of Israel, was irate at his President's choice of words, despite his personal friendship with him. Auron is a long-time advocate of Armenian Genocide recognition by Israel and author of several books on this subject. He is currently teaching at the American University of Armenia.


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Home News Music News LOCKWOOD BARR KICKS OFF SUMMER AT NASHVILLE CRAFT DISTILLERY
LOCKWOOD BARR KICKS OFF SUMMER AT NASHVILLE CRAFT DISTILLERY
Singer-songwriter Lockwood Barr is joined by Holly Auna at Nashville Craft Distillery this Saturday, July 11 at 6:30 PM. The show is a part of the distillery's Safe Summer Songs Acoustic Drive-In Series.
Cheley Tackett, who has spent the last year touring with Ashley McBryde and Brandy Clark, asked Lockwood to join the concert series to start bringing live music back to Nashville. Lockwood couldn't be more thrilled to play for a real crowd again. "I don't think I've ever been so excited to get on stage," Lockwood said. "Don't get me wrong, live streaming has been a gift, but nothing can replace real life humans."
Nashville Craft will be selling their bourbon whiskey, in addition to their original hand sanitizer that they created for the pandemic. This show is an opportunity for music fans to get their fix while also supporting a local business.
"Holly Auna, besides being one of my oldest friends in Nashville, is a fierce performer and wonderful songwriter," Lockwood said. "It's safe to say this drive-in show is going to be the start of something new for my touring, wink wink!"
Fans are encouraged to purchase tickets ahead of time online for $10 to help the venue plan for parking.
Holly Auna
LOCKWOOD BARR
Nashville Craft Distillery
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Hobart to Hobart self-drive tour taking in Hobart, Strahan, Gordon River Cruise, Cradle Mountain, Launceston, Freycinet National Park and Port Arthur.
Cruise into the Franklin – Gordon Wild Rivers National Park.
Two nights in a cosy and remote lodge under the shadow of Cradle Mountain.
Explore Launceston with its dramatic Cataract Gorge.
Go hiking or kayaking amidst beautiful surroundings of Freycinet National Park.
Step back in time to Australia's earliest days at the former penal colony prison in Port Arthur.
9 nights accommodation room only but including occasional breakfast.
Gordon River Cruise and entrance to Port Arthur Historic Sight.
Avis car rental compact car, self drive kit including maps/instructions.


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Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Facing the Darkness
Facing the Darkness Barbara Monk Feldman And The Making Of A Contemporary Opera Facing the darkness, whether metaphorical or real, is not an activity most of us are drawn toward; human struggle and tragedy is, in fact, often what we seek most to avoid in our pursuit of a happy life. Opera is renowned for its dramatic portrayal of the bigger emotions at play in these difficult aspects of human experience, letting the characters and music take us deeper into a more visceral encounter with life's complex moments. In her opera Pyramus and Thisbe, which runs at the COC from October 20 to November 7, Canadian composer Barbara Monk Feldman takes a unique approach to the existential reality of having to face the darkness, both within and without. I recently sat down with her in a local park for a conversation about the nature of the opera and how it came into being. Often an opera is created through a collaboration between a writer and a composer with the promise of a production at the end of a long and complex road. Not so with Monk Feldman's Pyramus and Thisbe. First of all, the opera was written through a process of following her own creative instincts. A few years after it was completed in 2010, a colleague who plays in the COC orchestra encouraged her to send it to COC general director, Alexander Neef. She got a quick reply – a request to see the score – and from that point on, the production was underway. However, the ideas for the opera had their beginnings several years ago after she heard a lecture, given by the French feminist writer Hélène Cixous at the University of Toronto, in which Cixous stated that the history of theatre is one of "love too late." Monk Feldman thought hard about this and wondered if it was possible to create an opera that as part of its modernist nature would not be caught up in this lost love or love too late theme which characterizes much of the traditional opera repertoire. The original story of Pyramus and Thisbe appears in Ovid's Metamorphoses. Ovid was a Roman poet who lived at an epic time – the turning of the ages from what we now call the BC or BCE period into the AD or CE period. Metamorphoses is a continuous 15-book mythological narrative that has had an enduring influence on Western art and literature. The Pyramus and Thisbe story is one of ill-fated lovers and is, for example the basis for the plot of Shakespeare's Romeo and Juliet and explicitly central to A Midsummer Night's Dream. So in choosing this star-crossed story as the basis for the opera, Monk Feldman meets the challenge of reframing the "love too late" motif head on. Using the original story as a jumping-off point, she created a libretto compiled from three very different writers: American novelist William Faulkner, 16th-century Spanish mystic St. John of the Cross and early 20th-century author Rainer Maria Rilke, whose German-language prose and poetry is full of existential themes. All the texts she chose are applicable to the original story, but her main intention was to capture the essence that is behind each writer's body of work. "I'm looking for an assemblage, taking little micro pieces but always with the idea – what is the essence of that writer?" She speaks about how she thought long and hard about each source. "The Faulkner text is one of the most beautiful poems I've come across in prose. The writing is full of pathos and is coming from someone who has reached the point of dying." And that's where the opera starts – with Pyramus facing his fear of death, the idea of his own suicide and his resistance to the abyss that is approaching. WENDALYN BARTLEY The second text is the poem Dark Night of the Soul by St. John of the Cross, an examination of the fear of the unknown and the idea that sometimes you have to look at the darkness, that you can't ignore it. Monk Feldman talks about how there is a modern sensibility to this text, and that it looks forward to the coming of existentialist thought. "The Rilke text is very much about facing our vulnerability and letting the moment fall away. You can't hang onto things or make them into a dogma. You let them disappear, but they never completely disappear," she says. So how do all these abstract ideas translate into a work for the stage? This is where the element of time comes into play. One of the opera's other major influences was the painting Stormy Landscape with Pyramus and Thisbe by Nicolas Poussin, the leading painter of the classical French baroque style. What attracted Monk Feldman in this painting was the slight shifting of movement between the foreground and the background that you can see in the way he uses light and colour. "When you really look at a painting, stare at it without moving your eye away for about 20 minutes, something changes physically in your eye. You begin to see the diffuseness of the light and the delicacy of the colour and shading. It's a very subtle thing, and the opposite of the mechanical light in TV and film." This idea of shifting time becomes central to the opera – both in the way the libretto unfolds as a non–narrative form and the way the musical elements interact with each other. Musically, Monk Feldman is looking for the integration of the three musical forces – the singers, the chorus and the orchestra, with one or another of them moving a little in front of the others. The chorus is always there as a presence with the orchestra sometimes supporting the singers and sometimes withdrawing. It's not the normal accompaniment and melody where each has their place. All the elements are working together to create the interior landscape of the story. There are also some very technical challenges for the singers. What Monk Feldman is looking for is a particular vocal sound that is the opposite of the bel canto style opera singers are trained in. It's a sound that has a sustaining quality to it, that has no attack, with the addition of a little bit of warmth, a touch of vibrato and then a decay that dissolves into the stillness. It's a sound that "engages overtone light," she explains, although admitting it's hard to describe in words. "I know it when I hear it; it's an intuitive thing. It sounds like a hard cold thing to do – to sustain a note and go into nothingness, but it's the overtones that add a certain warmth. This quality is important because it brings the human dimension into play in what otherwise might be a micro idea of subtle interaction. This style of singing also means that at times the singers are quite exposed, particularly when the orchestra withdraws. The further challenge is that the sound always has to be even – it's a question of how much warmth and how subtle can you be." "It's not a full blown drama or narrative, but what we are looking at is the emotional residue of a larger picture," she states. "My aim is to challenge the performers to have the courage to sound somewhat vulnerable. When that happens something in the quality of the colour changes in a good way." It's this ability to be vulnerable which is the key aspect of the music. "The opera is very still with the sounds going into nothingness. The concrete sound that moves a little bit like the shadows of the leaves on the ground Barbara Monk Feldman 10 | Oct 1 - Nov 7, 2015 thewholenote.com
When you look into the void, the abyss that's present, what do you do with that? It's the courage to have something that is falling away, that doesn't quite disappear. It's always falling away, and yet never disappearing." And then there is the influence of landscape, which also is an inspiration behind many of Monk Feldman's other works. She speaks about the qualities of light in nature that are always changing and how she translates that into music by capturing the feeling that something is about to change. "It goes beyond an abstract idea but is about the concrete sound that moves a little bit like the shadows of the leaves on the ground. They are just there, always changing, never repeating. My goal is to create patterns and subtle undulations in the sound." Cycling back to the story of Pyramus and Thisbe, our conversation shifts into speaking about the story and the character of the lioness. In the original version, the two lovers find themselves so frustrated by their situation of not being able to be together due to the hostilities between their families that they make a plan to meet outside the city gates by a stream. Thisbe hides her face with a veil and arrives first. All of a sudden, a lioness fresh from a kill appears, drawn to the water to quench her thirst. Thisbe is frightened and runs away, dropping her veil in her flight, which the lioness then tears to shreds with her already bloody mouth. When Pyramus arrives, he sees the bloodstained veil and concludes that Thisbe has been killed. He pulls his sword and kills himself. And we all know what happens next – Thisbe arrives, sees Pyramus' dead body and then kills herself. There's that love-too-late theme in all its splendour. Monk Feldman seeks to make Thisbe into a modern woman. To do this, she creates a different ending, with the moment of Thisbe encountering the lioness playing a pivotal role. The lioness herself is a symbol of exterior fear – what scares you in the outside world – and also a symbol of interior fear – the struggle that the modern woman encounters in realizing her fulfillment. In a passing moment (as opposed to a grand dramatic one), Thisbe holds her ground in front of the lioness, an act that changes the course of events. The drama becomes internalized from that point on. For Monk Feldman, bringing the lioness into a modernist scenario was a key challenge. Not only does this creature symbolize fear 2015-2016 SEASON SAVE OVER 20% SUBSCRIBE NOW www.tapestryopera.com/subscribe Single tickets on sale October 15 but it also represents the spirit of nature and the idea that things are always transforming. Symbols change and can easily shift into their opposite qualities. The lioness also represents the unconscious, an idea that features largely in the work of Carl Jung. It's the idea of alternating back and forth between unconscious and conscious states that intrigues Monk Feldman, even while admitting she doesn't really know what consciousness is. "I'm inspired by things I don't know about. I'm drawn to it; it's that unknown quality. What is that?" she says. This play between opposites is also evident in the Poussin painting Monk Feldman drew on. In the foreground, the love-too-late scenario is playing itself out, with Thisbe discovering Pyramus' dead body. But if one looks carefully at the background, you'll see a man running away from the action. Monk Feldman interprets that man as a modern day Pyramus running from the lioness, running into the darkness. In fact she says, "There's a feeling that he is carrying the darkness with him. It's a very modern struggle. It's the dark night of the soul." That's the Pyramus she's bringing to life. In its essence, the Pyramus and Thisbe opera is the creation of a moment that "comes to you like a wordless prayer and then vanishes. And in that moment we experience our vulnerability, and although the darkness is there, the light is also present. Both dark and light forces become integrated into a whole." Wendalyn Bartley is a Toronto-based composer and electrovocal sound artist. sounddreaming@gmail.com. TAP:EX METALLURGY November 19-21, 2015 SONGBOOK VI February 5-6, 2016 THE DEVIL INSIDE Libretto by Louise Welsh Music by Stuart MacRae March 10-13, 2016 ROCKING HORSE WINNER Libretto by Anna Chatterton Music by Gareth Williams Spring 2016 Barbara Monk Feldman With Polaris Prize-winning punk provocateurs, F**ked Up Song and scene recital ft. Jordan de Souza Greed in a bottle, death at the door. NORTH AMERICAN DEBUT OF SCOTTISH OPERA Nevermind the price of the prize... Win. FEATURE WORLD PREMIERE thewholenote.com Oct 1 - Nov 7, 2015 | 11 JEFF HIGGINS
Page 1 and 2: PRICELESS! Vol 21 No 2 OCTOBER 1 -
Page 3: KOERNER HALL IS: " A beautiful sp
Page 6 and 7: FOR OPENERS | DAVID PERLMAN And It
Page 8 and 9: ERIN RILEY On the Record A Ground F
Page 12 and 13: Beat by Beat | Classical & Beyond G
Page 14 and 15: lapping water and sparkling rivulet
Page 16 and 17: Glionna Mansell Corporation Present
Page 18 and 19: Beat by Beat | In with the New More
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Page 22 and 23: under Soviet and Nazi regimes, in 1
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Page 26 and 27: fighting is his beloved disguised a
Page 28 and 29: Nine Sparrows Arts Foundation & Yor
Page 30 and 31: Lydia Adams, Conductor & Artistic D
Page 32 and 33: Beat by Beat | Early Music Where We
Page 34 and 35: Beat by Beat | Jazz Stories Remembe
Page 36 and 37: BLUE PAGES 2015/16 16th ANNUAL DIRE
Page 38 and 39: BLUE PAGES 2015/16 ●Arraymusic Ar
Page 40 and 41: BLUE PAGES 2015/16 an international
Page 42 and 43: BLUE PAGES 2015/16 Annual auditions
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Page 46 and 47: BLUE PAGES 2015/16 in that capacity
Page 48 and 49: BLUE PAGES 2015/16 their vocal skil
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Page 56 and 57: BLUE PAGES 2015/16 ● Syrinx Conce
Page 58 and 59: BLUE PAGES 2015/16 late renaissance
BLUE PAGES 2015/16 season will end
DON'T EVER STOP MUSIC IS FOR LIFE
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Associate Dean for Diversity, Equity, and Inclusion
Requisition Number: F_210204
Department: College of Law-0899
Description of Work:
The UNIVERSITY OF NEBRASKA COLLEGE OF LAW invites applications for lateral candidates for a tenured faculty position with administrative responsibilities as the Associate Dean for Diversity, Equity, and Inclusion.
We are looking for a talented self-starter who is dedicated to developing inclusive organizational practices, to teaching through word and deed the importance of diversity and equity, and to advancing justice by encouraging current and future lawyers to see different perspectives and learn cultural competency. Our ideal hire desires to be a part of a high-functioning team of professionals focused on the important work of developing the next generation of inclusive leaders.
The Associate Dean for DE&I's responsibilities will include:
Chairing the Committee on Diversity, Equity, and Inclusion.
Serving as the College of Law representative on the UNL Council on Inclusive Excellence and Diversity (CIED).
Leading faculty and staff discussions on diversity, equity, inclusion, unconscious bias and professionalism.
Working with the senior administrative team to develop a nation-leading program on inclusive leadership.
Working with interested faculty to incorporate discussions of the law's interaction with race, gender, sexual orientation, and socioeconomic issues and disparities in a course's curriculum, where appropriate.
Serving as a resource for the Admissions Office in the development of a plan for recruiting new law students from diverse backgrounds, particularly those with backgrounds that are underrepresented at the College of Law.
Assisting in recruitment activities for prospective law students from diverse backgrounds
Developing programming for College of Law students related to cultural competency, empathy, seeing the world through the eyes of others, and the importance of forming an inclusive community.
Engaging interested members of the College's alumni and friends in the community to act as mentors for students from diverse backgrounds.
Building the Diversity, Equity, and Inclusion Program at the College of Law into a premier program that attracts students from diverse backgrounds and creates an inclusive community at the College of Law.
50% – Administrative responsibilities as the Associate Dean for Diversity, Equity, and Inclusion (see above for specific responsibilities).
30% – Producing high quality legal scholarship
20% – Teaching two College of Law courses each academic year.
10% – Service and outreach to the College, the University, and the legal profession.
Teaching responsibilities will coincide with the individual's research and teaching interests and could include a wide variety of courses, including but not limited to Business Associations, Civil Procedure, Contracts, Criminal Law, Race and the Law, Family Law, Environmental Law, Immigration Law, Poverty Law, Conflicts of Law, Education Law, Professional Responsibility, Intellectual Property, Copyright, Unfair Competition, Corporate Governance, Non-Profit Organizations, Transactional Drafting, Business Planning and Advising, White Collar Crime, Wills and Trusts, and Accounting for Lawyers.
This position is open to lateral candidates and will begin at the rank of either Associate or Full Professor of Law, depending on the candidate's experience and qualifications.
General information about the Law College is available at http://law.unl.edu/.
To learn more about the mission, values, and strategic plan of the University of Nebraska College of Law, please visit https://law.unl.edu/strategic-plan/.
As an EO/AA employer, qualified applicants are considered for employment without regard to race, color, ethnicity, national origin, sex, pregnancy, sexual orientation, gender identity, religion, disability, age, genetic information, veteran status, marital status, and/or political affiliation. See http://www.unl.edu/equity/notice-nondiscrimination.
Minimum Required Qualifications:
J.D. Degree or equivalent.
A superior academic record.
A demonstrated interest in advancing institutional diversity, equity, and inclusion efforts.
An established scholarly publication record.
JD degree.
Teaching experience in a law school.
Demonstrated commitment to diversity, equity and inclusion.
Job Type: 9 Month
About University of Nebraska - Lincoln
With over 25,000 students, the University of Nebraska-Lincoln is a diverse educational insitution with international stature. The intellectual center for the state of Nebraska and beyond, we are a land-grant, top tier national research-extensive insitution. Part of the Big Ten conference, Big Ten Academic Alliance, our mission includes growing relationships and resources that enable the University of Nebraska to change lives.
Connections working at University of Nebraska - Lincoln


Bardejov lies on the Topľa River in the north-eastern part of Slovakia. This old Slavic settlement once belonged to Poland and then to Hungary. The town developed thanks to trade and craft and in the 14th century it was surrounded by defensive walls. To this day, a well-kept old town square with a Gothic-Renaissance town hall are among well-known landmarks of Bardejov. The rectangular market square is surrounded by rows of historic tenement houses with colorful facades. The panorama of the Old Town can be admired from the tower of the Basilica of St. Giles.


You will read, research independently, question, discuss and argue in small groups in class reacting intelligently and critically. You will need to enjoy forming arguments and carefully select evidence to support them. We will help individuals to develop clear, concise and accurate powers of expression, orally and on paper. Activities will include essays, source work, debate and research. History students go on a number of trips including to Paris, the Tower of London and Hampton Court.
A level History is 80% exam and 20% coursework.
History is a well-respected A level, which many students continue to study at degree level. It is useful for any career – particularly those which involve research, analysing information and developing arguments. Students often progress to careers in politics, the Civil Service, banking and management consultancy, journalism, teaching, law, public relations and advertising.
Visits to Hampton Court, the National Archives Centre and the British Library.
Join our Hidden Histories Club, American film club and carry out historical research.


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A taxpayer who purchased a new FFV between 2010 and July 1, 2013, may claim the La. alternative fuel vehicle income tax credit (10% of the purchase price up to $3,000) through an amended Louisiana income tax return. The right to claim a refund for income tax year 2010 will prescribe on December 31, 2014, 2011 in 2015, and so on.
When LDR denies the refund claim (or disallows the credit taken), the taxpayer should promptly file a petition for review with the Louisiana Board of Tax Appeals, as the right to do so prescribes in 60 days from the denial. The petition is very simple and should not have a filing fee. You can see the instructions for filing same at the Board's website. Taxpayers may be represented at the BTA by a lawyer, a CPA or by themselves. Because the FFV tax credit issue is still working its way through appeal, the newly filed BTA appeals should simply sit and wait.
If a taxpayer failed to appeal the LDR appeal timely, s/he may still file a claim against the state with the Board of Tax Appeals, which has the same prescriptive period as claiming the refund itself. For example, a person making a 2012 claim for the FFV credit for a 2010 FFV purchase was more than likely denied in March 2013. If it wasn't appealed within 60 days, the taxpayer cannot appeal the denial now but must instead file a claim against the state for the credit. The Board has provided instructions for this on it website as well. The biggest difference between this action and one appealing a refund denial is that a refund will be promptly paid by LDR but a claim against the state must be paid by way of appropriation by the legislature.
If you have any questions, do not hesitate to call us. While some taxpayers have the time and ability to handle such a matter on their own, we are presently representing a group of clients who prefer to have representation through the process.


On Nov. 11, the Association of American University Presses kicks off the first University Press Week, an event designed to celebrate the literary and cultural achievements of university presses across the country (more at aaupnet.org). As with all publishers, university presses have been affected by digitalization and changes in the retail environment. Book Business asked a selection of directors of university presses the question: What do you feel is the best way to steer a university press successfully into the future in this age of rapid technological change?
Back in March, the Digital Digest profiled Princeton Shorts, a new short-form e-book program launched last fall by Princeton University Press. At least two more AAUP presses have launched short e-book programs this spring: Stanford, with Stanford Briefs, and North Carolina, with UNC Press E-Book Shorts.
For Princeton and North Carolina, the digital shorts content comes from already-published, bestselling titles. Princeton Shorts and UNC E-Book Shorts re-package excerpts of full books—as North Carolina describes it, "essential concepts, defining moments, and concise introductions." In contrast, Stanford's Briefs are made up of all new content.
The University of New Mexico Press, University of South Carolina Press and Indiana University Press have selected Ingram Content Group Inc. CoreSource as their digital content distribution system. The University Press of Florida, University of Virginia Press, and Wesleyan University Press recently enhanced their CoreSource relationship with the CoreSource Plus option.
Princeton University Press appears to be the first university press to join the e-singles game. On November 9, the press will launch Princeton Shorts, a series of nonfiction e-singles consisting of selections from previously published books.
Harold W. McGraw, Jr., who began his career as a book company sales representative in the firm founded by his grandfather, James H. McGraw, and went on to lead McGraw-Hill's rapid growth as a diversified global company through the dawn of the Digital Age, died peacefully at his home this morning at the age of 92.
Smart book production and manufacturing departments routinely evaluate their workflows and look for new and creative ways to streamline their processes, with a keen eye toward trimming both time and costs. Today, as the book publishing industry finds itself struggling in the same challenging economic environment as the rest of the United States, working efficiently is even more critical to preserving the bottom line.
Widely regarded as the print industry's most prestigious event, the 2009 Gold Ink Awards received more than 1,000 entries across 45 competitive categories, including Book Covers, Book Jackets, Books (Fine Editions), Softcover Books, Hardcover Books, Children's Books, Fine Art Lithography, Cookbooks, to name a few. In all, 132 entries were selected for Gold, Silver or Bronze honors.
Registration is now open for Book Business magazine's first-ever Publishing Business Virtual Conference & Expo—Digital Content Day @ Your Desk—which will be held on Thursday, Oct. 29. The virtual show is free to all registrants and will offer a full day of interactive conference programming, including live and on-demand educational sessions and audio and e-chats with industry-leading digital-content experts.


Ranked by "Where to Retire" magazine as one 2015's Top 50 master planned communities in the United States, Belmont Lake Preserve is a 1400-acre forested NC golf and retirement community located in historic and scenic Rocky Mount that was designed with you in mind.
Whether enjoying a beautiful sunset over our stunning 80-acre lake, playing a round of golf on our 18-hole championship golf course, cooling off in the indoor or outdoor pool, or taking a brisk walk on Rocky Mount's breathtaking Tar River Trail, the next chapter of your story is waiting to be told at Belmont Lake Preserve.
Discover A Community Built Around Lifestyle. We call it Lifestyle Redefined.
At Belmont Lake Preserve, we know that lifestyle is the ultimate choice to be made…and who better to make that choice than you?
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Our spa like amenities are your on-site retreat, right outside your front door. Discover your sense of self and redefine your lifestyle at Belmont Lake Preserve.
Historic and scenic Rocky Mount NC has the natural beauty and exhilarating outdoor living options you desire just minutes from Belmont Lake Preserve.
An active lifestyle community with resort style amenities for all ages. Belmont Lake Preserve is much more than a championship golf community… It's a community built around life.


Description: This wooden pole with its metal chain and ring is used to restrain prisoners awaiting punishment. It can be found in the central square of many fantasy communities or deep in dank dungeons or the lairs of evil creatures. Perhaps it marks the spot where your adventurers must rescue a captive.


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ART IN CHANDLER
Vision Gallery
The Gallery at CCA
Vision Kids
New Exhibit Displays Dystopian Vision Of Arizona's Future
By Lauren Gilger
Following is a full transcript of the piece:
Lauren Gilger: Imagine Arizona's dystopian future. In it, you can wander through gardens of mutant cacti, visit Trash Mountain National Park and gaze at a beautiful plastic sunset. That's the sharp take artists Sarah Hurwitz and Daniel Funkhouser adopt in their new exhibition, "Futureland, Arizona: An Art Show," which opens today at Chandler's Vision Gallery. I went to the gallery yesterday to get a sneak peek at the show and the two artists walked me through Arizona's sci-fi future. We begin at a neon sign that marks the entrance. "Welcome to Futureland, Arizona," it reads.
Daniel Funkhouser: We both discussed having some kind of big light-up sign, something that was reminiscent of Las Vegas and Sarah made that neon, ordered it, and I added this arrow around it.
Sarah Hurwitz: And I think we were both sort of thinking of the giant Chevrolet sign on Camelback sort of, you know, bringing it to the past of future. There's definitely some flashing lights involved that I can see [are] reminiscent. And it says "Welcome to Futureland, Arizona," and that's the name of the show, obviously.
LG: So how did the two of you, collaborating for the first time here, come up with this idea?
DF: So I wanted to do something science fiction based, something kind of post-apocalyptic, and Sarah was completely on-board, and so our basic understanding was some kind of future Arizona, and Sarah wanted to have this "Trash Mountain" idea which I loved. And we came together and made all of these beautiful cacti.
LG: Alright, so let's keep on going. So that's the first piece, where do we head next?
DF: So we've got this kind of toxic waste garden right here with, like, weird flowers and these like fluorescent dayglow cacti. A bunch of different materials, that's something that Sarah and I both work really well together with. We like to use as many different materials, trash or found objects, as possible.
LG: Yeah, it looks like it, so tell us a little sampling of what's involved in this part of the exhibition right here. I can see – are those pipe cleaners?
SH: (laughs) Those are my son's pipe cleaners, I also cut up some- my brother went to Japan and he bought some fancy Kit-Kats, so I cut up some Japanese Kit-Kat packaging, Daniel has some recycled plastic.
DF: So that's like core plastics mostly used for sign material, but I laser cut it into those cacti forms. And I use the laser cutter a lot, so that's a lot of … acrylic or plexiglass that's been cut into those flowers, into the stars.
LG: You both tackled a lot of these pieces it sounds like and there are so many pieces of just this one part of this. How do you envision something like this ahead of time? Did you draw it out- did you sketch it out, or does this sort of organically come together?
DF: The latter, so organically, so we maybe have a general idea of where we want everything, like we took a look at the gallery layout, but we both really liked to let the process guide where we go, so we made a whole bunch of stuff we bounced ideas off each other and then we came into the space and started arranging together.
LG: And then there's also a field guide over here – as you go through you can follow the field guide?
SH: Yeah, you can find the cactuses and learn more about them and their uses and how they mutated into what they are today.
DF: Sarah did all of these drawings of all the stuff that we made and – for instance these weird flowers she called the Mirrored Snake Plant became "Birdkiller."
SH: Yeah, Birdkiller is right. (Laughs)
LG: So birds run into them, and they die? (Laughs) What else is on here?
SH: The melty cactuses here –
LG: "Red Melted Prickly Pear," it says.
SH: – Oozing from, you know, toxic waste exposure. There's another one that's called the "Phoenix Cactus," its spines are made with matches, so it's hard to spot in the cactus garden, because it bursts into flames occasionally and then turns to ashes and then regrows.
LG: (Laughing) Alright so we have to see this Trash Mountain then. And so it looks like you've got the large Trash Mountain itself, but there's also a national park sign for it? It's Trash Mountain National Recreation area?
SH: It wasn't meant to coincide with the current shutdown of park maintenance, but it just happened to do that, so –
LG: It says "The US Waste Department, enter at your own risk."
SH: I mean, that was kind of the idea that our natural habitats would either be beautiful plants or the rest of our garbage, and maybe a little bit of both, I guess.
DF: I added these clouds, Sarah did most of Trash Mountain, but I added these clouds and, like, labeled them clouds, just – a lot of my work in particular looks like toys, (laughs) I like labeling things or making things simple.
LG: What's on this wall?
SH: I'm calling it "A Plastic Sunset," so basically it's sort of like an abstracted sunset made entirely out of single-use plastics, or my representation I guess of single-use plastics, they're printed transparencies.
LG: Looks like grocery bags and water bottles and take-out cartons. So, where in the work that you're both doing here, and in this particular exhibition especially, do you see the humor kind of melding with the real, kind of serious message that you're getting at?
SH: I mean, I think we need to do more than just be aware of it, I'm not, like, lecturing other people about it but we definitely want them to take sort of responsibility to our contribution of single-use plastics, or how many toothbrushes we use, because I think I stuck, like, thirty on Trash Mountain, so.
DF: I mean, Sarah is right, we're aware of how much we use, ourselves, and so being kind of cognizant about it is important.
SH: We're not trying to shame anyone, but it's just definitely something I guess that's part of my everyday life now, like how much trash I make, and how much trash other people make, and I just have to be aware of that.
LG: Why humor? Why go about it this way that does make you chuckle and that's super extreme and a little bit silly?
DF: I mean, like for both of us we love fun, like for me I don't understand the point unless it's fun. Especially with art, so our art's always been humorous, which is another reason that we wanted to come together to make something.
SH: But I mean it's still beautiful in its own way, and I didn't want it to be like it is just really depressing, like there's still things to see and do.
DF: And a positive take is life goes on, like these are all things that are living within whatever's happened.
LG: So a little less Mad Max and a little more Beetlejuice? More fun?
DF: Yeah, definitely! Absolutely.
SH: Yeah.
LG: Alright, thank you both for having me on, I appreciate it.
SH: Thank you!
DF: Thank you very much.
LG: That's my conversation with artists Sarah Hurwitz and Daniel Funkhouser of Chandler's Vision Gallery. Their new exhibition "Futureland, Arizona: An Art Show" opens today.
Listen to the full piece at KJZZ.org
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text: A survival game.

redpajama_set_name: RedPajamaGithub


PRIME Minister Hun Sen used his Victory Day address at Olympic Stadium on Monday to hail January 7 – the day in 1979 when the Khmer Rouge was overthrown – as a second birthday for Cambodians.
However, opposition figure Eng Chhai Eang, in words echoed by political ally Sam Rainsy, used Monday's 40th anniversary to claim that "the real owner of January 7 is the Vietnamese government", something dismissed by ruling Cambodian People's Party (CPP) spokesman Sok Eysan as "causing division".
An academic, meanwhile, said "people must learn from history", and warned that using such language "damages society".
The prime minister said to tens of thousands of people in the capital's national sports arena that Cambodians acknowledged the contribution made by Vietnam in the defeat of the murderous ultra-Maoist regime, said to have killed around a quarter of the population.
"The Cambodian people refer to January 7, 1979 as their second birthday. Without a victory on January 7, we wouldn't have today. This is a historical fact that nobody can alter or destroy."
"The Cambodian national unity [was] led by the CPP with a major contribution, including time and effectiveness, from the Vietnamese army. There would be no January 7, 1979 victory without the combination of these two forces," Hun Sen said.
CNRP co-founder Rainsy and former co-vice-president Chhai Eang used Monday's anniversary to claim that the date was when Hun Sen was "installed as a puppet leader by the Vietnamese army".
Chhai Eang said the Vietnamese were the true "owners" of January 7, 1979.
"Hun Sen knows that the Cambodian people don't like him . . . Therefore, he needs to depend on foreign nations to keep his power. In order to depend on foreign nations, he needs to serve foreign interests. He does not care what Cambodian people went through," Rainsy said on Facebook on Monday.
However, CPP spokesman Sok Eysan said that while the Kingdom was enjoying peace and political stability, there were still some "ill-intentioned people" who sought to change history to create new problems and cause discrimination against people from other nations.
"These ill-intentioned people always use false claims, accusing others of being puppets of this country or that country. This is the reason behind Cambodian division and [why] other countries look down on us.
History professor Sombo Manara said such remarks by opposition leaders were merely opinion. From a historical perspective, he said January 7 marked a new history for Cambodia after its people were liberated from the genocidal Khmer Rouge after almost four years.
"We should not make such accusations [as Rainsy and Chhai Eng have done]. After three years, eight months and 20 days until [January 7, 1979] all Cambodians, including my family, were liberated from hardship. We must acknowledge that hardship."
"To prevent this from happening again, we must learn from history. We must move forward and respect the people who liberated us . . . When we are angry, we curse each other, but this will not benefit us. We only create anger and confusion . . . and damage society," he said.
Forty-seven-year-old Kong Sokhom, who participated in the 40th Victory Day celebrations at the Olympic stadium on Monday, told The Post that he would never forget the tragedy of the Khmer Rouge period.
He said members of his family were killed and, without Vietnamese help, all Cambodian people might have died.
"The claims from [opposition] leaders that the people who liberated the country from the Khmer Rouge regime were Vietnamese puppets is an act of hatred and racial discrimination."
"They are attempting to alter history because, without the Vietnamese, we all might have died. Even infants were being killed."
"January 7, 1979 was not a Vietnamese invasion, but the date [when Vietnam] saved Cambodia from a tragic era. Most people who survived are alive today because of Vietnam's help," Sokhom said.
Post reporters asked Rainsy and Chhai Eang whether they had relatives who had endured the horrors of the Khmer Rouge period, but at the time of going to print neither had responded.


What Kind of Protection Do You Get from a Bill of Sale in Mississippi?
If you are selling a used a car, a horse (any other branded animal), old furniture, a boat, firearms, or even that old laptop, you have to put down the sale in writing, even if you don't expect loads of cash from the sale. At the same time, just because you're trading personal property with something else of equal value or because you're giving out that item as a gift doesn't mean that you should not document that transaction.
Why? Well, anything could go wrong days, weeks, months or years after the sale, and the buyer may create a situation that bites you back. You don't want to get sued or to lose more money in the future just by selling someone a dog and failing to put down the agreement in paper, right? By the look of things, luck is on your side. You can process the sale of a used item legally without any worry or repercussions, all thanks to a snazzy little document called a bill of sale.
A bill of sale (BOS) refers to a legal instrument used in the state of Mississippi to register the sale of an asset as well as the subsequent transfer of ownership to the named buyer. This legal document recognizes the seller and the buyer as the main parties to the transaction.
In the state of Mississippi, you may require a BOS to register the item bought hence the need for notarization of some of these documents. But, let's not get ahead of ourselves. Before we notarize anything, we have to download a free Mississippi bill of sale form. This form is your passage to a safe future, free of liability.
Once you have the form specific to the needs of the item on sale, then you can populate it with details of the item and other standard information required for the BOS to be valid.
So, which types of BOS documents can you prepare in Mississippi?
The General BOS in Mississippi – Is it as general as you think?
The description of the item on sale: say you're selling jewelry, what's it made of, what color is it, if registered – what's the registration number or the serial number, the number of carats, and any other details specific to that item. And, if you are selling a laptop, what's its make, model, screen size, model, year, serial number, or the color?
For electronics, your free bill of sale form in Mississippi should have details such as the size, memory, hard drive space, and the brand. You also need to indicate if the electronic is sold with its accessories or not. These details, however trivial, will help you and the seller agree to or dispute any claim brought against either of you regarding the item in future. It also makes the general BOS less general.
You also need to input information about yourself and the buyer. Should disputes arise, can both parties be tracked and identified easily? So, how about the entry of your full legal names, state IDs or driver's license registration numbers, and the physical addresses – with the state name, city, and the zip code?
Type of transaction: if you're selling that item for cash, mention it and put down the purchase price in words first, then in numbers. If it's a trade, mention it including the detailed description of the traded item. You also need to indicate if you're giving out that item as a gift or not. The terms and conditions of the sale should not be overlooked either.
The other important thing to consider and enter in the form is the seller's disclosure. This is the part of the BOS where you state the defects that the item on sale has (if any), so you're sure that the buyer won't sue you later on because you did not divulge everything about the item on sale. So, even if the problem with the car is occasional, name it.
Finally, you have to sign and date the BOS. Being a general BOS dealing with not-so-valuable items, or items that require registration, notarization is not mandatory.
While a BOS isn't a requirement for the registration of vehicles bought from car dealers in Mississippi, you will need it to register a car from an out-of-state dealer. You also need it to show that the buyer has full ownership of the car. So, after disclosing any issues with the vehicle and after both parties sign off and date this document, you will be sure that you won't be liable for the car and you will have all the right information for taxation purposes.
To make it official, personal information of the seller and the buyer (full legal names and state ID number/driver's license numbers, and addresses) will be required for identification purposes. You also have to say if the transaction is a cash sale, a trade, or a giveaway. Terms of the sale should be noted. For a cash sale, you have to indicate the selling price in words then in numbers.
Next comes the details of the car. Put down its VIN, model, make, color, year, and any other unique descriptors. The odometer reading, alongside a complete odometer disclosure statement (Form 78015) or a complete Form 78023 and an Affidavit for a Corrected Odometer, if you corrected the device.
The last thing to do is to notarize the document – this is where you both sign the document.
Besides full legal names, addresses, or other identification details, the purchase price/ type of transaction, the BOS should have the boat's Hull ID, its length, registration ID, title number, the odometer reading, style, year it was built, model, and whether the trailer or the outboard motor are included.
You'll also have to finish a safety course if born after 1980. This document is needed for the boat's registration and should be notarized.
Which city of Mississippi do you reside in? Did you know that you can get any of our free bill of sale forms at no cost in any of the cities, today?


text:
Norfolk butcher Arthur Howell makes red, white and blue sausages to celebrate the Queen's Diamond Jubilee
ADAM LAZZARI
Copyright- Albanpix.com-Picture by Alban Donohoe diamond Jubilee Bangers Butcher Arthur Howell from Wells Next the Sea, Norfolk is celebrating the QueenÕs diamond Jubilee year with his specially produced home made red White and blue Sausages What better way to commemorate the QueenÕs special year than with the iconic great British banger?
Copyright Albanpix.com, www.albanpix.com albanpix@gmail.com, +44 1263 741600 +447774 145134 NOT FOR SYNDICATION OR RESALE NOT FOR USE ON ELECTRONIC WEBSITES This picture may only be published in accordance with Albanpix Limited standard terms, conditions and fees. A minimum fee of £150.00 applies to all Albanpix material, unless varied by agreement PRIOR to publication
A well-known Norfolk butcher is celebrating the Queen's Diamond Jubilee year by selling sausages in the colours of the Union Flag.
Arthur Howell, from Wells, is now selling the bangers in his butcher's shops in Wells and Burnham Market.
They have been made using edible food colouring.
Mr Howell, 55, the fourth generation of his family to work as a butcher, said: "This is a once in a lifetime moment for my generation and we wanted to do something special.
"We thought hard about the best way we could show our loyalty to Queen and country and came up with the coloured sausages.
"We hope they will be a popular choice for all our regular customers and for the thousands of holidaymakers who regularly visit the area."


text:
package com.swfarm.biz.ebay.web;

import java.util.HashMap;
import java.util.Map;

import javax.servlet.http.HttpServletRequest;
import javax.servlet.http.HttpServletResponse;

import org.apache.commons.collections.CollectionUtils;
import org.apache.commons.lang.StringUtils;
import org.springframework.web.servlet.ModelAndView;
import org.springframework.web.servlet.mvc.AbstractController;

import com.swfarm.biz.ebay.dto.SearchAdjustEbayItemSummarysSchedulesCriteria;
import com.swfarm.pub.framework.OrderItem;

public class SearchAdjustEbayItemSummarysSchedulesController extends
		AbstractController {

	protected ModelAndView handleRequestInternal(HttpServletRequest req,
			HttpServletResponse res) throws Exception {
		SearchAdjustEbayItemSummarysSchedulesCriteria criteria = new SearchAdjustEbayItemSummarysSchedulesCriteria();

		String accountNumber = req.getParameter("accountNumber");
		if (StringUtils.isNotEmpty(accountNumber)) {
			criteria.setAccountNumber(accountNumber);
		}

		String ebaySite = req.getParameter("ebaySite");
		if (StringUtils.isNotEmpty(ebaySite)) {
			criteria.setEbaySite(ebaySite);
		}

		String categoryName = req.getParameter("categoryName");
		if (StringUtils.isNotEmpty(categoryName)) {
			criteria.setCategoryName(categoryName);
		}

		String categoryDisplayName = req.getParameter("categoryDisplayName");
		if (StringUtils.isNotEmpty(categoryDisplayName)) {
			criteria.setCategoryDisplayName(categoryDisplayName);
		}

		String stockKeepingUnitCubeId = req
				.getParameter("stockKeepingUnitCubeId");
		if (StringUtils.isNotEmpty(stockKeepingUnitCubeId)) {
			criteria.setStockKeepingUnitCubeId(new Long(stockKeepingUnitCubeId));
		}

		String ebayItemSummaryGroupId = req
				.getParameter("ebayItemSummaryGroupId");
		if (StringUtils.isNotEmpty(ebayItemSummaryGroupId)) {
			criteria.setEbayItemSummaryGroupId(new Long(ebayItemSummaryGroupId));
		}

		String listingUser = req.getParameter("listingUser");
		if (StringUtils.isNotEmpty(listingUser)) {
			criteria.setListingUser(listingUser);
		}

		String[] orderItemInfos = req.getParameterValues("orderItem");
		if (orderItemInfos != null && orderItemInfos.length > 0) {
			for (int i = 0; i < orderItemInfos.length; i++) {
				String[] orderItemInfo = StringUtils.split(orderItemInfos[i],
						"|");
				OrderItem orderItem = new OrderItem();
				orderItem.setField(orderItemInfo[0]);
				orderItem.setStatus(orderItemInfo[1]);
				orderItem.setIndex(new Integer(orderItemInfo[2]));
				criteria.addOrderItem(orderItem);
			}
		}

		Map dataMap = new HashMap();
		if (!(criteria.getAccountNumber() == null
				&& criteria.getEbaySite() == null
				&& criteria.getListingUser() == null
				&& criteria.getCategoryName() == null
				&& criteria.getCategoryDisplayName() == null
				&& criteria.getStockKeepingUnitCubeId() == null
				&& criteria.getEbayItemSummaryGroupId() == null && CollectionUtils
					.isEmpty(criteria.getOrderItemList()))) {
			dataMap.put("criteria", criteria);
		}

		String saction = req.getParameter("saction");
		if ("executeSchedule".equalsIgnoreCase(saction)) {
			return new ModelAndView(
					"forward:/ebay/execute_adjustebayitemsummarysschedules.shtml", dataMap);
		} else {
			return new ModelAndView(
					"forward:/ebay/adjustebayitemsummarysschedules.shtml", dataMap);
		}

	}
}