David LeRoy Reed, age 84, of Albia, passed away on Thursday, Feb. 14, 2019, at Oakwood Specialty Care in Albia.
Dave was born on Dec. 31, 1934, to Tobe and Signe Marie (Carlson) Reed, on the family farm in Albia. He grew up and attended school in Albia, graduating from Albia High School with the class of 1952. On Jan. 8, 1956, he married Carrie Van Loon at Pleasant Corners Church in Eddyville. To this union, three children were born, Dan, Jeff, and Deanna. Dave and Carrie later divorced. He married Sheri Lewis and they later divorced also.
Dave worked construction with his brother Bob at Reed Construction. He also hauled livestock for many farmers in the area before eventually owning and operating Eddyville Sale Barn. Lastly, Dave bought and sold cattle before fully retiring. He enjoyed going to cattle auctions and playing cards. He had coffee and doughnuts almost daily with his brother, Ray, and loved to socialize and visit with others. He delighted in attending his grandchildren's baseball games. Dave's true joy in life was spending time with his family and friends, especially his grandchildren and great-grandchildren.
Dave is survived by his children, Dan (Michelle) Reed of Davenport, and Jeff Reed and Deanna (Sam) Beaird, both of Albia; three brothers, Ray (Pat) Reed, Terry (Carol) Reed, and Randy (Penny) Reed; two sisters-in-law, Sharon Reed and Jo'an Reed; eight grandchildren, Codi, Skylar, Brittany, Zack, David, Whitney, Lexy and Mckenzie; and 11 great-grandchildren. Dave is also survived by many nieces, nephews, cousins, and good friends.
He is preceded in death by his parents, Tobe and Signe Reed; his stepmother, Elsie Reed; two brothers, Robert Reed and Ronald Reed; a sister, Nellie Osborn; and a brother-in-law, Raymond Osborn.
Visitation was held from 2 to 8 p.m., on Sunday, Feb. 17, 2019, at the Tharp Funeral Home in Albia with Dave's family present from 5 to 8 p.m., to greet family and friends.
Funeral services were held at 10:30 a.m. on Monday, Feb. 18, 2019, at the Tharp Funeral Home in Albia with Pastor Mark Brandt officiating. Burial followed services at Highland Cemetery in Eddyville.
An open memorial has been established to the family and will be determined at a later date.


text:
Module 1 – Project Task 1.3 – Prepare a Contract 2
Outline why the chosen contract type was selected, referring to relevant legislative and regulatory requirements 2
Details of who you consulted regarding the contract selection and/or preparation (industry association or consumer regulatory authority) 2
Approved Domestic Building Contracts Checklist from Director of Consumer Affairs Victoria 3
Details of site accommodation 5
Small plant that would be required 5
The time allocation for the Supervisor to manage the project 5
A schedule of the estimated completion dates for the stages in the payment schedule 6
List of documents that is included in the contract to ensure it is a legal contract 6
Construction Contract Checklist 7
B. General points 7
C. Design responsibility 8
D. Remedies for delay 9
E. Defective work 10
D. Contract price/payment provisions/tax 11
Module 1 – Project Task 1.3 – Prepare a Contract
Outline why the chosen contract type was selected, referring to relevant legislative and regulatory requirements
It was selected because we are building a new home and Master Builder Association Victoria has specified "New Home Building Contact" for this type of jobs.
Above contract is specifically design for new home construction.
The MBAV contract follows the reference and satisfied the requirements of the Domestic building contract Act and also adhere to the followings Australian Standards:
AS 4000 General conditions of contract
The builder must also provide Domestic Building Insurance as a contract exceeds more than
$16,000.
Details of who you consulted regarding the contract selection and/or preparation (industry association or consumer regulatory authority)
Master Builder Association of Victoria
Approved Domestic Building Contracts Checklist from Director of Consumer Affairs Victoria
Section 31(1)(r) of the Domestic Building Contracts Act 1995
This checklist must be included in major domestic building contracts entered into from 1 September 2016 in substantially the same form or to the same effect as follows.
Before signing this legally binding contract, check this list:
If the cost of the building work is more than $16,000, has an insurance policy or certificate of currency for domestic building insurance covering your project been issued and provided to you? (Note: If not, the contract is conditional upon you receiving either an insurance policy or a certificate of currency for domestic building insurance.) Yes
If this contract is conditional upon you receiving written approval for finance, have you obtained such approval? Yes
Have you appointed a private building surveyor or has a municipal building surveyor been engaged? (Note: If not, you will need to choose and engage a building surveyor before your building work starts so that a building permit can be issued for your building work.) Yes
If you answer 'NO' to any of the following questions that apply to your building project, you are not ready to sign the contract:*
Have you had this contract long enough to read and understand it? Yes
Have you been provided with evidence that the builder named in this contract is registered with the Victorian Building Authority? Yes
Are the price and progress payments clearly stated? Yes
Do you understand how the price is calculated and may be varied? Yes
Has the builder assessed the suitability of the site for the proposed works? If tests are necessary, have they been carried out? Yes
If a deposit is payable, is it within the legal limit?
The maximum under the Domestic Building Contracts Act 1995 is: 10% if the price is less than $20,000, or 5% if the price is $20,000 or more. Yes
Is the work shown and described clearly in the contract, plans and specifications and any other relevant documents (such as engineering computations or soil report)? Yes
Are your special requirements or standards of finish included in the plans and specifications? Yes
Are the commencement date and completion date clearly stated or capable of being worked out? Yes
Do you understand the procedure for extensions of time? Yes
Are any 'provisional sums' or 'prime cost items' clearly stated in the schedules and understood by you? Yes
Do you understand the procedure for variations of plans and specifications? Yes
Do you understand the circumstances in which you can end the contract? Yes
Did your builder give you a copy of the Domestic Building Consumer Guide? Yes
If yes, insert the date on which you were given a copy of this guide dd/mm/yyyy
Have you read the Domestic Building Consumer Guide and the related information at consumer.vic.gov.au/buildingguide? Yes
This checklist does not form part of the contract.
I/we have read and completed this checklist:
Signature/s
Date dd/mm/yyyy
* Note: Not all of these questions will apply to a domestic building contract that covers a limited scope of work, for example, a contract that is limited to the preparation of building plans and specifications. (Victoria, 2016)
Details of site accommodation
A domestic site like this will not be requiring site accommodation. However, if site is located in a remote location a nearby caravan park or hotel or motel can be use as a temporary site accommodation.
A small plant that would be required
Some of the small plants are required as follows:
Small Crane
Battery powered tools.
Duct Lifter
Shoring
The time allocation for the Supervisor to manage the project
Time allocation for supervisor is 6 months to complete the build or 164 x days of schedule work.
A schedule of the estimated completion dates for the stages in the payment schedule
Timeframe in weeks Percentage Amount Stage of build
2 Weeks 0% $0 Pre-contract
2 Weeks 5% $16,000 Deposit
4 Weeks 10% $32,000 Base Stage
4 Weeks 15% $48,000 Frame Stage
6 Weeks 35% $112,000 Lockup Stage
4 Weeks 25% $80,000 Fixing Stage
2 Weeks 10% $32,000 Final Stage
List of documents that is included in the contract to ensure it is a legal contract
List of documents as follows:
Soil Report
Planning Permit (if required)
Construction Contract Checklist
The purpose of this checklist is not to replace a review of the construction contract, but is intended to be used following such a review in order to check that all the key areas of the contract have been addressed. It is not essential to obtain positive answers to all the questions below in order to be able to give a contract a positive review, but hopefully the checklist will be useful in identifying areas of the contract which require further attention.
B. General points
Has a full set of the contractual documents been provided for review?
Does there appear to be any inconsistencies or any potential for inconsistencies between any of the contractual documents, e.g., two documents may cover the same area?
Have all areas of the contract which need to be checked by a technical adviser been identified in the review, e.g.:
technical aspects;
employer obligations;
rely on information;
performance tests;
all limits on liabilities; and
Levels of liquidated damages?
Has the contract been entered into? [If so, has it been executed as a deed?]
Is the contract unconditional?
Is there or has there previously been any interim arrangement in place between the employer and the contractor, e.g., work may have commenced under a letter of intent? If so, what are the implications of this ongoing or previous arrangement?
What law governs the contract? Has advice been taken on the implications of this choice of law?
Is the contract based on one of the well-known standard forms of contract e.g. I Mech E or FIDIC?
C. Design responsibility
What is the level of duty of care assumed by the contractor in respect of design? Is it an absolute obligation or only an obligation to use reasonable skill and care?
Does the contract identify "performance criteria" which the plant when completed is required to meet? Is the contractor's obligation to meet these criteria an overriding obligation or is it subject to a contractor's duty only to use reasonable skill and care if such a duty of care is specified in the contract?
What responsibility does the employer assume in respect of any designs, plans or technical information provided by him to the contractor?
As regards any design/information provided by the employer, does the contract require the contractor to check this information and to assume responsibility for errors which could have been discovered by an experienced contractor?
Is the contractor entitled to rely on the accuracy of any of this information (normally referred to as rely on information)? If so, does the employer have adequate recourse against the third parties who may have provided this information originally? (NB all rely on information will need to be checked by a technical adviser).
Does the contract provide a mechanism for the employer to be able to review the detailed design of the contractor as and when it is produced?
Are there adequate time periods provided for in the contract in order for the employer to carry out such review?
If the detailed design is to be reviewed by the employer, by reference to what criteria is such approval to be made?
Does the contract provide in respect of any design review and generally that approval by the employer does not release the contractor from any liability which he might otherwise have in respect of the design?
If the review is to be carried out by a third party, such as an independent engineer, on behalf of the employer, is there provision elsewhere for a duty of care deed to be executed by that third party in favor of the lenders?
Does the contract provide for performance tests to be performed to check (inter alia) that the plant is capable of achieving the performance criteria (see C.(2) above)? These tests will need to be reviewed by a technical adviser.
When does the contract provide for these tests to be carried out? (This is normally upon mechanical completion.)
Is the passing of the performance tests a condition precedent to handover?
What does the contract provide for in the event that there is a failure in the performance tests?
What is the effect of the plant passing the performance tests? (e.g., this should not exclude the contractor from any ongoing liability.)
D. Remedies for delay
Does the contract provide for the payment of liquidated damages in the event of delay? If so, at what rate and up to what maximum limits? (The level of these damages should impose an adequate incentive on the contractor to complete on time 10-25 per cent. of the contract price as a maximum limit is a reasonable guideline.)
What is "completion" for the purposes of establishing the payment of liquidated damages? Ideally the performance tests should have been successfully completed before completion can take place.
Are there any unusual terms contained in the liquidated damages clause, e.g., liquidated damages calculated as being a percentage of the unfinished part of the work or only payable if the other parts of the project are already in place?
If the contract is governed by English law, does the contract entitle the contractor to claim for extensions of time for employer's default? (If not, the liquidated damages provision may not be enforceable). What other matters entitle the contractor to claim an extension of time?
Consider the impact of the governing law on liquidated damages.
Does the contract provide for a clear right of the employer to terminate for prolonged delay (i.e., when the maximum limit of liquidated damages has been reached)?
If the employer is entitled to terminate the contract for prolonged delay, what damages are recoverable from the contractor following such termination? Is any element of consequential loss recoverable?
Is there a clause in the contract requiring the contractor to catch up any delay which arises and providing that failure to do so amounts to a breach of the contract?
Is the payment of the contract price front end loaded? The technical adviser should be asked to comment on this. If the contractor receives the bulk of his payment up front, the incentive on him to complete the works may be significantly reduced.
E. Defective work
What is the duty of care imposed by the contract in respect of materials and workmanship?
Does the contract provide for the employer or engineer to be able to inspect the works as they are performed and to require the contractor to put right any defective work?
Is there a defects liability period and, if so, for what period? Does the contract draw any distinction between different aspects of the work (e.g., between engineering and civil works)?
What is the effect of any final certificate issued at the end of the defects liability period? Does the contractor try to exclude his liability in any way for any defects arising after the end of this period (e.g., is there an exclusive remedies clause)?
What does the local law provide as regards a contractor's residual liability for latent defects?
If the contractor fails to remedy any work for which he is responsible, does the contract entitle the employer to employ a substitute contractor to do this work and then for the employer to recover his costs from the original contractor?
Are there any caps on the liability of the contractor to put right any defective work? Does this cap apply to any re performance requirements imposed on the contractor prior to handover?
What does the contract provide for in respect of defects remedied during the defects liability period, i.e., does a new defects period start to run in respect of the replaced part and/or is the overall defects liability period extended by the period of time during which the works were put out of use due to that particular defect?
How does the contract deal with the responsibility for costs in the situation where the employer requires the contractor to uncover work on the grounds that he has a reasonable suspicion that there may be a defect, having identified a similar defect elsewhere in the works? It is not necessarily logical simply to allocate the costs of uncovering work by reference to whether or not a defect is discovered.
Does the contract require the contractor to notify the employer/engineer prior to any work being covered up?
Is the employer entitled to take over the plant if it is not operating as required by the terms of the contract (e.g., it has failed the performance tests) and recover liquidated damages in respect of the short falls in performance ("buy down" liquidated damages)?
Does the contract exclude liability for consequential and/or economic loss?
Is the employer entitled to deduct sums from interim invoices in respect of defective work?
D. Contract price/payment provisions/tax
Except for clearly identified additional payments, is the contract price a fixed lump sum? Have all entitlements to additional payments been identified in the review?
Is the contract price expressed to include all contingencies and not to be subject to revision to take account of any fluctuations?
How are payments triggered? What is the time for payment? What interest is payable by the employer if there is delay in making payment?
Does the contract provide for payment by reference to milestones? (If so, they should be reviewed by the technical adviser.)
If payment is by milestones, does the contract deal with what is to happen where progress is delayed due to the employer's default? (The contractor should not be entitled to a milestone payment in these circumstances simply because the employer's default has prevented this milestone being achieved, since otherwise there is a danger of overpayment.)
Is payment by reference to a pre agreed payment schedule? If so, in what circumstances is the employer entitled to adjust this schedule?
Is the employer entitled to deduct sums for defective work or for the cost of repairs carried out by a replacement contractor?
Does the contract price include any provisional sums? Are these subject to maximum limits?
What is the size of the "project negative" gap throughout the contract, i.e., the gap between expenditure by the employer and value received by the project either in terms of engineering or on the ground? (This should be reviewed by a technical adviser.)
Does the contract envisage amendments to take account of the requirements of export credit agencies?
Does the contract provide for the contractor to supply sufficient evidence of work done with interim invoices in order for the employer to be able to check that payments are due under the contract?
Does the contract provide for any retentions from payments to be made to the contractor?
Is the employer responsible for any taxes otherwise payable by the contractor? If the employer is responsible for payment of such taxes, does the contract expressly exclude penalties payable by the contractor and is there provision for the contractor to reimburse to the employer any tax credits subsequently recovered? (PPP in Infrastructure Resource Center for Contracts, Laws and Regulations (PPPIRC), 2008)
PPP in Infrastructure Resource Center for Contracts, Laws and Regulations (PPPIRC), 2008. Construction Contract Checklist. [Online]
Available at: http://www.worldbank.org/ppp
[Accessed 25 June 2021].
Victoria, C. A., 2016. Director of Consumer Affairs Victoria. [Online]
Available at: consumer.vic.gov.au/buildingindustry
Universal Assignment (February 1, 2023) Module 1 – Project Task 1.3 – Prepare a Contract 2. Retrieved from https://universalassignment.com/module-1-project-task-1-3-prepare-a-contract-2/.
"Module 1 – Project Task 1.3 – Prepare a Contract 2." Universal Assignment - February 1, 2023, https://universalassignment.com/module-1-project-task-1-3-prepare-a-contract-2/
Universal Assignment June 8, 2022 Module 1 – Project Task 1.3 – Prepare a Contract 2., viewed February 1, 2023,<https://universalassignment.com/module-1-project-task-1-3-prepare-a-contract-2/>
Universal Assignment - Module 1 – Project Task 1.3 – Prepare a Contract 2. [Internet]. [Accessed February 1, 2023]. Available from: https://universalassignment.com/module-1-project-task-1-3-prepare-a-contract-2/
"Module 1 – Project Task 1.3 – Prepare a Contract 2." Universal Assignment - Accessed February 1, 2023. https://universalassignment.com/module-1-project-task-1-3-prepare-a-contract-2/
"Module 1 – Project Task 1.3 – Prepare a Contract 2." Universal Assignment [Online]. Available: https://universalassignment.com/module-1-project-task-1-3-prepare-a-contract-2/. [Accessed: February 1, 2023]
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text:
Naruto Hoodie / Minato Kunai
Minato Kunai
4th Hokage Kunai Knife (Golden Edition)
Minato Namikaze Kunai Knife
Welcome to you Young Ninja Fan of Minato!
If you're here because you're a big Minato's fan, or you want to make a cosplay of the fourth Hokage.
This legendary Kunai is a wonderful reproduction of the Kunai of Minato Namikaze, the father of Naruto Uzumaki and also the famous Fourth Hokage of the Hidden Leaf Village.
This Kunai are a weapon custom-made kunai which thanks to this weapon, allowed him to pass through the enemy lines during the great ninja war, without any difficulty, and also become the signature tools of Minato Namikaze, who uses them in combination with his Ninjutsu Space-Time giving his most fearsome attack, which has earned him the fear of many of his opponents, the Flying Thunder God Technique.
Considered a true legend and feared by his enemies, this Minato Kunai also served as a 'markeur' that allowed him to teleport himself instantly to where Minato launched his Tri Blade Kunai, as simply as if he had thrown a shuriken. Allowing him to get out of any kind of delicate situation for any other Konoha ninja. Afterwards Minato had to face Madara Uchiha who was attacking the Hidden Leaf Village, while Nine Tails, Kyuubi was attacking Konoha village. Remember those who have read the manga or seen the anime or the great player of the Naruto Ultimate Ninja Storm games, in which you can play Minato.
We propose you here this superb Minato Kunai, which will be perfect for all the fans of the Naruto Anime, or all those who want to cosplay Minato, and why not, try to teleport like he used to do, but I don't think you will succeed from the first try.


text:
Forums > Chatter Galore > Fan Town >
Discussion in 'Fan Town' started by Exohedron, Mar 20, 2017.
Exohedron Doesn't like words
At some point this will become a thread about Rubik's cubes, when I don't have to go to bed an hour ago. Also at some point I'm just going to start talking about my particular views on solving the Rubik's cube and other Rubik's type puzzles. There's a lot of strategy and planning involved and I'm sure someone could make some metaphors for life or some garbage like that out of it.
Spoiler: My current collection
Standard (3x3x3)
5x5x5 (somewhere, probably in a box)
Void Cube
Helicopter Cube
Rex Cube
I can solve all of those, although the Helicopter gives me some trouble. I've also recently learned how to solve a Gear Cube, and can theoretically solve all of the regular face-twisting ones. I've played with up to an 11x11x11, although that thing was heavy, unwieldy, and took forever.
Current opponent: A Super Square One cube owned by a colleague. Hopefully he hasn't undone the progress I made while procrastinating today.
[EDIT 03/21]: Solved the Super Square One. I think I can consistently and deliberately solve it once it's in a cube shape, but not necessarily get it into that state.
Exohedron, Mar 20, 2017 at 10:50 PM
So, the Rubik's Cube:
It looks like a cube that has been cut into smaller cubes, 3 to an edge. It allows for rotations along all three major axes and allows each layer on each axis to rotate independently.
Invented by Erno Rubik, Hungarian professor of architecture and design, to demonstrate 3-dimensional engineering, and also because he wanted to figure out if such an object could be made.
It twists, it turns, it took him a month to get it back to the solved position.
In the 80s it became very popular, and is the world's best selling puzzle toy; it might even be the world's single best selling toy overall. Wikipedia has sources for those claims that I haven't looked at.
It has been experiencing something of a revival "recently", where I've been hearing about this revival for at least ten years so I don't know how much of a "recent" or a "revival" it really is anymore.
As with many things, there are of course competitions for solving Rubik's cubes and Rubik's Cube-like puzzles, which I will generally call "twisty puzzles" because of trademark reasons. The current speed record for solving a single scrambled Rubik's cube is 4.73 seconds, set Feliks Zemdegs on 16 December 2016. He also holds the record for middle-three-out-of-five with 6.45 seconds on average on the three solves, and best single solve one-handed at 6.88 seconds.
There are also records for solving it blindfolded, for solving it with one's feet, and solving some of the common variants like the 4x4x4 or the 5x5x5.
I can talk a bit more about speed-solving, but it's not a topic I'm generally all that interested in. What I am interested in is not speed but move-number: how many twists does it take to get from a scrambled state to a solved one. The record for fewest moves taken to solve a single scrambled cube given an hour is 19, achieved by Tim Wong on 11 October 2015. This is really interesting to me because it was proved in 2010 that the smallest number of moves it takes to solve any scrambled cube is 20.
To clarify: it will never take more than 20 quarter-turns or half-turns to get from a scrambled state to a solved state, and there are scrambled states that require 20 quarter-turns or half-turns to get to the solved state. This means that Wong got a state that wasn't maximally scrambled.
The reason that this is interesting is that how to find the the shortest path from scrambled to solve is in general completely unknown. Except for a few cases, we don't even know how to determine how many moves it would take to solve any given scrambled cube, much less which moves those would be. An algorithm that takes a scrambled cube and tells you how to solve it in the fewest moves is referred to as "God's Algorithm", because of course God would use the fewest moves possible. The number 20 is then called "God's Number" in the context of Rubik's cubes, as that is the highest number of moves that God's algorithm will ever require.
In the next post, or whenever, I'll start on the mechanics and terminology of the cube, in preparation for talking about the mathematics of the cube and some strategies for solving it.
Exohedron, Mar 21, 2017 at 3:50 PM
While most people first starting on the cube think of the stickers as the fundamental component of the Rubik's cube, the actual minimal piece that moves independently is more than just a single sticker. For instance, in the picture above, the piece in the center has a red, a white and a blue sticker on it, and those three stickers will always be attached to that bit of plastic and hence in that position relative to each other.
We have pieces on the corner of the Rubik's cube, called "corner pieces" or sometimes just "corners", we have pieces in the middle of the edges of the cube, called "edge pieces" or just "edges", and a piece in the middle of each face, called a "face piece" (note that when we say "face", we generally mean the entire face of the Rubik's cube, not the piecein the middle).
The 3x3x3 has 26 relevant piece: 8 corner pieces, 12 edge pieces, and 6 face pieces. You might object that 3 * 3 * 3 = 27 and that is a true statement, but that supposes a piece in the center of Rubik's cube. But we can't see the piece in the middle at all or do anything to it, so we don't really care about it.
A corner piece has 3 stickers on it, an edge piece 2 stickers, and a face piece 1 sticker. We call the set of pieces that have a sticker on a particular face a "layer", so that we have a 3x3 block of pieces, i.e. 4 corners, 4 edges and a face piece, that compose a layer.
A piece can be wrong in two ways: in the wrong position, meaning that it sits where another piece should be instead, and the wrong orientation, where the piece as a whole is in the right position, but is twisted. For instance, a corner piece could be in the right position for that piece, but twisted so that its stickers are pointed in the wrong direction.
The basic move is to twist a layer (relative to the rest of the pieces), by 90 degrees, 180 degrees, or 270 degrees. Some people don't consider the 180 degree twist to be a basic move, but I will do so here; notably, God's Number referenced above is in terms of the set of basic moves that include the 180 degree turn as single moves. We call twists by 90 or 270 degrees "quarter turns" and twists by 180 degrees "half turns".
When you twist a layer, the face piece doesn't actually go anywhere, it just rotates in place. On a standard Rubik's cube, this does nothing interesting, because the sticker is a single solid color. The four edge pieces move around, going to positions formerly occupied by one another, and similarly the corner pieces also move to positions formerly occupied by one another; none of the basic moves will move an edge piece to a position that used to have a corner piece in it.
Because the face pieces don't change position, just orientation, a lot of people consider them to be entirely stationary. If you start out with the face piece with the yellow sticker on top, you always leave it there, and if you start with the face piece with the red sticker facing you, you always leave it there.
In contrast to the face pieces, the other pieces all can move to other positions as well as change orientation.
Some numbers:
When you scramble the cube, you can move a given edge piece to any of the twelve positions that can hold edge pieces, but of course once you've decided that a particular edge piece goes into a particular position, you only have 11 positions open for the second edge piece. And so on, so that gives 12*11*....*2*1 = 12! possible position arrangements for the edge pieces.
Similarly, for the corner pieces you can move a given corner to any of the eight positions that can hold corner pieces, and so you end up with 8*7*...*2*1 = 8! possible position arrangements for the corner pieces.
For any given edge piece, it can have two orientations, so that gives 212 arrangements for the orientations of all twelve edge pieces, and for any given corner piece, it can have three orientations, so that gives 38 arrangements for the orientations of all eight edge pieces.
So that would give 12!*8!*212*38 possible states of the cube.
But! Not everything is independent.
For instance, we can't actually reach all 212 possible orientation arrangements. Once we've decided the orientations of eleven of the edge pieces, the orientation of the last one is actually set for us. Similarly, if we've decided on the orientations of seven of the corner pieces, the orientation of the last one is set. Finally, the positions of the edge pieces and the corner pieces aren't entirely independent either; if you've set the positions of all twelve edges and six of the eight corners, the positions of the last two corners are also set.
So we actually only have 12!*8!*212*38/(2*3*2) possible states of the cube, which is somewhat over 43*1018.
So that's the problem we're facing: getting each piece into the correct position and orientation, with more than 43*1018 possible starting positions and only one solved position.
Next time: musing about solving the Rubik's Cube.
electroTelegram Well-Known Member
rubix cubes are fun. im not great at them but i know someone who goes to rubix cube competitions!
electroTelegram, Mar 22, 2017 at 10:36 PM
Aondeug Cringe Annoying Ass Female Lobster
I have never solved on to this day though I neared it once. The cube mocks me. I tell it to fuck off. It continues to mock.
The numbers of the cubes are interesting though, even if I don't quite get them. Also the things REALLY PRETTY.
Aondeug, Mar 23, 2017 at 12:27 AM
For those who want a rough sense of the total number of states, there are about 7*109 people alive on Earth at the moment. So the number of states is like if each person on Earth was given their own planet full of people; the total number of people on all of those planets is about 49*1018, which is slightly more than the number of ways to scramble a Rubik's cube.
context-free anon Well-Known Member
huh, that's smaller than i was expecting
context-free anon, Mar 23, 2017 at 3:52 PM
Today a friend and I tried an interesting experiment: we took a scrambled Rubik's cube and took turns doing five moves each. The only communication we were allowed was strategy, of the form "I want to move this piece over there".
It was tough, because all of the algorithms we knew were more than five moves long, so we would keep getting interrupted. Fortunately we knew roughly the same algorithms.
Unfortunately, I haven't really defined what I mean by "algorithm" yet here, because I haven't talked about solving yet. I should do that next post.
So at least in my parlance, a strategy or a method is a general ordering of which pieces to move where. So, for instance, a popular method for people first learning to solve the Rubik's cube is called the "Layer method", where first you get one layer of pieces into the right positions and orientations, and then you solve the edge pieces directly next to those (referred to as the second layer), and then you solve the remaining layer. It's pretty straightforward to plan figure out what piece you need to get into place next, and it's easy to see progress happening, and it's pretty easy to see that, if carried out properly, it will solve the cube.
You can further divide these steps of the strategy into substrategies, such as solving the first layer by putting the edge pieces in first and then the corners.
An algorithm, in contrast, is a specific set of twists for the purpose of moving the pieces in certain positions and orientations to certain other positions and orientations while . So for instance, you might have an algorithm that swaps the position of two corners of the third layer while leaving the first and second layers alone. This algorithm might screw up the edges on the third layer in the process, though.
Most solvers use a strategy that puts some pieces in place, then others, then the rest. But as most people who try to solve the Rubik's cube find out, once you've solve part of it, if you don't want to undo that progress then you lose a lot of freedom of movement. So a lot of algorithms that are supposed to not undo progress require temporarily breaking up previous progress to grant some freedom, then undoing the damage done.
If that sounds somewhat inefficient, it is. In contrast, competition-level solvers tend to use long-view strategies that don't put anything into the proper place until the very end, and have memorized hundreds, probably thousands of algorithms.
People who encounter the twisty puzzles that aren't the standard Rubik's cube often ask if knowing how to solve a Rubik's cube helps with solving the nonstandard ones. The answer is "it depends". Some of the strategy transfers, for instance for the 4x4x4 and 5x5x5 and so on, the nxnxn cubes, can all be solved using roughly the same strategy as the Rubik's cube, but you need a few more algorithms.
The Megaminx, which is a Rubik's dodecahedron, can use the same strategies as the Rubik's cube and the same algorithms, except you have to change the algorithms slightly to accommodate the fact that the faces have five edges instead of four. Again this screws up muscle memory because each "half turn" on a regular Rubik's cube could mean either of two possible things on a Megaminx and it's not trivial to figure out which one is the one you want to use.
For things like the Skewb or the Helicopter Cube, where the types of pieces and types of possible moves are completely different, often both the strategy and the algorithms need to be modified heavily or replaced entirely.
Enzel androgynous jrpg protag
Ahh this is really cool info. I got a regular one for my partner as a fidget/stim toy but I've always wanted to learn how to solve it myself.
Enzel, Mar 27, 2017 at 9:47 AM
Morven In darkness be the sound and light
Saw someone on the bus today solving one at really high speed. Appropriate!
Morven, Mar 27, 2017 at 5:30 PM
The Rubik's cube is actually a pretty ingenious object from a mechanical standpoint. How do you make it so that the edges and corners can move freely about the cube without everything falling apart?
The original mechanism of the Rubik's cube is shown here:
The white bit in the center has six arms, two along each axis. The face pieces are held to the corresponding arm by screws. The edge pieces, such as the loose pieces on the far left and right, are then held in by the centers by the protrusions, which are called "feet", which stick under the center pieces; you can kind of see that with the piece on the left side of the cube. The corners are then held in by the edge pieces, as shown by the red-and-purple-stickered piece.
The little feet can slide underneath the face pieces and the main bodies of the edge and corner pieces, allowing for relatively free movement.
The larger cubes like the 4x4x4 and the 5x5x5 work on the same principle: the middle face pieces are held in place by a central piece, the pieces next to those are held in by the middle face pieces, and so on outward in layers. For the cubes with an even number of pieces-per-edge, for instance teh 4x4x4 or the 6x6x6, the middle face pieces have to be held in a little differently than in the standard Rubik's cube or the 5x5x5, because there's no single middle face piece, but beyond that it's the same mechanism.
However, there's an interesting little caveat. If you look at the picture in the introductory post (after my initial blathering) you can see one face of the cube turned about 45 degrees. The corner sticks out quite a bit, doesn't it? Fortunately, it has that little foot sticking out of it to hold it in.
But for larger cubes (by which I mean more pieces-per-edge), the corner is smaller, and thus sticks out more in proportion to its size. For cubes of size 7x7x7 and up, the proportion is actually bigger than a single cube piece.
So how do people make cubes of size 7x7x7 and up? There are two things you can do: make the edge and corner pieces bigger compared to the face pieces, or curve the cube a little bit. Here are examples of each:
Spoiler: 11x11x11 that does both
Some other companies use slightly different mechanisms to hold the pieces together while allowing them to move, which is why the Chinese knock-off 3x3x3s often turn better than official Rubik's cubes.
For instance, V-cube's larger cubes have several shells of pieces holding things in, to provide more stability and spread out the effect of the middle face pieces better:
Spoiler: V-cube 6x6x6 interior
The cubes that aren't face-turning use slightly different mechanisms, but they're all roughly predicated on the idea of some pieces holding other pieces together. Even the 2x2x2 uses the same idea, although with the "middle face pieces" completely hidden.
This is notably why, even though Larry Nichols figured out how to make a 2x2x2 before Rubik's did, Nichols' design, being held together with magnets rather than being purely mechanical, faded out of favor.
vegacoyote dog metaphores and pedanticism
I have a rubiks cube... I've a system for solving it, sort of, but I don't think it's very efficient, and I haven't seen it in any of the online tutorials I've looked up when I got stuck, so that's a little frustrating.
It mosly relies on getting the corner pieces pointed in the right direction and solving from there. Maybe call it the sandwich method? But I have a rather short attention span so getting the corners both oriented and positioned correctly involves more dumb luck than it probably would if I could stick to a single task for more than three turns.
Given that, the whole thing is more of a color-fidget than anything scientific, for me. In which case I guess it's beneficial that I'm so slow at solving it. Short attention span + pretty colors + nothing else to do = hours of low-stakes hand-occupation.
vegacoyote, Mar 27, 2017 at 10:41 PM
Yeah, I mostly use my 3x3x3 for fidgeting. Well, these days I can also use it for trolling people, because I've got quite a bit more experience with Rubik's cubes under my belt than any of my colleagues. But mostly fidgeting.
Fidgeting with them is like the main thing I use them for. They make pleasant sounds when you shift things.
Aondeug, Mar 28, 2017 at 2:56 AM
If you like fidgety cubes, take a look at the Gear Ball:
The gears force the opposite faces to turn at the same time; in other words, if you spin the yellow face, the face in the back also spins, but in the opposite direction. Also the gears in the middle of the edges spin when you turn the faces that they touch, so that spinning the red face will cause the green-yellow gear to spin. It turns super smoothly and the gears make little clicks when you spin them and it's so much fun to play with.
i want this thing even if i will never be able to solve it
Aondeug, Mar 29, 2017 at 8:26 PM
rats 21 Bright Forge Shatters The Void
o/ my SO is really into rubiks cubes so via osmosis i also like them a lot!!! im not nearly as good as he is; it can take me like five minutes to solve it (he taught me all the easy algorithms), and i think his best time is like 8 or 9 seconds ;w;
he went to his first competition in uruguay recently and did pretty ok iirc! i think when he's back stateside he's thinking of going to another one this summer
rats, Apr 1, 2017 at 8:02 PM
One thing that experienced cubers talk about is the notion of "parity errors".
I mentioned in my numbers post that you can't just flip an edge without changing anything else, or spin a corner, or swap two edges. These are all called "parity errors", in analogy with parity errors in computer science.
They come about due to the mathematics of the cube, in particular an area called "group theory". One thing that group theory tells us is that rearrangements (permutations) of some finite set of objects can be put into two categories, usually called "even" and "odd". Two odd permutations or two even permutations make an even permutation, while an even and an odd permutation together make an odd permutation.
When you spin a face of a Rubik's cube, you move four edges and four corners in what is called a cycle, in that if you keep spinning that same face enough you'll get back to the initial state. It takes four quarter turns to get back to the beginning, so we say that we have a 4-cycle of edges and a 4-cycle of corners. For reasons that I will brush under the rug for the moment, if n is even then an n-cycle is an odd permutation. So a 4-cycle is an odd permutation, but two four cycles make an even permutation. So twisting a face makes an even permutation.
Swapping two pieces makes a 2-cycle, which is an odd permutation. But a combination of even permutations only makes more even permutations. Hence you can't just swap two pieces by twisting the cube.
Similarly, if we just look at edge pieces, each has two stickers, so the on-face stickers form a 4-cycle, and the off-face stickers that are on the edges on the layer also form a 4-cycle, and so we have an even permutation in total. But flipping a single edge will swap the two stickers, which is a 2-cycle, which is odd, and hence impossible.
The corners are a similar argument involving three-ness instead of even-odd, but the argument is similar: rotating a single corner introduces a threeness offset that can't be produced by twisting moves, as those twisting moves don't introduce any threeness offset.
This is one way to tell if the person who "scrambled" the cube actually took it apart or just put the stickers back on randomly: if they actually scrambled it by twisting, then they won't have put in any parity errors, but if they took it apart and put it back together randomly, they only have a 1-in-12 chance of putting it back together without any parity errors.
On larger cubes like the 4x4x4, you can get things that look like parity errors. For instance, the edges now consist of two pieces rather than one, and you can swap those two pieces. Even though a twist is still an even permutation here, the trick is that the four face pieces of a given color are identical, so you can swap them as well: two 2-cycles make an even permutation, but with some of the pieces being identical, only one of the 2-cycles is detectable.
Because of the stickering, if you swap two adjacent edge pieces on an otherwise solved 4x4x4, to most cubers it looks like you flipped an edge, because to most people the edge-pairs look like they go together to form a single edge object, and the four face pieces also look like they go together to form a single face object, as most cubers see a 4x4x4 as just a chubby 3x3x3. If you hand me a 4x4x4, it will probably end up in this state.
You can also swap pairs of edge pieces, because this again is an even permutation since we have edge-pairs now rather than single edge pieces, and so again we can introduce what looks like a parity error. Note that we still can't rotate a single corner, and this is true for all of the nxnxn cubes.
Exohedron, Apr 2, 2017 at 6:26 PM
The Best State
The best state on a Rubik's cube is the superflip, a state where every piece is in the correct place, but all of the edge pieces are flipped.
The reason that this is the best state is that it's highly symmetrical and also maximally scrambled. Remember a few posts ago when I mentioned that it takes at most 20 moves to get from any state of the cube to any other state if you know what you're doing? It takes 20 moves to get from the superflip to the solved state.
You can sort of see why the superflip is at least locally maximally scrambled, in the sense that any move you do to it can't get you farther from being solved.
Let's talk about symmetry for a moment. Start with the solved state. Suppose the yellow face is on top and the white face is on the bottom. Spinning the yellow face is, functionally, the same as spinning the white face and then flipping the entire cube upside down; in both cases, the layer that's currently on top has been spun and everything else is in the correct place. The only difference is the coloring scheme, but that's not really an important factor; all the colors are equivalent. Spinning the entire cube doesn't affect solvedness at all; everything is considered relative to the center pieces, so if they move, the "correct" positions and orientations move with them.
So now assume that there is a shortest algorithm that will solve a superflip, and it starts by spinning the red face. In other words, spinning the red face gets you one move closer to the solved state.
Well, according to the picture the red face is currently the face that is facing towards you and slightly to the left. But you can rotate the entire cube, which still leaves the cube in the same overall state, so that any of the other faces is pointing towards you and slightly to the left, and then start the solving algorithm. So for any face, there is a version of the solving algorithm that starts by spinning that face. Hence spinning any face gets you one move closer to the solved state!
So that's what we mean by "locally maximally scrambled", in that, at least in only one move, you can't get farther away from solved if you start at the superflip. This doesn't mean that you can't find a longer chain of moves that gets you farther away.
However, as I said before, not only is the superflip locally maximally scrambled, it's globally maximally scrambled, i.e. there is no state that is farther away from solved than the superflip. There are plenty that are as-scrambled, i.e. that also take 20 moves to get to the solved state, but none that take 21 or more. Also, all of those other maximally-scrambled states aren't as nice as the superflip.
Other reasons why the superflip is nice:
* It's an involution, in that if you do a superflip, and then perform the superflip algorithm on that, you get back to the beginning.
* It's central, in the sense that if you have some algorithm, or just some sequence of moves, you can do that sequence of moves, and then perform a superflip on that (i.e. leave all the pieces where they are but flip all of the edges) and that gives the same result as first doing the superflip and then performing that algorithm on the resulting state. Other than the trivial "do nothing" algorithm, the superflip is the only thing you can do to the cube with this property.
So we say that the center of the Rubik's cube group is Z2, i.e. it has two elements, one being the trivial identity element, the other being an involution.
* It was the first state found that was known to need 20 moves to get to. It was in fact the example that gave us the lower bound on God's number, quite a while before the maximum was known.
Okay, so here's how to do the superflip in 20 moves, where by "move" I mean either a quarter-turn or a half-turn of a single face.
First, some notation:
I'm going to write U for a clockwise spin of the top face by 90 degrees, if you're looking down at it. I'm going to write U2 for a half-turn of the top face, and U-1 for a counterclockwise turn of the top face.
Similarly, D for a clockwise spin of the bottom face by 90 degrees if you're looking up at it and so on.
L for a clockwise spin of the left face by 90 degrees if you're looking straight at it.
R for a clockwise spin of the right face etc
F for a clockwise spin of the front face etc
B for a clockwise spin of the back face etc
All of these are "clockwise if you're looking at that face" and so on. This is called Singmaster notation, and is the standard notation for writing down algorithms for the standard Rubik's cube, although sometimes you'll see, for instance, R2 instead of R2 and R' instead of R-1. I use the exponents because that matches with mathematical notation.
Be careful to keep track of which face is which, because it's easy to screw up if you have to keep turning the cube around to actually look at the faces head on.
Anyway, here it is, 20 moves from solved to superflip:
U R2 F B R B2 R U2 L B2 R U-1 D-1 R2 F L R-1 B2 U2 F2
If I come across a Rubik's cube that isn't obviously off-limits, I usually leave it in the superflip state. If you're going to scramble a Rubik's cube for someone, might as well leave it maximally scrambled.
Exohedron, May 8, 2017 at 8:31 PM


text:
Home Talk Todd Starnes
The Todd Starnes Show – February 5th, 2019
Here's what happened today on The Todd Starnes Show:
Todd speaks with First Liberty Institute's Jeremy Dys about the controversy over a pro-prayer billboard in Texas.
Todd speaks with "The Activist Mommy" Elizabeth Johnston about a planned "Day Of Mourning" to protest New York's recent law regarding abortion.
Todd speaks with Rep. Matt Gaetz (R-FL) about what he expect to hear at President Trump's State of the Union.
Todd speaks with Duck Commander founder Phil Robertson about his new book, The Theft of America's Soul.
Todd speaks with Rep. Andy Biggs (R-AZ) about the battle for the border wall and the President Trump's State of the Union Address.
FNC Contributor Jessica Tarlov On Julian Castro Dropping Out: Not Surprising, Big Wake Up Call Not Making The Last Debate
Sen. Mike Braun (R-IN) On Impending Senate Impeachment Trial: "Leader McConnell Is The One That's Going To Direct Traffic Here In The Senate. This Is His Game And He's Good At It."
Senate Majority Leader Mitch McConnell Responds To Senator Chuck Schumer & Chairman Jerry Nadler On Impeachment


text:
Jazz historians explain the coming of bebop—the radically new jazz style that established itself toward the end of World War II—as a revolutionary phenomenon. The motives ascribed to the young pioneers in the style range from dissatisfaction with the restrictions on freedom of expression imposed by the then dominant big-band swing style to the deliberate invention of a subtle and mystifying manner of playing that could not be copied by uninitiated musicians. It has even been suggested that bebop was invented by black musicians to prevent whites from stealing their music, as had been the case with earlier jazz styles.
Yet when Dizzy Gillespie, one of the two chief architects of the new style, was asked some thirty years after the fact if he had been a conscious revolutionary when bebop began, his answer was
"Not necessarily revolutionary, but evolutionary. We didn't know what it was going to evolve into, but we knew we had something that was a little different. We were aware of the fact that we had a new concept of the music, if by no other means than the enmity of the [older] musicians who didn't want to go through a change.... But it wasn't the idea of trying to revolutionize, but only trying to see yourself, to get within yourself. And if somebody copied it, okay!"
Were he able, the other great seminal figure of bebop, alto saxophonist Charlie Parker, would probably amplify Gillespie's opinion that the new music arose from inner needs rather than external factors. His often quoted statement, "Music is your own experience, your thoughts, your wisdom —if you don't live it, it won't come out of your horn," certainly implies such an outlook. But Parker died too young to reflect in tranquility on the genesis of bebop.
At first, the new style had no name. It was labeled "bebop" after it had begun to appear in late 1944 on "Swing Street," the two-block stretch on Manhattan's West 52nd Street that was then the jazz center of the world.
Bebop was the title of a Gillespie composition recorded in early 1945. The phrase was an onomatopoeic rendering of a rhythmicmelodic figure characteristic of the new style. Other, similar words —"rebop," "mopmop," "klook-mop"—had limited currency, but "bebop," later shortened to the more pithy "bop," was preferred by the jazz publicists and journalists who championed the new music.
In its relatively short reign, bebop changed the course of jazz. From bebop on, for better or worse, jazz was both popular and serious music, in the best sense of both terms.
Bop produced a body of music of lasting value, among it some of jazz's greatest works. Some of these are on this record. Art proceeds at an accelerated pace in the twentieth century, and what seemed strange and abrasive to the ears of 1945 sounds logical and clear in 1976. Yet the unison flights of Gillespie and Parker have never been equaled, not even by Clifford and Sonny Rollins of the last great pure bop group. And no jazz improviser has surpassed the authority, imaginative sweep, and emotional impact of Parker's "Embraceable You" or his heartrending "Parker's Mood." Such works will stand the test of time.
Bebop is a uniquely American creation, the result of an outburst of creative energy rare even in the history of that uniquely American and energetic music called jazz. Invented by members of what sociologists define as an oppressed minority, it is nonetheless an affirmation of the life force, revolutionary in impact but evolutionary in essence.
Album/track(s) not available for download, but you may listen to clips below.
Congo Blues
Red Norvo
You're Not the Kind
Will Hudson, Irving Mills
Shaw 'Nuff
Dizzy Gillespie, Charlie Parker
Parker's Mood
Gillespie, Fuller
Relaxin' at Camarillo
George, Ira Gershwin
George Wallington
Un Polo Loco
Jahbero
Tadd Dameron, Fats Navarro
Jive at Five: The Stylemakers of Jazz (1920s-1940s)
Introspection: Neglected Jazz Figures of the 1950s and Early 1960s
Nico's Dream: Small Jazz Groups of the 50s and Early 60s
When Malindy Sings: Jazz Vocalists 1938-1961
Andy Laster: Window Silver Bright
Billy Tipton Memorial Saxophone Quartet: Box
Bob Nell: Why I Like Coffee
Buddy Tate: The Texas Twister
Cecil Taylor Unit
Cecil Taylor: 3 Phasis
Dave Douglas: In Our Lifetime
David Taylor: Past Tells
Denman Maroney: Fluxations
Earl Hines & Jimmy Rushing: Blues & Things
Earl Hines Plays Cole Porter
Earl Hines Plays Duke Ellington
Earl Hines Plays Duke Ellington Vol. II
Earl Howard: Granular Modality
Ed Jackson: Wake Up Call
George Lewis: Changing With the Times
Great Circle Saxophone Quartet: Child King Dictator Fool
Greg Saunier/Mary Halvorson/Ron Miles: New American Songbooks, Volume 1
Human Feel: Welcome to Malpesta
Jammin' for the Jackpot: Big Bands and Territory Bands of the 30's
Jay McShann: Going to Kansas City
Jazz in Revolution: The Big Bands of the 1940s
Jerome Harris: Hidden in Plain View
Joey Baron - Raised Pleasure Dot
John Hollenbeck: The Claudia Quintet
John Schott: Shuffle Play
Jon Raskin Quartet: The Bass & The Bird Pond
Julius Hemphill (1938 - 1995): The Boyé Multi-National Crusade for Harmony (Box Set)
Kamikaze Ground Crew: Madam Marie's Temple of Knowledge
Kamikaze Ground Crew: The Scenic Route
Kris Davis/Matt Mitchell/Aruán Ortiz/Matthew Shipp: New American Songbooks, Volume 2
Lawrence D. "Butch" Morris: Dust to Dust
Leroy Jenkins: Themes and Improvisations on the Blues
Lickety Split: Music of Jim McNeely
Lisa Mezzacappa: Glorious Ravage
Little Club Jazz: Small Groups in the 30s
Maple Leaf Rag: Ragtime in Rural America
Mario Pavone: Song For Septet
Mario Pavone: Toulon Days
Marty Ehrlich's Dark Woods Ensemble: Emergency Peace
Marty Ehrlich: A Trumpet in the Morning
Marty Ehrlich: Just Before the Dawn
Mirage: Avant-Garde and Third-Stream Jazz
Muhal Richard Abrams and Marty Ehrlich: Open Air Meeting
Muhal Richard Abrams: One Line, Two Views
Ned Rothenberg: Power Lines


text:
Record Details (West Niagara Baseball)
Print2019 Detailed Organization Record
Results By Game Type
Home Away All
Game Type GP W L T RF RA GP W L T RF RA GP W L T RF RA
Regular Season 17 10 4 3 133 95 14 6 8 0 92 102 31 16 12 3 225 197
Playoff 1 0 1 0 11 16 2 1 1 0 24 23 3 1 2 0 35 39
Overall 18 10 5 3 144 111 16 7 9 0 116 125 34 17 14 3 260 236
Results By Team
Team GP W L T RF RA GP W L T RF RA GP W L T RF RA
Pee Wee HL - Major Refrigeration 4 4 0 0 46 20 4 2 2 0 45 40 8 6 2 0 91 60
Midget HL - NRB Inc 3 1 2 0 36 38 4 1 3 0 31 42 7 2 5 0 67 80
Mosquito HL 6 4 2 0 52 39 4 3 1 0 33 22 10 7 3 0 85 61
Rookie HL - Upper James Toyota 5 1 1 3 10 14 4 1 3 0 7 21 9 2 4 3 17 35
Results By Opponent
Opponent GP W L T RF RA GP W L T RF RA GP W L T RF RA
Beamsville B1 2 0 1 1 10 13 4 0 4 0 11 30 6 0 5 1 21 43
Beamsville B4 1 0 1 0 7 9 1 1 0 0 10 9 2 1 1 0 17 18
FortErie FE 0 0 0 0 0 0 1 0 1 0 3 8 1 0 1 0 3 8
Niagara Falls 1 NF 1 1 0 1 0 11 16 0 0 0 0 0 0 1 0 1 0 11 16
Pelham 2 2 0 0 22 8 0 0 0 0 0 0 2 2 0 0 22 8
Pelham Pel 1 1 0 0 12 3 2 2 0 0 31 16 3 3 0 0 43 19
Port Colborne 0 0 0 0 0 0 1 0 1 0 13 14 1 0 1 0 13 14
St Cath 2 SC 2 1 0 1 0 8 11 0 0 0 0 0 0 1 0 1 0 8 11
Thorold T1 1 1 0 0 15 5 1 0 1 0 5 13 2 1 1 0 20 18
Welland 3 Wel 3 1 1 0 0 7 5 0 0 0 0 0 0 1 1 0 0 7 5
Results By Venue
Venue GP W L T RF RA GP W L T RF RA GP W L T RF RA
Centennial Park 0 0 0 0 0 0 1 1 0 0 12 6 1 1 0 0 12 6
Harold Black Park, Pelham 0 0 0 0 0 0 1 1 0 0 19 10 1 1 0 0 19 10
Lion's Park Field #1 0 0 0 0 0 0 3 1 2 0 24 31 3 1 2 0 24 31
McMillan Park 0 0 0 0 0 0 1 0 1 0 5 13 1 0 1 0 5 13
Oakes Park 0 0 0 0 0 0 1 0 1 0 3 8 1 0 1 0 3 8
Oakes Rd Park 14 8 3 3 96 70 0 0 0 0 0 0 14 8 3 3 96 70
Sherwood Hills Park 1 1 0 0 12 3 0 0 0 0 0 0 1 1 0 0 12 3
Southward Community Park Field #3 3 1 2 0 36 38 0 0 0 0 0 0 3 1 2 0 36 38
Ted Roberts 0 0 0 0 0 0 2 2 0 0 20 15 2 2 0 0 20 15
West Side Arena Field #1 0 0 0 0 0 0 1 0 1 0 13 14 1 0 1 0 13 14
Midget HL - NRB Inc
Mosquito HL
Pee Wee HL - Major Refrigeration
Rookie HL - Upper James Toyota
Tim Horton's - Jr Rookie
West Niagara Baseball
Current Coaches
Code of Conduct & Rules
» Record Details
Printed from westniagarabaseball.com on Monday, July 15, 2019 at 4:04 PM


Ca ne fait rien si ton site de web est en francais. Je parle francais aussi!
Thanks for your kind words about Teran. I'll be looking at your site soon.
> > of you have websites showing the conlang work you have done?
> Welcome to the list Scott!
> coming, I'm right now unable to update my homepage...).


Is It Possible That God Created Life On Other Planets?
Do you think it's at least possible that God created life on other planets?
In the beginning, it says "God created the heavens and the earth," (Gen 1:1) and everything else for that matter, and of course, that includes all lifeforms; mankind included (Gen 1:27). When the Apostle Peter was preaching the gospel to the crowd, he told them, "you killed the Author of life, whom God raised from the dead. To this we are witnesses" (Acts 3:15). Not only is Jesus the Creator of human life, He is also the one Who brings eternal life. Either way, it's all about Jesus. You can't even get past Jesus to God (John 6:44). Whoever believes in Him already has eternal life (John 3:16), but whoever rejects Him has an eternal death waiting (John 3:18), and with the wrath of God abiding on them (John 3:36b). Before asking the question of whether there is life on other planets, ask ourselves this? Have we been born again (John 3:3-7), otherwise, we cannot enter the kingdom (John 3:5), not to mention see it (John 3:3)!
Many claim that life came from a foreign object from space, like a meteorite or asteroid that broke of and landed on the earth, but the question is, where did that life come from? Well, they say, "from another planet or solar system," but that begs the question, "Then where did that life come from?" It's the infinite regress that never answers the question about where life began in the first place, or where life came from. Evolutionists don't include that question as part of their theory, mainly because, they can't answer it; in fact, no man can but God and He has answered that, but most refuse to believe that only God created life (Gen 1:1; Acts 3:15). Many scientists believe that there is probably life out there on other planets, but even if that's true, that doesn't discount the fact that God is the Creator of that life, no matter where it's found. Just because there is life elsewhere, doesn't mean the Bible isn't true or God doesn't exist. It has nothing to do with that. It has everything to do with ascribing God as the originator and giver of life.
We have recently discovered some new species in the deepest part of the oceans. Some of these have been previously unknown, and guess what? God is still on His throne. He is still sovereign. No human discovery has ever altered the fact of whether God exists or doesn't exist. Discovering something cannot make any difference about God's existence or not, even if life is discovered on another planet. Why would that change anything? If there is life on other planets, then that life had to have an Originator. We still need to be brought to repentance and trust in Christ, in order to be saved, whether there's life elsewhere or not. Nothing has changed. If there is fossil evidence of life on another planet, God has not moved, and nothing about the story of redemption is changed. So what if there's life on other planets? The existence of life on other planets doesn't mean that the Bible isn't true, or that the creation story is just a myth. God is the Author of life, no matter where it is in the universe (Acts 3:15)!
There are dozens of places in the Bible where God's Word states facts that were unknown by mankind until thousands of years later, meaning the Bible is far more advanced than science was (and probably is!). The earth was not flat as believed, but spherical as God's Word declared (Isaiah 40:22), the earth didn't rest on an elephant or on Atlas, but as we know, God "hangs the earth on nothing" (Job 26:7). If the people in the middle ages had read the Bible, they could have avoided millions of deaths, just by following the laws of sanitation that God has laid down thousands of years before. These were intended for Israel's benefit so that they wouldn't suffer from the diseases that other nations had (Ex 15:26). If only they had read about quarantining, the Bubonic plague wouldn't have been so devastating. Thousands of years ago, God's wisdom stood supreme as He commanded that those who were obviously sick should be isolated from others so that they might not become infected (Deut 23:10-11). These things were thousands of years before their time of discovery, yet science is often so critical of the Bible. They conveniently leave these facts out.
If God purposed to put life on other planets, even so that scientists would discover it and claim, "You see, there is no need for a Creator," then God would do it. He does only what He pleases and isn't persuaded by the "wisdom of men," which is called foolishness (1st Cor 3:19). When has God ever needed the counsel of man, or what could He learn from us? Why would a clay vessel, created by the Potter, ever question the Potter who made them? The vessel sees only the workbench that it was created on….God sees the whole shop and neighborhood. He Who formed us is not pleased when we who are formed question Him and His goodness. Who do we think we are compared to the omnipotent God? God can have life anywhere He wants to have it; in other places in the universe, or only here on earth. It doesn't matter. God is still God, no matter what we discover!
Read more here: Does Faith in God and Science Conflict with Each Other?
Resource – Scripture quotations are from The Holy Bible, English Standard Version® (ESV®), copyright © 2001 by Crossway, a publishing ministry of Good News Publishers. Used by permission. All rights reserved.  Dawkins, R., 1976. The Selfish Gene, Oxford University Press, New York.
This is a very interesting article with a question that I have pondered. According to the Bible I see that God created the heaven and the earth and of course all of the stars, sun and moon too. You have talked about she shape of the earth and the fact that God hung it on nothing (Isaiah & Job passages that you cite). But how about we just look at Genesis. Clearly God called the dry land Earth (Gen 1:10) and then He created the creatures in the sea, air and on the earth (Gen 1:20-25) … and of course He created man and told him to be fruitful and multiply to replenish the earth … then made him to and "have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth." and so on (Gen 1:26 ff).
The Bible keeps saying "earth". Like you, I cannot find anywhere in the Bible that says there is life on other planets. I just gotta believe that God created the earth for his living creatures. We have no record that He put life on Mars or Jupiter or any other planet.
For this reason I would have to answer the question "Is It Possible That God Created Life On Other Planets?" as Yes, it is possible because with God all things are possible, however, according to the Creation record it is NOT probable.
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Q: I need to get specific data on webpages and put it on excel I need a program most probably macro to access the currently open webpage then grab a particular data then paste it on an excel file.
I can't use the web query on excel since the website I need to access is password protected.
I approximately copy paste the data from 100 webpages to 2000 webpages per day.
sample data display on where I need to get from the webpages is as follows:
@Serial Code: 123345 ; @Database: DB001 ; @Title: Sample Tile

In excel it should be:
|12345| DB001 | Sample Title
So what I need is
1. Go to the webpage
2. Run the macro to get the data
3. Go to the next webpage
I hope you can help me

A: For most powerful suites, you can use a scripting language with web client, e.g. perl or python. I've done that with perl.
For the password issue, first submit your login information and save the cookies, use the cookies to access password protected content.
Save the page content as text files, parse it to extract the fields.

A: Sample how to read html from vba:
    Option Explicit
' Add References:
' - Microsoft HTML Object Library
' - Microsoft Internet Controls

Private Const URL As String = "C:\temp\Test.html"
Sub Test()

  Dim browser As InternetExplorer
  Set browser = New InternetExplorer

  With browser
    browser.Visible = True
    browser.Navigate URL
    Do: Loop Until browser.Busy = False
  End With

  Dim htmlDocument As htmlDocument
  Set htmlDocument = browser.Document

  ' input
  Dim inputElement As HTMLInputElement
  Set inputElement = htmlDocument.getElementById("input1")

  If (inputElement Is Nothing) Then
    Err.Raise 123456789, , "inputElement is nothing. ID not found."
  End If

  [a1] = inputElement.Value

  browser.Quit
  Set browser = Nothing
End Sub

A: I'm not aware if there is any ready macro to do this work, but you can do this by creating custom application.

*

*Get the web page view source one by one

*Parse the page view source and retrieve the values of @Serial Code, @Database, @Title -- using string operation

*Dump all data into excel using some plugin.

redpajama_set_name: RedPajamaStackExchange


text:
Biografia
Studiò storia presso le Università di Göttingen e Breslavia, ottenendo la sua abilitazione presso l'Università di Marburgo nel 1878. Dal 1880 lavorò come archivista a Marburgo, in seguito come docente universitario a Marburgo e Gottinga. Dal 1888 al 1901 fu membro del Deutsches Historisches Institut Rom (Istituto storico tedesco a Roma).

Nel 1901 fu nominato direttore dello Staatsarchiv Stettin (National Archives in Stettin), e nel 1913 successe a Georg Winter (1856–1912) come direttore dell'Archivio di Stato di Magdeburgo. Fu coautore di Geschichte des Staatsarchiv Magdeburg (Storia dell'Archivio di Stato di Magdeburgo). Andò in pensione nel 1923, e successivamente si trasferì a Wernigerode.

Opere

 Der Reichstag zu Speier 1526, im Zusammenhang der politischen und kirchlichen Entwicklung Deutschlands im Reformationzeitalte, 1887.
 Die chronik des Cerbonio Besozzi, 1548-1563, 1904.
 Geschichte der Universität Wittenberg, 1917.
 Die Protokolle der Kirchenvisitationen im Stift Merseburg von 1562 und 1578, 1931
 Kaiser Karl v. und papst Paul III. (1534–1549), 1932.
 Johannes Sleidanus, der geschichtsschreiber und die schicksalsmächte der reformationszeit, 1935.

Note

Collegamenti esterni

Studenti dell'Università di Marburgo
Studenti dell'Università Georg-August di Gottinga

redpajama_set_name: RedPajamaWikipedia


text:
Thomas Fisher Rare Book Library, University of Toronto, 494 results 494
Thomas Fisher Rare Book Library, University of Toronto Manuscript Collection
Margaret Atwood Papers
The collection consists of drafts and final typescripts of literary works, original art work, correspondence, juvenilia, printed appearances, printed material, critical and audio-visual material, and works about Atwood.
Contains files relating to the life and work of writer and editor, Morris Wolfe.
Rudyard Fearon Papers
1977- ongoing
Includes early poetry Jamaica, 1972-1974; Canada, 1974-1977; ongoing poetry, 1977-present; correspondence; photographs; print and ephemera.
Fearon, Rudyard
Tripe Family Papers
This collection is comprised of correspondence, documents, photographs and art works, and genealogical materials from England, India, the U.S.A, Cuba, the Philippines, and Canada, dating from 1838-1999, and related to Alfred Tripe (1818-1854), his sister Emily (Tripe) James (1817-1850), their first cousin Mary Broad (Tripe) De Rusett (1820-1898), and their relatives and descendants. Correspondence includes an extended series written 1866-1903 by William Francis James, highlighted by letters during his service with Roosevelt's Rough Riders in Cuba in 1898. Nineteenth-century images include four art works, 100 cartes-de-visite and thirty-three cabinet or larger size family portraits. The genealogical material consists of a comprehensive Tripe pedigree compiled in the 1980s and 1990s, a James Family Tree c1880, and four related pedigrees. The collection also documents the development of a family fairy tale, composed in India in 1878, edited in England c1914, and fully illustrated in Canada in 1992.
Tripe Family
Erika Ritter Papers
Ritter, Erika
Harcourt Brown Papers
Correspondence, manuscript drafts, research notes and materials for Professor Brown's lectures and writings; also contains papers of his students.
Brown, Harcourt
Star Weekly Magazine Collection
The collection consists of a card file of fiction published in Star Weekly Magazine and in the Canadian Magazine. Information on the cards includes rights and prices. The cards are arranged by author. This collection does not contain the Star Weekly Magazine.
Star Weekly Magazine
Marshall Hryciuk Papers
Hryciuk, Marshall
Phil Hall Papers
CA OTUTF MS COLL 206A
Includes drafts and notes for White Porcupine, My Banjo & Tiny Drawings, numerous holograph notebooks, personal and professional correspondence (1980s-20--), manuscripts by others, including Martha Hillhouse, Andrew Vaisius, Erin Mouré, Brother Lawrence Morey, Stan Dragland, Mark Goldstein, Jennifer Still, Sandra Ridley; ephemera used for writing, appearances, editorial work on several literary journals, including Don't Quit Your Day Job, Hard Row to Hoe, This Magazine. Correspondents include a variety of poets and authors, friends and others, including Andrew Vaisius, Tom Wayman, Erin Mouré, Patrick Lane, Al Purdy, Mick Burrs [a.k.a. Stephen Michael Berzensky], Elizabeth Hay, Gary Geddes, rob mclennan, Brother Lawrence Morey, Stan Dragland, Maureen Scott Harris, Glen Downie, Alice Munro, including alphabetical correspondence. Personal material related to daughter Brett/e Greer-Hall, former partner Jane Greer, Ann Silversides [wife], Dorothy Clarke [mother], legal documents and other personal material related to Phil Hall.
George Elliott Clarke Papers
Includes extensive correspondence including personal, poetic, academic, and political; manuscript drafts; ideas; teaching materials; and files related to the life and work of George Elliott Clarke.
Clarke, George Elliott
Chaim Grade Papers
CA OTUTF MS COLL 694
Includes correspondence (mostly copies) of Yiddish writers Chaim Grade (1910-1982), Morris Gruda (1919- ) and Leon Eisner, 1960s-1980s. Also includes print material about Chaim Grade and some unidentified black and white photographs of Grade and others. Most material is in Yiddish.
Grade, Chaim, Gruda, Morris, Eisner, Leon
Michelle Berry Papers
This first accession of Michelle Berry's papers contains manuscript drafts of novels and books of short stories; early writing drafts; reviews written by Michelle Berry for the Globe and Mail, as well as reviews of her work; correspondence, and other material related to her life and work.
1.Manuscripts and other writing
2.Reviews
3.Professional files
4.Correspondence
5.Personal and miscellaneous files
6.Early writing
7.Other files
8.Restricted files
Berry, Michelle
Dayv James-French Papers
CA OTUTF MS COLL 103D
This accession of Dayv James-French's papers includes many drafts of his writing including short stories, poetry, and novels, including drafts for Victims of Gravity (1990) and other unpublished work; professional and personal correspondence with authors and publishers; submissions; book reviews; personal journals and other material related to his life and work.
Professional correspondence
James-French, Dayv
David Gardner Papers (Downsview Offsite)
The collection consists of material relating to Canadian theatre history and to Gardner's acting and directing career. It includes theatre programmes, articles and press clippings concerning the history of theatre in Canada, especially for the Toronto area (1974 to 1999); audio tapes of Association for Canadian Theatre Research conferences; videotapes of ten television productions directed by him, and more than fifty production photographs; tapes of his television and film performances; scrapbooks (1935-1955), that document his career on stage (Hart House Theatre, Straw Hat Players, Crest Theatre, New Play Society, Jupiter Theatre, Stratford Festival) and in radio and television; other papers and photographs; other directors' prompt books; diaries; correspondence; playbills and broadsides. John Holden's collection of 19th and 20th century playscripts as well as Holden's production scripts for Canadian theatres, mainly in the 1950s and early 1960s, are also in the collection.
Gardner, David Emmett
Simon McInnes Papers
Includes correspondence from Mavis Gallant to Joan McInnes, 1970s-1990s.
Simon McInnes
Stephen G. Gilbert Collection of Anatomical Drawings
Contains anatomical drawings and illustrations from Stephen Gilbert's publications and professional life as an anatomical illustrator. Collection notably includes anatomical drawings of the adult human, adult embryo, cat, fetal pig, dogfish, necturus, frog and other assorted zoology. Includes accessions from 1993, 1994, 1995, 1996, 1997, 1999, 2000, 2005, 2006, 2007, 2008 and 2015. Accessions from the gifts of 2001 and 2003 were catalogued separately. For additional drawings and illustrations from Outline of Cat Anatomy with Reference to the Human (University of Toronto Press, 2000) and Atlas of General Zoology (Burgess Publishing Co., 1991), Anatomy of the Fetal Pig (University of Washington Press, 1963). These accessions were amalgamated into finding aid in 2018 and the entire collection was given the number of MS Coll. 413. The collection previously had the number of MS Coll. 289.
Gilbert, Stephen G.
James Paton Isaac Papers
Collection consists of typescripts, with editorial revisions and instructions to the printer in the manuscript, for Paton's book Factors in the Ruin of Antiquity: A Criticism of Ancient Civilization.
Isaac, James Paton
CA OTUTF MS COLL 00762 (Downsview Offsite)
Restricted files
Toronto Newspaper Guild Papers
The collection consists of case files, manuals and minutes of meetings of the Toronto Newspaper Guild.
Toronto Newspaper Guild
Royal Canadian Institute Records (Downsview Offsite)
Consists of minute books, membership lists, financial records, final typescripts of lectures, correspondence, committee minutes and reports, scrapbooks, clippings and printed materials.
Royal Canadian Institute
Richard Pennington Papers (Downsview Offsite)
[193-]-[199-]
The collection consists of Penningtons's writings, research materials and correspondence. It includes material relating to his research on the etchings of Wenceslaus Hollars, along with drafts of his book A Descriptive Catalogue of the Etched Work of Wencelaus Hollar, 1607-1677 (1982). It also contains material relating to his book Peterley Harvest: The Private Diary of David Peterley (1960) and to his unpublished memoirs. There are also letters from various English authors and correspondence and papers relating to his work as librarian and secretary of the National Liberal Club in London, England, in the 1930s. Some of the later material relates to Pennington's private press publications.
Pennington, Richard
New Play Society Records (Downsview Offsite)
The collection consists primarily of business records of the New Play Society, including those for its theatre school, as well as production files, correspondence, photographs and clippings. Material on Dora Mavor Moore can be found in the collection of her papers (MS Coll 00207).
New Play Society
William Paul McClure Kennedy Papers
The collection consists mainly of manuscripts and typescripts of Kennedy's published work.
Patrick McGahern Papers (Downsview Offsite)
This collection demonstrates the scope and practice of operating an antiquarian bookseller's establishment both before and during the use of computerized orders, payments, and catalogue creation. In particular, it deals with Patrick McGahern Books in Ottawa, Ontario, Canada, also known as both The Book Boutique and Patrick and Liam McGahern Books. The collection contains business records,financial records, book orders, correspondence, memorabilia, a card catalogue, and bookseller's catalogue proofs, masters, and prints related to the operation of Patrick McGahern Books.It also contains a moderate collection of nineteenth and twentieth-century bookseller's catalogues either collected or used by Patrick and Liam McGahern.
Patrick McGahern Books
Lord's Day Alliance of Canada Papers (Downsview Offsite)
This collection includes correspondence, minute books, administrative records, legal documents, photographs, scrapbooks and printed materials generated by the Alliance and many of its branches from 1888 to 1979. The second part of the collection includes records and artifacts from the renamed Alliance: the People for Sunday Association of Canada, from 1982 until its dissolution in 1994. There is also material from other organizations concerned with Sunday observance.
Lord's Day Alliance of Canada
John Emerson Langdon Papers (Downsview Offsite)
The collection includes research notes on silver, chiefly compiled for his four books on North American silver and silversmiths, along with related correspondence, typescripts and galleys. It also includes secondary materials used for lectures and articles, photographs and slides used as illustrative matter in the books and articles, as well as other correspondence, notes, invoices, photographs and awards.
Langdon, John E. (John Emerson)
George Keppie Papers (Downsview Offsite)
The collection consists of correspondence and accounts relating to Keppie's work as manager of several American Theatres and the Uptown Theatre, Toronto (Vaughan Glaser Players) and the Empire Theatre (Theatre Guild of Canada). It also contains photographs and mimeographed and typed playscripts, including two by John Coulter and one by Wilson MacDonald.
Keppie, George
Stuart King Jaffary Papers (Downsview Offsite)
The collection consists of correspondence, articles and research notes on criminology, penal reform, sentencing and about the University of Toronto School of Social Work.
Jaffary, Stuart King
John Allan Irving Papers
The collection consists of research materials for Irving's book The Social Credit Movement in Alberta, as well as correspondence, both personal and professional. Correspondents include William Aberhart and Ernest Manning. It also continues drafts and typescripts of his numerous articles, lecture notes and other teaching materials, and items relating to the television program Fighting Words.
Irving, John Allan
The collection consists of correspondence, minutes, programmes, reports, articles and speeches relating to the Council of Friendship and its work with immigrants.
Foster, Kate A.
Marjorie Wilkins Campbell Papers
Collection of literary papers of Marjorie Wilkins Campbell including published and unpublished works, personal and business correspondence.
Campbell, Marjorie Wilkins
Collection includes correspondence; manuscripts, typescripts and some galley proofs of the work of Earle Birney; teaching materials; some Malcolm Lowry material; typescripts of other Canadian authors; scrapbooks and memorabilia.
Birney, Earle
James Little Baillie Papers
Correspondence with naturalists; a dictionary of naturalists; drafts for a life of Charles Fothergill; bird-watching journals kept by Baillie from 1920-1970; Baillie's weekly columns in The Toronto Evening Telegram, 1931-70 (on microfilm); some material by other naturalists.
Baillie, James Little
Includes research (bulk of which are copies) and writings by Robert Stacey on John Reid, Ian Hamilton Finlay, Ezra Pound and Ronald Duncan; correspondence with Ronald Duncan; extensive writings by John Reid; photographs of Ronald Duncan and John Reid, and other research material
Dr. Peter Ernst Collection of Dr. George William Ross papers 1918-1983
Includes research, notes and drafts for a biography of Sir Frederick Grant Banting (1891-1941) by Dr. George William Ross (d.1948), friend and colleague of Banting. Ross' father was the fifth Premier of Ontario from 1899-1905, Sir George William Ross (1841-1914). Dr. G.W. Ross lost both his sons in World War II. The bulk of the material covers the 1920s to 1941, the year of Banting's death. Banting's letters to his mother, medical
Ernst, Peter
Collection consists of correspondence, including letters from Nelson Ball, J.W. Curry and Douglas Henderson, as well as poetry booklets created by Appell and small press imprints and publications.
James Bacque Papers
This collection consists of the bulk of material including the research, manuscript drafts, proofs and correspondence for most of Bacque's fiction and non-fiction works, both published and unpublished. It also includes a large collection of POW correspondence Bacque received after publishing his book Other Losses, which he used for research into his follow-up, Crimes and Mercies. Other material in the collection include manuscripts for Bacques journalism work, along with correspondence and editing work he did with Seal Books in the 1970s.
Bacque, James
Robyn Sarah Papers
CA OTUTF MS00127C
This collection contains drafts and proofs for a number of Sarah's published monographs, including Little Eurekas (Biblioasis, 2007), A Day's Grace (The Porcupine's Quill, 2003), and The Touchstone: Poems New and Selected (Anansi, 1992), along with correspondence and drafts of Sarah's contributions to the Porcupine's Quill Essential Poets series, on Margaret Avison, Don Coles, and George Johnston. Also included are over sixty published examples of Sarah's poetry, essays, interviews, and fiction, in Canadian and American periodicals such as The Malahat Review, ARC, The Threepenny Review, The Walrus, and The New Quarterly.
In addition, this collection includes correspondence, drafts and published versions of Sarah's journalistic work, which has appeared in Canadian newspapers such as The Globe and Mail, The Montreal Gazette, and The Ottawa Citizen. Materials relating to Sarah's editorial work for Cormorant Books and House of Anansi Press are also included, along with material pertaining to Sarah's involvement in numerous literary events.
Works published in periodicals and anthologies
Manuscript proofs
Literary events and appearances
Interviews and general press
The Porcupine's Quill Essential Poets series
Sarah, Robyn
Included are audio cassettes and typed summaries of interviews conducted by Coleman Romalis with members of Canada's Jewish community in Toronto, Vancouver and Montreal. Individuals interviewed by Romalis include Ben Shek, Becky Lapedes, Morris Biderman, Jack Cowan, Sam Lipshitz, Manya Lipshitz, Ben Kayfetz, Polly Weinstein, Henry Weinstein, Dave Ship and Itche Goldberg. Interviews address their involvement in various organizations including the United Jewish People's Order (UJPO), the International Workers' Order (IWO), the Labour League, the Workmen's Circle and the Canadian Jewish Congress.
Romalis, Colman
CA OTUTF MS COLL 00049C
This first accession of Kildare Dobbs's papers contains drafts of his published works (Running to Paradise, The Great Fur Opera, Anatolian Suite: Travels and Discursions in Turkey, The Eleventh Hour: Poems for the Third Millennium, Casablanca: The Poem, Running the Rapids: A Writer's Life, Cassanova in Venice: A Raunchy Rhyme, Away From Home: Canadian Writers in Exotic Places); other writing drafts, including writing for newspapers, magazines, his contributions to CBC radio programs "Ideas" and "Anthology"; his travel files pertaining to all of the places he visited (and wrote about) around the world; a significant amount of correspondence (both physical and digital correspondence); personal files and documents relating to his family's history; professional files; photographs; cut-outs and print-outs of published articles; notebooks and journals; audiovisual and digital materials; and other files relating to the life and work of Kildare Dobbs.
Dobbs, Kildare
Edmund Wilson Papers
Includes drafts, correspondence, photographs and other material mainly pertaining to Edmund Wilson's O Canada: an American's notes on Canadian Culture. New York: Farrar, Straus and Giroux, 1965
Wilson, Edmund
Kenneth Sherman Papers
Includes drafts and notes for: Black Flamingo, Cost of Living, Jogging With the Great Ray Charles, Clusters, My Father Kept His Cats Well Fed and Words for Elephant Man. Poem drafts, early essays, course work from York University and literary correspondence, 1980s – 2000s (Irving Layton, Seymour Mayne, Eric Ormsby, Cynthia Ozick, Robyn Sarah, Joe Rosenblatt, Czeslaw Milosz, Philip Roth and others) also form part of this accession.
Sherman, Kenneth
Kathy Page Papers
Includes drafts, notes, research and appearances for The Find; Alphabet; Paradise and Elsewhere; Frankie Styne and The Silver Man; The Story of My Face; Nottingham Prison Writers Residency; short stories; journals; correspondence and other material
Kathy Page


Couples who are in need of tips for long distance relationships have an abundance of obstacles, which they need to overcome. First, comes the doubt from parents and friends, both of which advise you not to take the relationship too seriously in fear that you will get your heartbroken.
What if the long-distance relationship works? What if you guys find a way to be together and be happy? Well, that is not what this article is about. We are here to give you a few tips on how to ensure that you and your special someone can have a successful long distance relationship.
Something, which a lot of couples do when it comes to long distance relationships is over communicate. For some reason, it has become a belief that as soon as you guys are unable to see each other you need to communicate 12-hours a day.
This is the first of our tips for long distance relationship, when it comes to dating long distance this can be detrimental to your relationship because it is human nature to eventually tire when it comes to anything excessive. Therefore, it is important to know your partner and when to give each other a little bit of space.
Comments on "4 Tips For Long Distance Relationship Couples"
What should I do about my long distance relationship?
I have another problem. Well, I have a boyfriend, I'm 14 and so is he. We're in a long distance relationship, and I want to meet him.?
How do you keep a long distance relationship alive???? Help!!?
What are you guys views on long distance relationship?


Just another gin? Au Contraire!
More Bollenhut than Bowler and Turban, this masterfully handcrafted and unfiltered sloe gin is unique in its complexity while accentuating great British traditions and the nativeness of the Black Forest.
Today, we'd like to introduce you to the (ok, not-so-secret) main ingredient of our Monkey 47 Schwarzwald Sloe Gin. Blackthorn – or sloe, as Prunus spinosa is also known – is a plant steeped in myth and legend.
It's also a close cousin of another stone fruit: the plum, with which it shares its reputation for reducing inflammation, calming upset stomachs, and soothing kidney and bladder ailments. In the Middle Ages, blackthorn hedges were even grown around farmsteads and other property to protect them from the baleful gaze of witches. A real all-rounder, this sloe!
Once our sloe berries are harvested after the first frost, we wash them before macerating them in Monkey 47 Schwarzwald Dry Gin (at 47% alcohol, of course). After several good stirs, we let the macerate rest for four weeks, which lets the sediment settle to the bottom of the tank. The macerate is then drawn out from the top. We also use a hydropress to extract further liquid from the sediment without damaging the berries.


The Pokhara tour and Kathmandu luxurious tour is a relaxed tour which lets you bear complete nice and well-known highlights of those main cities of Nepal. Moreover, Kathmandu is without doubt one of the well-known and largest metropolis of Nepal is the center of nation's historical past, tradition, artwork in addition to financial system. The well-known metropolis is a cornucopia of temples in addition to shrines dedicated to completely different deities in addition to gods And contains dense concentrations of religiously and in addition traditionally vital places. Pokhara luxurious tour seize bygone length of nation brilliantly in addition to presents you alongside together with your excursions which is able to make you are to admire Nepali dexterity of crafts, stone masonry, wooden carving and in addition metallic sculptures with its pure panorama and in addition great terrains amid a number of different artwork kinds of their nice refined high quality. Journey trekking experiences Should you search for the thrilling and journey trekking experiences then, you got here to the correct place. A precise introduction to trekking within the Nepal when staying at nice high quality Ker And Downey lodges within the Annapurna space. Annapurna Luxurious lodge Trek is an final method of exploring Nepal within the distinctive fashion staying within the nice comfy lodge of the realm. Actually, they're on the high-quality far superior to anything accessible within the area. On the opposite facet, lodges provide presents the best stage of service throughout on the trek together with enticing landscaped gardens, handy lounges And bedrooms involving scorching showers And western toilet. Furthermore, path amongst lodges grabs you through admiring Nepalese villages together with spectacular views of the Annapurna space.


text:
Chris Long Foundation Launches EdZone Partnership with Charlottesville City Schools
November 10, 2022 UncategorizedCharlottesville Schools
EdZone program begins impacting Charlottesville youth through distribution of essential needs items
Charlottesville, VA — On Wednesday, November 30th, the Chris Long Foundation and Charlottesville City Schools will officially launch the latest component of the Foundation's new EdZone program: the distribution of essential needs items at all six CCS elementary schools during the 2022-2023 school year.
Each elementary school (Burnley-Moran, Clark, Greenbrier, Jackson-Via, Johnson, Venable) will identify a dedicated space (an "EdZone closet") where students can access basic supplies that many other students take for granted. Essential needs items include things like soap, shampoo, a toothbrush and toothpaste, menstrual hygiene products, deodorant, clean socks and underwear, and seasonal items like umbrellas, hats, and gloves.
In close consultation with participating schools to assess and determine student needs, CCS' Coordinator of Family and Student Engagement will procure and distribute these essential needs items to the elementary schools through a central storeroom at the CCS Division Administrative Annex at Charlottesville High School. Elementary school students in need will be identified by professional staff who are already supporting them on a daily basis (e.g., school administrators, teachers, counselors, nurses, social workers) and can help them access items from the EdZone closet in a way that respects their dignity and privacy. The Foundation has future plans to support periodic drive-through "Response to Essential Needs" events at Charlottesville High School, where all CCS families can pick up bags of essential needs items and grocery cards.
"There's evidence that students who are not getting these basic needs met can suffer from stress and low self-esteem. It can cause them to feel disconnected from their classmates and even miss school, all of which affects how they feel about being at school and ultimately, their performance," said Chris Long, founder of the Chris Long Foundation. "The goal of our EdZone partnership with CCS is to support student success by ensuring kids arrive at school comfortable, confident, and ready to learn."
"We are so appreciative of the support from the Chris Long Foundation, with their vision for meeting students' needs in ways that are respectful. The EdZone closets will make a big impact," commented Chantel Beverly, principal at Venable Elementary School, which is hosting the program launch.
Superintendent Dr. Royal Gurley agreed: "When I arrived at Charlottesville City Schools last year, the wide diversity of our students' experiences was immediately apparent. One step toward eradicating academic disparities is to truly make our students feel welcome, supported, and equipped to succeed. We thank Chris Long and the Foundation for being such good partners in this work."
A generous group of local individual donors, foundations, and businesses stepped up to fully fund the launch of EdZone. Funders include Better Living Building Supply, Woodard Properties, Diane and Howie Long, Pam and Frank Edmonds, the Genan Foundation, Ellen and Michael Geismar, and Frank Saul Construction.
EdZone is the newest program created by the Chris Long Foundation to advance educational equity issues in communities around the United States. Over the next year the program will expand to Philadelphia, Pennsylvania and St. Louis, Missouri, two cities where Long played in the NFL. EdZone also distributes high-quality, culturally-relevant books in schools to advance student literacy and develop a lifelong love of reading. In May 2022, in partnership with FirstBook and Charlottesville City Schools, the Foundation distributed over 2,500 books at Burnley-Moran Elementary School. Chris Long served as a guest reader for the event and engaged with students about his own school experience, his family and interests, and his time in the NFL. The Foundation also supported two CCS "Response to Essential Needs" drive-through events in December 2020 and December 2021.
About the Chris Long Foundation
The Chris Long Foundation is a nonprofit, founded by two-time Super Bowl Champion and 2018 NFL Walter Payton Man of the Year, Chris Long. By bringing together a community of elite athletes and passionate fans, the Chris Long Foundation relentlessly serves our overlooked neighbors, both domestic and international, by creating solutions for clean water and education access. Visit www.chrislongfoundation.org to find out more.
About Charlottesville City Schools
Charlottesville City Schools serves approximately 4500 students in nine schools, from three-year-olds in preschool to students who qualify for services after high school. By meeting each student's personal and academic needs, the schools are committed to ending the predictability of life outcomes based on factors such as race and poverty. Learn more at charlottesvilleschools.org.
← EdZone Essential Needs Closets, in Partnership with Chris Long Foundation Schools on Regular Schedule Tuesday, 11/15 →