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Russian Winter 2016: Requirements for Programs
Single Skating. Free Program
Single Skating. Artistic Program
Compulsory Figures
Pair Free Skating
Pair Artistic Skating
Pattern Dances (Couples and Solo)
Short Dance (Couples)
Free Dance (Couples and Solo)
Vocal music may be used in all types of programs.
The participants are divided in 5 groups according to the level of skating: Master, Gold, Silver, Bronze, Pre-Bronze. Depending on the number of skaters, the following age categories may be used:
Youth Class: 14-20 years;
Class I: 21-28 years;
Class II: 29-38 years;
Class III: 39-48 years;
Class IV: 49-58 years;
Class V: 59 years and more.
In the pair skating and ice dances the age class is unified: 14 years and more.
In other types of program (artistic, improvisation, compulsory figures) the participants are divided in 2 age categories:
Adult Class: 39 years and more.
The requirements for the programs are the same for men and ladies.
The following tables contain lists of elements for each level. They show the allowed and mandatory elements of well-balanced program and their maximal numbers.
Master Free Skating
The maximal duration is 3 minutes and 10 seconds, but may be less.
Table of Elements
Master. Max. time 3 min 10 sec
Jump Elements
Max. 7 Jumps All listed single, double, and triple jumps.
Each listed jump may be performed no more than two (2) times (as a solo jump or in a combo / sequence). Axel —
Jump combinations /
sequences Maximum 3
combinations / sequences, no more then 1 combination with 3 jumps. —
Maximum 3 Maximum 3
spins with different abbrevations.
Minimum 2, including:
flying spin or
spin with a flying entrance;
spin combination with a change of foot.
Required number of revolutions:
min. 5 revs;
4 revs on each foot for the spin with change of foot;
2 revs in each position.
Spins must have different abbrevations in the table of elements.
Step Sequence Maximum one (1) step sequence (StSq). Must cover a complete ice surface. —
Gold Free Skating
Gold. Max. time 2 min 50 sec
Max. 6 Jumps All listed single and double jumps except double flip, double lutz and double axel.
Each listed jump may be performed no more than two (2) times (as a solo jump or in a combo / sequence). — Double flip, double lutz, double axel, jumps with more than 2 revolutions.
4 revs on each foot for the spin with change of foot.
Step Sequence Maximum one (1) step sequence (StSq). Must cover a complete ice surface. Only features up to Level 3 will be counted. —
Silver Free Skating
Silver. Max. time 2 min 10 sec
Max. 5 Jumps All listed single jumps and a single axel.
Each listed jump may be performed no more than two (2) times (as a solo jump or in a combo / sequence). — Jumps with 2 and more revolutions.
A flying entrance and change of foot is allowed in all spins.
Minimum 1, it must be
a spin combination (with or without change of foot).
min. 3 revs for a spin without change of position and foot;
min. 3 revs for a flying spin without change of position and foot after landing;
min. 4 revs for a spin combination without change of foot, and 8 (4+4) for a spin combo with change of foot;
min. 3 revs on each foot for spin with change of foot.
Choreoraphic sequence Maximum one (1)
choreoraphic sequence (ChSq). Must cover at least a half of ice surface. —
Bronze Free Skating
The maximal duration is 1 minute and 50 seconds, but may be less.
Bronze. Max. time 1 min 50 sec
Max. 4 Jumps All listed single jumps except a single axel.
Each listed jump may be performed no more than two (2) times (as a solo jump or in a combo / sequence). — Axel, jumps with 2 and more revolutions.
A change of foot is allowed, but a flying entrance is not permitted.
a spin in one position without a change of foot.
min. 3 revs on each foot for a spin with change of foot;
min. 4 revs for a spin combination without change of foot, and 6 (3+3) for a spin combo with change of foot.
Spins must have different abbrevations in the table of elements. Flying spin and spin with a flying entrance.
Pre-Bronze Free Skating
Pre-Bronze. Max. time 1 min 40 sec
Jump elements.
Maximum 3 Jumps All jumps with 1/2 and 1 revolution, except single flip, lutz, and axel.
In this category, the Waltz jump is treated as a listed jump with the base value 0.2 and the GOE scale
1W 0.1 0.1 0.1 0.2 -0.1 -0.2 -0.2
Jumps may be repeated without any restrictions. — Single flip, lutz, axel, jumps with 2 and more revolutions.
Jump combination of 3 jumps.
jump combination of 2 jumps
or jump sequence. —
spin in one position with no change of foot. Minimum one (1) spin
spin in one position with no change of foot.
Min. 3 revolutions in a spin. Change of foot, flying entrance, spin combination.
Participans in this type of competition are divided in 4 groups according to their level of skating: Master, Gold, Silver, Bronze.
The artistic events will be judged only on the basis of program components.
Requirements for Programs
The competition groups are formed according to the level of skating and the age of participants.
The artistic program consists of a variety of skating moves selected for their value in enhancing the skater's interpretation of the music rather than for their technical difficulty. Skaters will be judged on their ability to interpret the music and develop a theme by using their skating skills. Credit for technical elements is based solely on the ability of such movements to enhance the chosen theme and support the music. Credit will not be given for their technical difficulty.
Using novelty effects such as excessive use of steps on the picks, lying or sitting on ice or prolonged static posture on both knees is undesirable. The skater should not stay in one place more than five (5) seconds.
Costumes must correspond to the character of music. Costumes that may leave particles on the ice surface (feathers, boas, excessive beading etc.) are considered unsafe and are not permitted.
Duration of music should not exceed 2 minutes 10 seconds for the Master level and 1 minute 40 seconds for the Gold, Silver, and Bronze levels. Vocal music is permitted.
The Artistic Free Skate is a competitive program that must include elements of the sport of figure skating. At least one (1) but a maximum of two (2) single jumps and at least one (1) but a maximum of two (2) spins MUST be included. No axel jump, double or triple jumps are allowed. No combination jumps are allowed.
The somersault type jumps are forbidden.
The use of large props is forbidden. Small items (hat, fan, umbrella, cane) can be used. However, putting objects on the ice or on the judges' table, throwing them to the public, etc. is not allowed.
(Note: in this point the rules of "Russian Winter" differ from the rules of Oberstdorf, where any props are not permitted.)
Approximate duration of the program is 1 minute 40 seconds for all categories (the duration of the program may vary slightly from 1:40 depending on the end of a musical phrase; the difference should not be more than 20 sec.).
The style of costume should be neutral.
The music for improvisation program will be played during 15 minutes prior to performance at the end of registration and not less than in 30 minutes before the event.
Participants will return to their dressing rooms, where they can no longer hear the music or see other skaters on the ice. Coaches are not allowed to communicate with their apprentices at that time.
Only elements listed below for each level may be performed in the program. Any additional elements will be penalized.
Elements of Improvisation Program
one (1) spin combination with a change of foot (min. 4 revs on each foot);
one (1) flying spin (min. 4 revs);
one (1) original spin in arbitrary position (originality is estimated; min. 4 revs);
one (1) split jump;
choreographic sequence must include change of direction, arabesques, bauers, spread eagles, etc. through all ice surface.
one (1) layback spin, sit spin, or original spin in arbitrary position (originality is estimated; min. 4 revs);
one (1) camel spin (min. 4 revs);
one (1) sit spin or original spin in arbitrary position (originality is estimated; min. 3 revs);
one (1) spin combination with only one change of position and without a change of foot (min. 4 revs);
one (1) upright spin (min. 4 revs);
one (1) back spin with arbitrary entrance (min. 3 revs);
one (1) sit spin (min. 3 revs);
Skater may select the starting foot (figures beginning with the right foot are denoted by the letter "a", with the left foot by the letter "b").
Circles and Paragraphs/Serpentines are performed 3 times in a sequence, Eights are performed 2 times.
The following compulsory figures will be performed on each level:
ISU-№
Name of figure
1 a/b Circle Eight Forward-Outside
2 a/b Circle Eight Forward-Inside
3 a/b Circle Eight Back-Outside
5 a/b Serpentine Forward-Outside-Inside
7 a/b Three Forward-Outside
4 a/b Circle Eight Back-Inside
9 a/b Three Forward-Inside — Back-Outside
14 a/b Loop Forward-Outside
6 a/b Serpentine Back-Outside-Inside
18 a/b Bracket Forward-Outside — Back-Inside
16 a/b Loop Back-Outside
Each pair team must consist of one man and one lady.
The age category is defined by the elder partner.
The factor of program components is 1.6.
Elements of the Pair Free Skating
3:10 max.
A maximum of three (3) different lifts, one of which may be a twist lift.
A maximum of two (2) throw jumps (single or double).
A maximum of one (1) solo jump. Single, double and triple jumps are permitted.
A maximum of one (1) jump combination with a maximum of three (3) listed jumps or one (1) jump sequence with any number of jumps (only the two jumps with the highest value will count towards the technical score).
A maximum of one (1) pair spin (pair spin or pair combination spin).
The spin must have a required minimum number of revolutions: four (4) revs for a pair spin and six (6) for a pair combination spin; two (2) revs in each position.
A maximum of one (1) solo spin.
The spin must have a required minimum number of revolutions: five (5) for the flying spin with no change of foot after landing, five (5) for the spin with only one position and no change of foot, five (5) for the spin combination with no change of foot, and eight (4 + 4) for the spin combination with change of foot or spin in one position with a change of foot.
There must be a minimum of two (2) revolutions in each position.
A maximum of one (1) death spiral or pivot spiral (position optional).
At least 3/4 revolution in pivot position by the man is required.
A maximum of one (1) step sequence (StSq) or choreographic sequence (ChSq) that fully utilizes the ice surface.
Only features up to Level 3 will be counted for the step sequence.
A maximum of two (2) different lifts of Group 1 or Group 2 with a minimum 1/2 revolution for the man and 1 revolution for the lady.
Variations of the lady's position, no-handed and one-handed lifts, and combination lifts are not permitted.
Overhead lifts and twist lifts are not permitted.
A different take-off counts as a different lift.
A maximum of one (1) single throw jump (including the throw axel).
Double and triple throw jumps are not permitted.
A maximum of one (1) solo single jump (including the single axel).
A maximum of one (1) jump combination with a maximum of three (3) listed jumps or one (1) jump sequence with any number of jumps (only the two jumps with the highest value will count for points).
Only single jumps are allowed (including the single axel).
The spin must have a required minimum number of revolutions: four (4) revolutions for a pair spin and six (6) for a pair combination spin.
A maximum of one (1) choreographic sequence (ChSq) that fully utilizes the ice surface.
Competitions in Pair Artistic Skating will be held at Master and Adult levels.
A program will be judged only on the basis of components; no technical marks will be given.
The artistic program consists of a variety of skating moves selected for their value in enhancing the skater's interpretation of the music rather than for their technical difficulty. Skaters will be judged on their ability to interpret the music and develop a theme by using their skating skills. Credit for technical elements is based solely on the ability of such movements to enhance the chosen theme and support the music.
The program must be developed through skating skill and quality rather than through non-skating actions such as sliding on one knee or excessive use of toe steps, which should be used only to reflect the character of the program and to underline the rhythm and nuances of the chosen music. The skater/pair must not remain in one place for more than five (5) seconds.
Only elements listed below for each level may be performed in the program. Any additional elements will be penalized (1.0 deduction). Also a deduction 0f 1.0 will be made for each missing mandatory element.
Costumes should be simple and tasteful. They should be selected to enhance the performance by appropriately reflecting the character of the music and theme.
The Masters Pair Artistic Skate is a competitive program that must include elements of the sport of pair figure skating. Each pair must include at least three (3) and no more than four (4) elements selected from:
A maximum of one (1) solo jump OR one (1) throw jump. Axel and double jumps are not permitted. Combination jumps are not permitted.
A maximum of one (1) pair spin (pair spin or pair combination spin) OR one (1) solo spin.
A maximum of one (1) lift of Group 1 or Group 2.
Duration of the program: maximum 2 minutes and 20 seconds, but may be less.
Adult Level
The Pair Artistic Skate is a competitive program that must include elements of the sport of pair figure skating. Each pair must include at least three (3) and no more than four (4) elements selected from:
Duration of the program: maximum 1 minute and 50 seconds, but may be less.
Pattern Dances — Couples
Each couple must consist of a man and a lady.
Warm-up groups are formed according to the level of skating. The duration of warm-up is not more than 3 minutes before each pattern dance; it is performed to the music of the dance.
The organizing committee may unite the warm-up groups, if necessary.
The following pattern dances are performed on different levels:
Master #11 Golden Waltz (2 sequences)
#18 Cha Cha Congelado (2 sequences)
Gold #7 Viennese Waltz (3 sequences)
Silver #3 Rocker Foxtrot (4 sequences)
#23 Blues (3 sequences)
Bronze #2 Foxtrot (3 sequences)
#4 European Waltz (2 sequences)
Pre-Bronze Willow Waltz (3 sequences)
Fiesta Tango (3 sequences)
In accordance with ISU Rules 707, 708, Rule 353, paragraph 1.n) and ISU Communication No.1857 and No.1860, official ISU Pattern Dance music will be used, except that couples shall provide their own music for the following Pattern Dances:
Foxtrot (Bronze);
Blues (Silver);
Viennese Waltz (Gold);
Cha Cha Congelado (Masters).
The music must be chosen in accordance with the rhythm of the Pattern Dance. The chosen music may be a tune from ISU Ice Dance music. In this case only tunes 1 to 5 can be chosen and the music must be recorded on the skaters' own disc.
Tempo specification for the Pattern Dance music:
(Pre-Bronze) Willow Waltz — 46 measures of 3 beats (138 beats) per minute plus or minus 2 beats;
(Pre-Bronze) Fiesta Tango — 27 measures of 4 beats (108 beats) per minute plus or minus 2 beats;
(Bronze) Foxtrot — 25 measures of 4 beats (100 beats) per minute plus or minus 2 beats;
(Silver) Blues — 22 measures of 4 beats (88 beats) per minute plus or minus 2 beats;
(Gold) Viennese Waltz — 52 measures of 3 beats (156 beats) per minute plus or minus 3 beats;
(Master) Cha Cha Congelado — 29 measures of 4 beats (116 beats) per minute plus or minus 2 beats.
The second Pattern Dance in each category will use ISU Ice Dance music that will be provided by the organizers.
Pattern Dances — Solo
On each level, the participants of solo-competitions perform the same pattern dances as couples (see the table above).
Short Dance — Couples
Competitions are held in two level groups: Master and Adults. The technical requirements are the same for both categories.
The requirements for the Junior Short Dance described in ISU Communication 1932 are adjusted for the Adult Competition.
The composition of the Short Dance in the season 2015/16 is as follows: Waltz plus any number of the following rhythms: Foxtrot, March or Polka.
Required Short Dance Elements
One (1) sequence of the Starlight Waltz divided into two (2) sections skated one after the other, Section 1 followed by Section 2, with Step # 1 skated on the Judges' left side.
The Pattern Dance Elements must be skated on the Waltz Rhythm, in any Waltz style. The tempo of music throughout the Pattern Dance Elements must be constant and in accordance with the required Tempo of the Pattern Dance Element Starlight Waltz i.e., 58 measures of three beats or 174 beats per minute, plus or minus 3 beats per minute.
One (1) Short Lift is required. In addition, one (1) Transitional Dance Lift (up to 6 seconds), but no more, performed optionally after the required Dance Lift, is permitted.
One (1) Not Touching Midline Step Sequence OR Not Touching Circular Step Sequence OR Not Touching Diagonal Step Sequence.
Notes for Not Touching Circular Step Sequence: In accordance with Rule 703, paragraph 4, this element must be performed in either the clockwise or anticlockwise direction, utilizing the full width of the ice surface on the short axis of the rink.
One (1) Set of Sequential Twizzles.
Elements should be integrated into the composition of the dance so the concept and choreography must produce the feeling of a unified dance.
The Dance Spin Nevertheless, a spinning movement skated by the couple together in any hold around a common axis on one foot (or two feet) with any number of rotations is permitted. A couple may choose to use this movement as part of their choreography. The Technical Panel will ignore these movements and the Judges will not consider these movements as one of the permitted stops.
Waltz Rhythms as well as Foxtrot, March and Polka Rhythms are described in the ISU Ice Dance Music Rhythms Booklet 1995.
The description, chart and diagrams of the Pattern Dances are included in the ISU Handbook Ice Dance 2003.
The concept and choreography must produce the feeling of a unified dance. The Pattern Dance elements may be skated anywhere in the Short Dance and should be integrated into the composition of the dance - there should not be the feeling that the rhythms are just put together without thought of how they fit together.
According to ISU Communication 1860, paragraph 3, a Pattern Dance Element not started on the required beat must be penalized by Judges.
Music for the entire Short Dance (including music for specified Pattern Dance Elements) is provided by the couple. Vocal music may be used.
Duration of Short Dance
The maximum time is 2 minutes and 50 seconds, but may be less.
Factor of Components
The panel's points for each Program component are multiplied by a factor of 0.8 (Rule 353, paragraph 1.m).
Free Dance — Couples
The music for Free Dance may be vocal and must be suitable for Ice Dance as a sport discipline and must have the following characteristics:
The music must have an audible rhythmic beat and melody, or audible rhythmic beat alone, but not melody alone, and may be vocal. The music may be without an audible rhythmic beat for up to ten (10) seconds at the beginning or end of the program and up to ten (10) seconds during the program.
The music must have at least one change of tempo and expression. These changes may be gradual or immediate, but in either case they must be obvious.
All music, including classical, must be cut/edited, orchestrated or arranged in a way that it creates an interesting, colourful, entertaining dance program with different dance moods or a building effect.
The music must be suitable for the Couple's skating skills and technical ability.
Free Dance music that does not adhere to these requirements will be penalized by a deduction.
Couples must perform a well-balanced program that may contain the following elements:
Level, Duration
Dance Lifts
Dance Spins
Step Sequence
Synchronized Twizzles
3:10 max. (requirements for Master and Gold levels are the same) A maximum of two (2) different Dance Lifts, one (1) Short Lift with a maximum duration of 6 seconds and one (1) Long Lift with a maximum duration of 12 seconds; OR three (3) different types of Short Lifts with a maximum duration of 6 seconds each. A maximum of one (1) Dance Spin (Spin or Combination Spin). A maximum of one (1) Circular Step Sequence in Hold, Style A. A maximum of one (1) Set of Synchronized Twizzles with up to three (3) steps between.
2:40 max. A maximum of one (1) Short Lift, with a maximum duration of 6 sec. A maximum of one (1) Dance Spin (Spin or Combination Spin). A maximum of one (1) Diagonal Step Sequence in Hold, Style B. A maximum of one (1) Set of Synchronized Twizzles with up to three (3) steps between.
2:00 max. A maximum of one (1) Short Lift, with a maximum duration of 6 sec. A maximum of one (1) Dance Spin (Spin or Combination Spin). A maximum of one (1) Diagonal Step Sequence in Hold, Style B. —
Free Dance — Solo
Both men and women may participate.
Requirements for Levels
Duration: maximum 2 min. 10 sec. (may be less).
Solo Free Dance must include at least one (1) and no more than two (2) spins (minimum 3 revs on each foot) and a step sequence.
A dance team may consist of minimum 2 and maximum 16 skaters of any gender.
A program may include both elements of ice dances and synchronized skating. Vocal music in permitted. The theme and the type of program should be specified in the application (no more than 8 words).
The use of large props is forbidden. Small items (hat, fan, umbrella, cane, etc.) can be used. However, putting objects on the ice or on the judges' table, throwing them to the public, etc. is not allowed.
A team shall consist of 12-16 skaters and may include both ladies and men. Each Team may have up to a maximum of four (4) alternates listed as such on the Team roster.
The Free Program must be skated according to ISU Rules for 2015-2016 (see Special Regulations & Technical rules. Synchronized Skating 2014, ISU Communications No.1942 and other pertinent ISU Communications).
The teams must skate a well-balanced Free Skating Program which must contain the following (6) required elements:
Intersection Element (I).
Linear Element — Line (L).
Pivoting Element — Block (PB).
Rotating Element — Wheel (W).
Traveling Element — Circle (TC).
A choice of one (1) of the following elements:
Creative Element (Cr)
Combined Element (Co).
Additional elements may be incorporated into the Free Skating Program and will be judged as transitions and/or choreography components. The Planned Program Content sheet should indicate which elements are transition/choreography elements. Definitions of recommended elements are in accordance with ISU Rules 905 and 911, paragraph 2. Difficulty Groups of Elements and Features and the description of their requirements are in accordance with the pertinent ISU Communications.
Illegal Elements: The illegal elements are those applicable to Junior Free Skating, Rule 912, paragraph 10 b. In addition, "vaults" are illegal.
Holds: the Team must use a variety of holds. A minimum of three (3) different clearly recognizable holds is required. The holds may be done either in Elements or transitions.
Duration of the program: the maximum time is 3 minutes and 10 seconds, but may be less.
The time must be reckoned from the moment a skater begins to move (arm, head etc.) or to skate until arriving at a complete stop at the end of the program.
Any music including vocal music using lyrics is permitted. However, the Teams must skate the program in time to the music.
Factor for the Program Components: 1.0


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At least 59 killed in gold mine explosion
By Alex Glenn • 22 February 2022 • 7:39
At least 59 people were killed in a gold mine explosion. The hospital emergency room was left overflowing with casualties.
The explosion occurred at a gold panning facility in Gbomblora in Burkina Faso, according to the authorities talking to local news agency AIB. The gold panning facility is said to be rudimentary.
Extensive material damage was caused on Monday, February 21. The explosion happened at around midday.
Emergency services scrambled to the scene of the explosion. The injured people were quickly evacuated to the Gaoua Regional Hospital. Along with the deceased, numerous people were injured in the explosion.
It is believed that a detonation of explosives was the cause of the gold panning site explosion. The detonation hit flammable materials that were nearby. This then caused a fire to start.
According to the authorities, the Gaoua hospital centre's emergency room was left overflowing with injured people. The hospital is located around 15 kilometres away from the site of the explosion.
The high committee of the Poni province has visited the scene of the detonation. Local administrative authorities also visited the accident site.
No further details are known at this time.

redpajama_set_name: RedPajamaCommonCrawl


Joan Segarra Iracheta (Barcelona, 15 November 1927 – Taradell (Osona), 3 September 2008) was a Catalan footballer, captain of the "Barça of the Five Trophies", one of the best teams that FC Barcelona have had in their history. He played in the first team as a cb for 16 seasons for the club, between 1950 and 1964, in which he played 299 matches in La Liga.
Known as "the great captain", Segarra (Barcelona, 1927 - Taradell, 2008) was one of the moast charismatic players in the history of FC Barcelona.
The legendary defender was part of the Barça of the Five Cups in the 1950s and is the player who has made the fifth most appearances in the Barça colours, behind only Migueli, Rexach, Amor and Rifé.
He was unable to show the continent what he could do at the disappointing European Cup Final in Berne, 1961, because of an unfortunate eye injury.


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Home > Sports > A Brief Introduction To Sport Climbing
A Brief Introduction To Sport Climbing
One of the most rapidly increasing types of climbing is sport climbing. Generally speaking, it is more accessible to most people than conventional rock climbing, in terms of both the cost of climbing equipment and location. There's a competitive but fun atmosphere amongst sports climbers and this, in combination with the immediate gratification that comes with complete several challenging routes in a single climb, means that sports climbing has become increasingly popular
What does Sport Climbing involve?
Sport climbing is less like a marathon and more like a sprint; it involves difficult, high intensity climbing on routes that are much shorter than those of traditional climbing. Some of its distinguishing characteristics include fixed anchors, pre-planned routes and a strong emphasis on the physical part of the climb, as opposed to the summit or the destination. In sports climbing, it is expected and very common for climbers to fall many times during the climb, as they try to work out the next best move to make. In traditional climbing, climbers will generally try to avoid falling and not place too much stress on the anchors they are placing.
Bolted Routes:
As the emphasis with sport climbing is firmly on the moves of the climber, they tend not to place their own protective gear, but instead clip some bolts that are preplaced, using metal hangers. It takes strength, energy and time to place protective gear and carry a full rack – energy and time which most sport climbers would prefer to spend on figuring out difficult climbing moves. One of the main reasons that sport climbing has become so popular amongst climbers is its versatility. They can find bolted routes on real rocks or on indoor artificial climbing walls. Climbers can also enjoy the fun of leading the climb without having to worry about how to place camming or chock devices.
Sport Climbing Equipment:
Sport climbing equipment tends to be streamlined and light, as it is aimed at efficiency and speed. Rather than using a full rack of protective gear, quickdraws are used. Padded harnesses are essential, however they need to be very light and sleek in design, yet provide sufficient padding to cushion the climber during the frequent falls that typically occur during sport climbs. In terms of footwear, thin soled slippers or slip lasted shoes are normally worn, so that the climber is able to feel even the smallest of wall or cliff features underneath their feet.
Quickdraw sets for this type of climbing include pre-attached sling and carabiner sets with one bent gate and one straight gate carabiner each. Chalk bags are another important piece of climbing gear; these are required for keeping climbers' hands dry for the trickier moves. When it comes to bolts and bolt hangers, setting bolts on a new climbing route is rare, as many climbers feel that this practice spoils the natural integrity and beauty of the rock face. Nonetheless, some climbers still use bolts, with the help of specialist drills that fit the bolts, along with their hangers, into the rock.
Featured images:
License: Creative Commons image source
This guest article was brought to you Urban Rock, the UK climbing specialists where you can get kitted our for all your sports climbing requirements.


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What You Need to Know About the Protests in Thailand
Thousands upon thousands of protesters stomp through the sweaty streets of Bangkok, demanding that the current administration step down and attempting to surround governmental buildings. Confused tourists — whose dollars represent one of the most valuable pillars of the Thai economy — sidestep barricades in the more atmospheric neighborhoods of the capitol city, while rumblings of a military coup and municipal shutdown float through the air. It's another restive year in Thailand.
An average armchair political scientist might conclude these Bangkok protests are just another pro-democracy people's movement. But there's one big difference: the protesters against Thai Prime Minister Yingluck Shinawatra are taking a stance that would serve to help break down democracy, not bolster it. They're seeking to install an unelected "people's council" in the Prime Minister's stead, which would implement the political and economic reforms they seek. Democratic? Not so much.
Shinawatra has made moves to appease the protesters: she dissolved Parliament in December and has called for new elections on February 2nd, but as the current thousands-strong protests (with shots fired on Tuesday) show, they haven't been enough.
The Democrats, led by former prime minister Abhisit Vejjajiva, intend to boycott the elections, and even blocked parties attempting to register in December. They're worried, quite legitimately, that a new election would not just re-elect Ms Shinawatra but could potentially give her a mandate to implement a controversial amnesty bill — their biggest complaint against her administration, and admittedly, a major strategic blunder on her part.
The opposing Democrat party took to the streets to demand that she step down, claiming that she is little more than a puppet for her brother, Thaksin Shinawatra, who fled the country on corruption charges in 2006, after a military coup. and who would benefit from the amnesty bill.Protesters claim that he continues to orchestrate the country from abroad, operating through his sister.
But here's the rub: Shinawatra was fairly elected, a fact that her supporters have repeatedly emphasized. Her base of support is Thailand's northeast and poorer rural areas, where Thaksin Shinawatra's reforms in the 2000s introduced such changes as universal health care, microcredit, educational reforms, and other benefits that explicitly helped the Southeast Asian nation's rural population, which makes up two-thirds of the whole.
Thaksin is no angel of liberalism. His heavy-handed "war on drugs," starting in 2003, saw the killings of thousands, many of whom appear to have had no linkage to the narcotics trade. Regardless of these human rights offenses, these reforms have translated into long-lasting support: Thaksin-allied parties have won the last four Thai elections.
The Democratic hotbed of support, meanwhile, hails from Bangkok and other, more urbanized regions of the South. They claim that Shinawatra's Pheu Thai party has used vote buying and other cheating tactics to win elections, but there's little evidence either that much of this has taken place, or that it has influenced voters towards the Pheu Thai view of things
The battle in Thailand, then, is a rather old one indeed when view on a macro level: between the interests of an urban, wealthier minority who feel better-qualified to hold power (and in some sense, entitled to do so due to their connection to the powerful monarchy), and those of a rural, poorer majority who desire to show that their vote matters, too.
Protests continue in Bangkok this week, and compromise seems distressingly hard to reach. Will Thailand continue its modern habit of forcibly swapping regimes, or will some compromise — a democratic compromise — be reached? Southeast Asia watchers observe, and worry.
The post What You Need to Know About the Protests in Thailand appeared first on UN Dispatch.


This rangehood features three fan speeds, plus a boost function, providing powerful extraction to quickly remove odours and steam. The timer keeps the rangehood working for up to 15 minutes before automatically turning off.
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This wall chimney box rangehood features sleek black glass and stainless steel styling which will complement any contemporary kitchen and is designed to match the rest of Fisher & Paykel's kitchen appliance family.


text:
Web Link Categories
Official History
Historical Narrative
Unit Citations
Squadron Histories
Ever Honored
Lost In Action
The 38th Bomb Group played a very significant role in winning the war against the Japanese during WW II. Following is a brief overview of only a few of the many combat activities the 38th Bomb Group contributed to winning the War.
The 38th Bomb Group was one of the first U.S. Army Air Force units to be deployed into the Pacific after Pearl Harbor. Their deployment to the South Pacific started in January 1942 and in May two squadrons of their B-26s were the first medium bombers to fly from the mainland to Hawaii. While transiting Hawaii, two of their B-26s fought in the Battle of Midway, where they flew low altitude torpedo bombing missions attacking Japanese aircraft carriers. One of their B-26s was shot down and the other one never flew again after returning to Midway with severe battle damage.
After the Battle of midway, the two B-26 squadrons continued their deployment to the South Pacific and were eventually detached from the 38th. In August 1942, the two remaining 38th Bomb Group squadrons, now flying B-25s, became the first medium bomb group to fly across the Pacific to Australia. The 38th then became an all B-25 Group, which flew low altitude strafing and bombing missions (Combat at 20 Feet) against Japanese air fields, port facilities and shipping. The 38th Bomb Group was the leader, once again, when they were the first U.S. Army Air Force Medium bomb group to be permanently deployed into New Guinea, where they continued to play a major role in isolating and destroying Japanese forces by flying Low Altitude Strafing/Bombing Missions, attacking Japanese air fields, shipping, port facilities and supporting U.S. Ground Forces in the New Guinea and Bismarck Archipelago Areas. The 38th Bomb Group fought the Japanese on a daily basis for three and one half years all the way from Australia, through New Guinea, the Philippines and were on Okinawa when the war ended. They fought in Nine Campaigns: Battle of Midway; Air Offensive, Japan; China Defensive; Papua, New Guinea; Bismarck Archipelago; Western Pacific; Leyte; Southern Philippines; and China Offensive. For their major contributions to winning the war in the Pacific, the 38th Bomb Group received four "Distinguished Unit Citations" (DUCs), which was twice the number of DUCs than any other U.S. Army Air Force Unit received.
The Group was awarded it's first "Distinguished Unit Citation", (DUC), for its outstanding combat actions to isolate and destroy the enemy in Papua, New Guinea from September 1942 to Early 1943. In the "Battle of the Bismarck Sea", the 38th Bomb Group played a very significant roll by helping to destroy four (4) Japanese destroyers or light cruisers, damaging two (2) destroyers or light cruisers, and sinking seven (7) transports. The Pacific Air Encyclopedia states, "What made the Battle of the Bismarck Sea interesting was it pitted land based air power against sea power and demonstrated that aircraft ruled the sea". General MacArthur said "This was the decisive engagement of the war of the Southwest Pacific".
The Second DUC was awarded for the outstanding bombing and strafing of Japanese troops and fortifications on Cape Gloucester, New Britain, which U.S. ground forces invaded on 24 – 26 December 1943. Cape Gloucester was a key Japanese support facility along the Japanese convoy re-supply route from Rabaul, New Britain to Lae, New Guinea. The 38th Bomb Group pre-invasion preparation was so effective that the invasion was an outstanding success with minimum loss of life, although two 38th B-25 aircraft were lost.
The third DUC was for 38th Bomb Group's outstanding performance on 16 and 17 June, 1944, when attacking Jefman and Samate airdromes and the Sorong Harbor area of Dutch New Guinea. At that time an estimated 90 percent of the Japanese aircraft in the New Guinea area were based on Jefman and Samate airdromes, and Japanese warships and merchant vessels filled Sorong Harbor. It was the first time this area had been subjected to low altitude strafing and bombing attacks. On the 16 June mission, 30 enemy aircraft were destroyed on the ground and 11 in the air. Three of the air victories were scored by one B-25: two by the top turret gunner and one by the pilot who aimed, and fired his fixed nose guns. The following day the group hit merchant ships and naval vessels which had been sighted in the harbor. The group left the harbor filled with sinking and burning ships. Two (2) 3,000-ton freighter transports, three (3) smaller cargo vessels and six (6) coastal craft were definitely sunk, and two (2) 1,500-ton freighter transports were seriously damaged. In these two days, the 38th Bomb Group destroyed or irreparably damaged a large part of the Japanese air and shipping strength which could have been used against Allied Forces preparing to advance through the Netherlands East Indies in the drive to the Philippines.
The fourth DUC was for striking a large enemy convoy in Ormoc Bay on 10 Nov 1944, during the battle for Leyte. Thirty B-25s aircraft of the 38th Bomb Group attacked one of the largest and most strongly defended convoys ever to be attacked by a single group in the Southwest Pacific Area. It consisted of 21 to 30 vessels, including 13 to 17 warships. Splitting into two plane elements and flying in the face of murderous anti-aircraft fire from the freighters, as well as the destroyers, the B-25's attacked at mast-head level. The 38th Bomb Group sank three (3) destroyers, one (1) destroyer escort, and at least five (5) transports. In addition, they seriously damaged three (3) transports and one (1) destroyer. Fierce Japanese anti-aircraft fire knocked down five (5) of the Group's B-25's and forced two (2) to crash-land on the sea. The aggressiveness and gallantry of the crews of the 38th Bomb Group in pressing home their attack through the concentrated fire of the entire enemy armada not only crushed the Japanese attempt to send in more troops against our ground forces on Leyte, but also inflicted a severe lose on enemy shipping. The exceptional devotion to duty demonstrated by all personnel of the 38th Bomb Group (M) upheld the highest traditions of the Armed Forces of the United States.
In January 1945, the 38th Bomb Group moved to Lingayen Gulf, Philippines, where they continued their low altitude strafing and bombing attacks on Japanese shipping along the China coast, plus striking Formosan air fields, port facilities, railroad yards, bridges and alcohol plants. They also flew missions supporting the U. S. ground forces on Luzon. In June 1945, the Group deployed temporarily to Palawan, where they flew missions against the Balikpapan, Borneo air fields and port facilities in preparation for an invasion.
In June 1945, the 38th Bomb Group was again one of the first units to be deployed to Yontan Airstrip on Okinawa, where it continued its low altitude strafing and bombing attacks on the Japanese homeland. Missions were flown against shipping in the sea of Japan, plus air fields, port facilities and industrial complexes on the Japanese homeland. In fact, one squadron of the Group strafed and bombed the industrial port facility of Nagasaki just a few days before it was hit with the atomic bomb. It was from Okinawa that the Group sank a Japanese aircraft carrier, which was tied up in Bepu Bay, Kyushu. The 38th Bomb Group never relented and maintained its high level of force until the war ended.
The 38th Bomb Group was honored to have Major Ralph Cheli receive the "Medal of Honor", which was presented to only 13 Army Air Force members in the Pacific Theater of operations during World War II. Major Ralph Cheli was awarded the Medal of Honor for his action on 18 August, 1943, while leading the 405th Squadron in an attack on a heavily defended airdrome in the Wewack area of New Guinea. Prior to reaching the target, the formation was attacked by 10 to 15 Japanese Zeke and Oscar fighter aircraft. His plane was severely damaged and his right engine and wing were on fire. Despite this damage and rather than disrupt the formation, Major Cheli led his flight across Dagua airdrome bombing and strafing a concentration of fifteen (15) to twenty (20) enemy airplanes and a gun position. After completing his strafing and bombing run, Maj. Cheli told his wingman to take over the lead and he was forced to crash land his aircraft in the sea. The Japanese radio reported that Maj. Cheli was captured, taken to Rabaul, placed on a Japanese ship for transport to Japan and that we had sunk the ship. This was not true because after the war, Maj. Cheli's DNA was found in a Rabaul grave – the Japanese had killed him.
The 38th Bomb Group was also awarded a "Philippines Presidential Unit Citation" for its actions in support of the air offensive to drive the Japanese from the Philippine Islands.
The above briefly addresses only a few of the many significant contributions the 38th Bomb Group made to winning WW II in the Pacific Theater of Operations. The Group fought on a daily basis for three and a half years from Australia to Japan and the members of the Group are proud to have fought in support of this great country of ours – "The United States of America".
Squadron Emblems
38th Bomb Group ( HQ)
71st Bomb Squadron "Wolf Pack"
822nd Bomb Squadron "Black Panthers"
823rd Bomb Squadron "Terrible Tigers"
405th Bomb Squadron "Green Dragons"
Copyright 2005-2014, The 38th Bomb Group Association


text:
OT -- today's Breihan article
"One thing about 'Bad, Bad Leroy Brown' that's rarely remarked-upon: It's never specified, but it seems pretty obvious that Leroy Brown is black. He's a stereotype, a slick Chicago gangster who chases women even when it's not wise and who turns out to not be as tough as he thinks. The song has a sort of boogie-woogie blues beat; it sounds like white guys trying to sound black. Croce sings in a clumsy imitation of black English: 'Now Leroy, he a gambler.' It's not that the song is racist, exactly. Standards were different in 1973, and there's certainly no hostility in the way Croce sings the song. But it's the sort of extended joke that would not go unexamined today."
Breihan gave it 3/10
From the same article:
"The writing is clear and evocative: 'Leroy looked like a jigsaw puzzle with a couple of pieces gone.' And the song is catchy, to the point where it's hard to stop it once it starts rattling around inside your mind. But it's also dumb and obvious and unpleasant."
Post by Bob Roman
My cat's name is Duchess, and someone recently told me that this was
also the name of the main character in the 1970 animated Disney movie
"The Aristocats." I was too old for Disney cartoons in 1970 and too
young to see them with my children, so I never saw "The Aristocats." I
watched a clip from it on youtube, a musical number called "Everybody
Wants To Be A Cat," and I was shocked to see a blatant racist
stereotype: a Siamese cat was given buck teeth and exaggerated slant
eyes and an accent seemingly copied from Buddy Hackett's Chinese waiter
sketch. I thought that kind of thing had been done away with by 1970
I remember noticing that "Leroy he a gambler" line back in the 70s and
finding it embarrassingly....whatever the 1970s equivalent of
"tone-deaf" was. But then I never understood the big fuss about Jim
Croce. Not my kind of music. However, like Breihan, I also enjoyed
the jigsaw puzzle simile.
Thematically, it is the same song as "you Don't Mess around with Jim" which was his first hit on the previous album.
It was also the better record in my opinion if not as endearing and endyring.
Post by DianeE
I think he's making a mountain out of a molehill. I don't find it racist in any way. As Dennis points out, it's thematically the same as "You Don't Mess Around With Jim." You know, I can't recall if my mental image of Leroy Brown was of a black man. But I do recall thinking Jim Walker was white, and Croce uses the same lyrical form:
"Yeah, he big and dumb as a man can come."
Not every song about a black guy (and this one probably is) with less than admirable qualities is a stereotype. It's just about a black guy with less than admirable qualities.
Back to Croce. I'm a big fan. He's the Chuck Berry of his generation, a R&R poet. I still recall an article I read where Glen Campbell cites his lyrics, including: "You don't tug on superman's cape
You don't spit into the wind
You don't pull the mask off that old lone ranger
And you don't mess around with Jim" and my favorite from "Roller Derby Queen": "She was built like a fridgerator with a head." Jim Croce ruled. I still listen to his music more than that of most other artists. I give "Bad Bad Leroy Brown" nine out of ten.
Post by Bill B
I think he's making a mountain out of a molehill. I don't find it racist in any way. As Dennis points out, it's thematically the same as "You Don't Mess Around With Jim."
With roots that can be traced back to Don & Dewey's "Big Boy Pete."
(Agree that it's basically making a mountain out of a molehill, but
that's what we do here, isn't it?)
You know, I can't recall if my mental image of Leroy Brown was of a
black man. But I do recall thinking Jim Walker was white, and Croce uses
Leroy Brown, besides the name, was said to live on the south side of
Chicago, a well-known black neighborhood. I didn't know Croce sang "he
big" in the earlier song. If he did, I guess that changes things. But
I do remember thinking it was wrong-sounding in the Leroy Brown song.
I did *not* mean to say "Leroy" was a stereotype. I can see how you
would infer that after I told the story about the Asian stereotype in
the Disney movie, but I was really just making my usual point about how
we can't judge art from previous eras by today's standards.
Ah well. Around the same time, the Rolling Stones put out their most
acclaimed album, "Exile On Main Street." It too left me cold. I was
pretty much surviving on a musical diet of Soul Train and Linda Ronstadt.
Just listened to "Big Boy Pete." It may have provided more than roots. Pete is vanquished by Bad Man Brown. one of them was from the north and one from the south. Think it was Leroy?
Back to Croce. I'm a big fan. He's the Chuck Berry of his generation, a R&R
poet. I still recall an article I read where Glen Campbell cites his lyrics,
including: "You don't tug on superman's cape
And you don't mess around with Jim"
He was, occasionally a very good songwriter, but mentioning him in the
same breath with Chuck Berry seems a little over the top.
As for the race issue, both Leroy and Jim both have always seemed to me
to be black (Slim comes up from the south for his revenge on Jim) and
it seemed okay to me back then. In fact, it still seems okay to me in
our overly touchy era because I'm sure Croce meant it as a tribute to
the racial line-erasing that was both the source and the promise of
r'n'r, though I can see why a younger generation, drowning in "woke"
sensitivity, might not get the point.
Post by Mark Dintenfass
To me it's not just incorrect, it's counterproductive. Breihan concedes that in neither the songwriting nor the performance does Croce come off as bigoted or hateful, but the simple fact that a) the protagonist is black and b) the song is humorous makes it all potentially problematic. At a time when real racism is on the rise -- shooting up mosques in New Zealand, marching in Virginia, sitting in the Oval Office -- it seems a mistake to be condemning not-bigots for not being not not-bigots enough.
That's a lampoon, right Robert?
If not, you have become a moralistic pretzel, baby!!
To me it's not just incorrect, it's counterproductive. Breihan concedes that
in neither the songwriting nor the performance does Croce come off as bigoted
or hateful, but the simple fact that a) the protagonist is black and b) the
song is humorous makes it all potentially problematic. At a time when real
racism is on the rise -- shooting up mosques in New Zealand, marching in
Virginia, sitting in the Oval Office -- it seems a mistake to be condemning
not-bigots for not being not not-bigots enough.
I absolutely agree. It's just like people who aren't sexual predators
getting hammered for innocent gestures that "woke" women now have
decided are predatory. Politically, it paralyzes us in finding ways to
deal with the real racists and predators who are, of course, not just
with us but more present than they ought to be.
Dean F.
To me it's not just incorrect, it's counterproductive. Breihan concedes that in neither the songwriting nor the performance does Croce come off as bigoted or hateful, but the simple fact that a) the protagonist is black and b) the song is humorous makes it all potentially problematic. At a time when real racism is on the rise -- shooting up mosques in New Zealand, marching in Virginia, sitting in the Oval Office -- it seems a mistake to be condemning not-bigots for not being not not-bigots enough. >>
Just imagine Breihan's moral outrage if he heard a Louis Jordan song like "What the Use of Getting Sober," "Ain't That Just Like a Woman," "Pettin' and Pokin'," "Stone Cold Dead in the Market," "Open the Door, Richard," or "Saturday Night Fish Fry" (among others).
Granted. I got too enthusiastic.
to be black (Slim comes up from the south for his revenge on Jim)
Maybe my perception of Jim being white was shaped by the fact that I used to shoot pool on Eighth Avenue between 42nd and 43rd streets and I remember an all white clientele.
Back to Croce. I'm a big fan. He's the Chuck Berry of his generation,
But wrong. You can't dance to a Jim Croce record.
Unlike most of the music discussed here, I've been familiar with "Bad, Bad Leroy Brown" since it was new. Not once in 46 years did the issue of race enter my mind when I heard it.
I will now state the obvious: Breihan's an asshole. I can just hear him screaming that Joe Biden's a creepy old pervert while claiming Julian Assange, who's wanted in Sweden on a rape charge, is a hero.
Dean F.	2019-04-12 05:56:59 UTC


I love a good blog redesign. I'm lucky to have a programmer for a husband so he's created this brand new blog design for me. I spent ages mocking up designs of what I wanted it to look like. He then turned those sketches into fully working template for WordPress. I love it!
I liked my old design in that it was simple and clean but when I started my YouTube channel I felt like I needed a change. I wanted a new logo that would go across all my social channels and to have a more cohesive look. I've also renamed all my social channels to match my blog – you can find them at the top or down at the bottom.
The new logo took me ages to design. I wanted to keep the watercolour feel and my favourite colour but I wanted it to look more elegant. I kept fussing with the colours and he made quite a few logos before I finally picked the one I loved most. Having finalised the logo it really helped develop a colour scheme for the blog, which is reflected in the style guide.
I can be super organised, so to help Simon in the development I created a style guide. This included the colours, hex codes, the fonts and what H1-3, etc would look like. It also included a smaller logo design and how I wanted the social media icons to look. This is great as a reference for him when coding the site and for me to have some consistency in the design.
If you want to create your own style guide there's a lot of inspiration on Pinterest.
I love how the blog posts now look. It brings more attention to the imagery but also makes the content stand out too. But my real favourite bit is the logo – I'm easily pleased. Actually, if you ask my husband he'll say the exact opposite. I've changed so many bits along the way and he's worked ridiculously hard to make me the design I want. I am incredibly grateful and I'm sure we both hope I won't get inspired for a new design any time soon!


The lean construction (LC) community's key vision and goal is to provide value, yet they are increasingly challenged with understanding and dealing with the concept of value, with reports that value is one of the weakest points. Regardless of the previous studies and contributions already made on the concept of value in LC, the absence of a consistent understanding of value has resulted in misperceptions and indistinct boundaries with other construction value-related disciplines. Without a consistent understanding of value, the full potential of applying value-established concepts will not occur. Thus, the study of different concepts in construction will open new opportunities to deliver value in the future. Literature reviewed only revealed a small number of interdisciplinary comparisons of Lean manufacturing and LC with value management (VM)/value engineering (VE) on value. Secondary data was used to present an in-depth comparison of the principal points of the current practice and theories of LC and VM, which are seen as ways to improve the delivery of value to clients and building users. The study revealed a range of similarities at a high level, which could easily point to an early conclusion that LC and VM are interchangeable, leading to the same goal of value delivery and shared misapplication of cost reduction techniques. However, a more detailed examination indicates significant differences in the philosophy and scope in different areas, including project timing, practitioner duties, and areas of practice which could complement each other. Also the study identified that LC is a broader philosophy which covers more aspects than VM, it is evident that LC has advanced over the years towards discussions on the concept of value. The current work in LC on value relies less on other construction value-related disciplines such as VM, VE and partnering. Furthermore, LC literature still views value as a confusing concept associated with different interpretations, forming the basisof its understanding. The study established that value plays a central role in both LC and VM. Their combination could offer great synergy regarding the concept of value.
Musa, M.M. , Pasquire, C. & Hurst, A. 2016, 'Where Lean Construction and Value Management Meet' In:, 24th Annual Conference of the International Group for Lean Construction. Boston, USA, 20-22 Jul 2016.


Finnegan Begin Again: Growing up Litsa: Litsa gets her own place!
Growing up Litsa: Litsa gets her own place!
Well, the girls didn't like it, but we've had to move Litsa out of the house. People will tell you that you can house train a pig, but the truth is you can't. You can put lipstick on a pig, but it won't make her Sarah Palin. You can put a leash on a pig, but it won't make her Lassie. A pig is a pig is a pig. And pigs pee wherever they damn well feel like it.
Don't worry, we have the perfect place for Litsa. It's a little brick building in our backyard. I know what you're thinking. You're thinking: Margaret Finnegan, you do not have a brick building in your backyard. But I really do! And believe me, it's a good thing because coyotes troll our street like they're peddling ice cream. Luckily, those big, bad boys can huff and puff all they want. Litsa is safe in her little brick house. She's actually put up some darling curtains: white with purple violets. Altadena Hiker came over and helped her hang them. Then they had tea and scones and giggled over the New Yorker's latest "Shouts and Murmurs." Those two do like their New Yorker. If I were jealous, I'd worry that AH was trying to win over my Litsa's affections, but I've promised AH the loin, so I know she's just earning her keep.
I love the piggies! My former neighbor had one for years and yes, she put a leash on her pig and took the pig on walks around the neighborhood!
When I was growing up, we called the little brick house in the back a smoke house.
Do you remember Growing Up Skipper?! When you turned her arm backwards she developed and her waist got longer.
Lynne: One of great regrets in life is getting rid of my Growing up Skipper. Sigh.
Who says you can't have your pig and eat it too?
YOU can have your pig, and/but I'll just eat it.
If KB seduces your pig away, I just hope Litsa & Boz can cohabit peacefully.
This "growing up skipper" is news to me. That is truly demented.
We girls of the Arroyo Seco found a pig running up the LA river. We kept her on a strip of land between the Pasadena Freeway and the flood channel. We named her "Pig". She was so sweet and would followed us and sit on our laps. I always thought she might be a piglet someone had managed to find on the island of Catalina, and brought home . Small and wild looking. Sad and unexpected ending for Pig but I'll spare you the gory details.
Laurie: Hmm...let me see what I can do.
PA: I want the gory details.
Sure. Sure. We'll see how long a pig lasts on the blog of bacon fodder.


A gorgeous Jean Pierre gents round wrist watch in a stunning 9 carat gold case. Featuring a white face with black roman numerals, black hands, gold second hand, date at the 3 o'clock position and outer dial marking the passing of the minutes. Fitted with a black leather strap and fine quartz movement.


Schistosoma haematobium infection is reported to facilitate the development of urogenital diseases. Its symptoms include haematuria, dysuria and tiredness, and it may cause cognitive decline in children. The prevalence of S. haematobium infection needs to be known in endemic areas and a mass treatment programme against the disease implemented. The aim of this study was to investigate the prevalence and intensity of S. haematobium infection in ILembe and uThungulu health districts, using the major symptom, haematuria, as an indicator.
A total of 6 265 urine samples, from 96 rural schools, was collected for analysis using dipsticks. The prevalence of haematuria in the ILembe health district was 37% (95% CI, 35–39%) for boys and 39% (95% CI, 37–41%) for girls. The prevalence of haematuria in the uThungulu health district was 56% (95% CI, 53–59%) and 53% (95% CI, 50–56%) for girls and boys, respectively. Light-intensity infection was the most common infection level in both health districts. A negative relationship was observed between prevalence and altitude (r = −0.262, p = 0.009); whereas, we found a slight, though significant, positive association with mid-summer temperatures (r = 0.234, p = 0.021). Associations between prevalence and distance of school to the nearest river were non-significant.


Interested in how our famous onion rings are made? Click through the steps below to learn about our process and find some interesting onion ring facts!
Nearly 1,000 pounds of colossal onions are peeled and sliced each WEEK at The Cellar. The individual rings are then separated to ensure they are breaded one by one. This is a tedious job but is very important as it allows for the breading to stick better and makes them easier to remove from the batter.
Each onion ring is then dipped into our secret wet batter followed by the dry mixture. The rings are then refrigerated in the dry mixture for 3 days to allow the breading to adhere to the rings. This time cannot be cut short as the breading does not stick to the onions if they are not given the correct time.
The onions are then pulled from the batter one by one and placed into the fryer (used specifically for our onion rings). Each order is fried individually to ensure each customer receives the best onion rings possible, which is why we are unable to offer our famous onion rings as a side dish. Once they are fried to perfection they are delivered fresh to your table with our housemade ranch dressing for dipping!
One employee is in charge of making our onion rings five days a week. Mornings are spent slicing and separating while the afternoon is devoted to battering & breading. During the holidays this becomes a six day per week job.
In 2012, The Cellar went through nearly 40,000 pounds of flour and 50,000 pounds of onions!
The "secret" recipe was a large portion of the negotiations process when the Hendricksons bought The Cellar in 2004.
In 2012 we sold over 25,000 orders of Onion Rings!! Those orders add up to 360,000 individual Onion Rings. That does not include the two Onion Rings that were served on top of each Western Burger (that adds another 20,562 rings!!).


text:
Register now After registration you will be able to apply for this opportunity online.
Excitation of vibrational modes in a levitated sphere
The objective of this project is to develop a stimulated Raman scattering setup (see figure) and to characterize the vibrational modes (acoustic phonons) of a levitated silica sphere. The work involves microwave electronics, optomechanics, and nonlinear optical spectroscopy.
The center-of-mass dynamics of a silica sphere (diameter 200 nm) that is trapped at a focus of laser beam is defined by its translational and rotational degrees of freedom. In addition to its center-of-mass degrees of freedom the sphere has also internal degrees of freedom (vibrations), which are analogous to the ringing of a wine glass. The vibrational modes have frequencies Omega m and can be excited by a nonlinear optical process, called stimulated Brillouin scattering [1]. Energy conservation requires Omega m = w1-w2. The output signal will be at a maximum whenever the frequency difference w1 − w2 is resonant with a vibrational frequency Omega m. The objective of this project is to develop a stimulated Raman scattering setup (see figure) and to characterize the vibrational modes (acoustic phonons) of a levitated silica sphere. The work involves microwave electronics, optomechanics, and nonlinear optical spectroscopy. References: [1] W. H. Renninger, P. Kharel, R. O. Behunin and P. T. Rakich, "Bulk crystalline optomechanics," Nature Physics 14, 601–607 (2018). Prerequisites: Electromagnetic theory, electronics and measurement techniques.
The center-of-mass dynamics of a silica sphere (diameter 200 nm) that is trapped at a
focus of laser beam is defined by its translational and rotational degrees of freedom. In
addition to its center-of-mass degrees of freedom the sphere has also internal degrees
of freedom (vibrations), which are analogous to the ringing of a wine glass. The vibrational
modes have frequencies Omega m and can be excited by a nonlinear optical process, called stimulated Brillouin scattering [1].
Energy conservation requires Omega m = w1-w2.
The output signal will be at a maximum
whenever the frequency difference w1 − w2 is resonant with a vibrational frequency Omega m.
The objective of this project is to develop a stimulated Raman scattering setup (see figure) and to characterize the vibrational modes (acoustic phonons) of a levitated
silica sphere. The work involves microwave electronics, optomechanics, and nonlinear
optical spectroscopy.
[1] W. H. Renninger, P. Kharel, R. O. Behunin and P. T. Rakich, "Bulk crystalline optomechanics,"
Nature Physics 14, 601–607 (2018).
Prerequisites: Electromagnetic theory, electronics and measurement techniques.
Supervisor: Jayadev Vijayan (jvijayan@ethz.ch)
Earliest start 2021-01-04
Latest end No date
Photonics Laboratory (ETHZ)
Semester Project
brillouin_scattering.pdf 160KB Download


The Early Intervention Psychosis (EIP) service is moving to a more convenient location close to the centre of Newport town.
The new premises in Orchard Street has been improved to ensure the accommodation and environment meets the needs of the people using the EIP service and the staff based there.
If you wish to contact the EIP service you can do so via the same telephone number of 01983 552555. The service also accepts referrals from GP's, Schools, Supported Accommodation Schemes, Community Mental Health Services, and from family members of the person concerned. The service will be open Monday-Fridays, 09:00-17:00.
"This has been in the planning for some time now so we are all delighted that the move has taken place. Our vision for mental health services on the island is that they will be more accessible and responsive. People who use mental health services have helped us design how they will be delivered in the future to better meet their needs. The relocation of the EIP Service is a huge step forward in achieving this vision".


We, also, have something to thank Bogle for.
Bogle, indexing, and the importance of low cost and low taxes were very much in our minds when we started Smartleaf 20 years ago. Our objective was to take Bogle's ideas to the next level, to bring cost and tax management not just to one product, an index fund, but to the management of an investor's entire portfolio.
We even wanted to improve on index funds themselves. Index funds outperform 80% to 90% of all investments, but we knew there was something even better than an ETF, if it could just be delivered at scale. It's called a direct index, a basket of securities that tracks an index. In a way, it's simpler than an index fund because there's no "fund" — investors just own a bunch of stocks. Direct indexes outperform ETFs and index funds on an after-tax expected basis — but only if they're expertly tax managed, and at the time we started Smartleaf, tax management was a largely manual and expensive process. So, unless you had lots of money, direct indexes didn't really make sense. We wanted to lower the costs of direct indexing through automation and thereby create an investment for all investors that can outperform even an index fund.
We're nowhere close to saving investors $100 billion a year. But we're working on it.


There's some great innovation out there in hyperlocal publishing in both content and technology. Talk About Local wants to showcase and support that innovation. So we have created hyperlocal labs (actually it's just a web page with some bright ideas on it…) and our first project goes live today.
As our first project Jon Bounds has created a customisable hyperlocal news aggregator for Birmingham's local sites. You can read about the pipes based aggregator here and Jon explains how you can do it for your area.


text:
Clare Mackintosh - US
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Say it with flowers: a garden for After the End
July 22, 2019 By cmadmin
There is a scene in After the End where Pip and Max meet at a bench, on the hill overlooking a play park where they brought Dylan when he was a toddler. Surrounding the bench are masses of yellow flowers. I won't spoil the story by explaining why they are there, but it's a peaceful, […]
Filed Under: Publishing
Independent Bookshop Week: my life in bookshops
June 15, 2019 By Clare Mackintosh
It's Independent Bookshop Week, here in the UK, and I've been thinking about the book stores I've been lucky enough to frequent over the years. Just as a house never feels like a home unless it has books in it, so a town without a bookshop always feels slightly underdressed. I have been fortunate enough […]
Living with a writer: what's it really like?
May 26, 2019 By Clare Mackintosh
Whether it's Stephen King's vitamin pills, Hemingway's dawn starts, or J K Rowling's café stints, we are endlessly fascinated by authors' lives. But what's it like living with a writer? I spoke to six long-suffering spouses to find out. The partners Tracy Mearns is a former bookstore manager, a ginger, the honourary wife of Denise Mina […]
Filed Under: Writing
How do book critics decide which books to review?
April 1, 2019 By Clare Mackintosh
How do book critics decide which books to review? I've always loved reading book reviews in magazines and newspapers, and bemoaned the ever-decreasing amount of space devoted to them, which makes the job of the critic even more important. How do they decide which books to review and which to leave out? Do they ever […]
Author Advent: introducing Lesley Kara
December 24, 2018 By Clare Mackintosh
Every day until Christmas Eve I'll be introducing you to an author whose debut novel came out this year. Today it's Lesley Kara. About Lesley Kara Lesley Kara is an alumna of the Faber Academy 'Writing a Novel' course. She lives on the North Essex coast. Her first novel is The Rumour. Tell us about […]
Author Advent: Nicola Mostyn
Every day until Christmas Eve I'll be introducing you to an author whose debut novel came out this year. Today it's Nicola Mostyn. About Nicola Mostyn Nicola Mostyn lives in Manchester and is a big fan of the funny – both ha ha and peculiar. Her debut novel The Gods of Love was published by […]
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Situated in a sheltered bay, Tamarind Cove Marina Development Limited is an emerging port of call, the first of its kind on the exquisite island of Nevis. An exclusive retreat with full-service hotel amenities, The Residence at Tamarind Cove offers a luxurious lifestyle with entrée to a variety of personal services. Each of the one- to three- bedroom units features spacious living with superb waterfront views from private verandas.
Ownership opportunities are now available for residences and marina slips. Please contact us to schedule a visit.


Want perfect wedding day skin? We've picked 4 best facials you must indulge in before going for a wedding. What's great about these facials are that, they are not only for the brides but also for the wedding goers. A good facial includes surface cleansing, deep pore cleansing, exfoliation, toning, and moisturizing. The services you receive depends on your skin type; oily skins will get extra cleansing, dry skin extra-moisturizing treatments.
Pilates | The Easiest Bikini Body Workout You Have To Try!


Footage of round the world trip aboard the ocean liner the 'Empress of Britain'.
Titles read: "ROUND THE WORLD - (No 1) - with the Pathe Pictorial cameraman on the 'Empress of Britain'."
"Our cruise starts at New York - and we are greeted by Commodore Latta R.N.R."
M/S of Commodore Latta standing on deck of the ship informing us of the details of the round the world trip which he says includes passing through the Suez Canal, passing near Java, China and Japan." M/S of the bow of the large liner. L/Ss of the deck of the ship. Passenger boarding ship along ramp. Large funnel with smoke rising (horn sounds). L/Ss of the ship leaving, people wave form shore. L/S of New York skyline (includes Empire State Building). L/S of ship.
"Our first stop is at Madeira - where we go down to the shops in sleighs - Madeira's own special variety." L/Ss of passengers being pushed down steep street by sleigh. M/S of young woman buying flowers from two flower sellers who balance large baskets on heads. The woman tells the two women in a posh voice to speak English.
"Soon after leaving Madeira - our great liner is off Gibraltar, Britain's key to the Mediterranean." L/Ss of Gibraltar rock. Street scenes in city. "In the town you meet every type if salesman from Hindus selling Chinese shawls made in Birmingham to the local itinerant Vendor." L/S and M/S of salesman holding shawl. L/S of numerous soldiers marching through streets. L/S of military band playing.


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C'dale students walk out to support teacher
Gina GuarascioCarbondale correspondentAspen, CO Colorado
CARBONDALE More than 100 Roaring Fork High School students walked out of class at noon Tuesday in support of longtime Spanish teacher Jill Knaus. After more than 21 years in the district – including 14 at Roaring Fork – Knaus said she intends to resign. Her students don't want to let her go, and she doesn't want to go, either."I started crying when I told my Spanish III class this morning. All of them are taking Spanish IV; I didn't want them to think I was abandoning them," Knaus said after the impromptu rally, where more than a dozen students stood up and spoke out.Several students and parents have spoken out recently about the problem retaining good teachers at Roaring Fork, and concern over seeing students who live in Carbondale choosing to commute out of the district.Retaining teachers is a problem at most valley schools because of the cost of living. But tensions have been building among students, parents and teachers and the administration. "We have got great kids at this high school, and they deserve so much better than what they're getting in so many respects," Knaus said, adding that she was aware of up to 10 other teachers planning to leave."This was a huge decision for me," she said. "I am not ready to be done teaching. I'm old enough and I could retire, but I have a passion for teaching, and I'm passionate about these kids, and I love this town. It breaks my heart."Principal Dale Parker said he's received only three official resignations from teachers to date. Last year, six teachers left the school for various reasons.He said the enrollment didn't justify Knaus being a full-time Spanish teacher next year, and that she has options to stay. Knaus said she will resign because she cannot do what Parker is asking while maintaining the standards she has set for herself and her students.If she stayed, she said she would have to pick up another class because there are not enough students to fill two sections of the lower-level Spanish. Knaus said she couldn't physically take on another class. Her other option was to work for five-eighths time, which she said meant teaching more students for less money.The students aren't going to let Knaus go without a fight, though.Her resignation serves as a symbol of what some teachers and students feel is an erosion of Carbondale's only public high school. As they ready to move into a new $18.6 million building in the fall, several Roaring Fork juniors said they were considering going to other schools."Knaus used a great term when she informed us of her resignation, she called it a 'tipping point,'" said junior Torrey Udall. "I'm sick of kids having to depart Carbondale and their community and their school and their friends just because there's an administrative issue."Junior Krispin Jewkes said Knaus has been an inspiration to all the students."Knaus is by far one of the best teachers I've ever had. I think it would be a mistake to let her go," Jewkes said. "It's been really disturbing to me when people come up to me and ask, 'Should my child go to RFHS?' But I'm starting to realize why. We're losing the best of this school. … She is not going to leave without us fighting for it."Several of the school's Latino students stood up to support Knaus."[Knaus] is one of the teachers who cares about the Latino population the most," said Pumpkin Murillo.Her mother also came to the walkout and urged the students to help get the community involved in the issues at the school."Please help me get the community involved to keep Mrs. Knaus. She is the best thing we have at this high school right now," said Chella Murillo.The walkout took place in front of the school in view of Parker and assistant principal Barbara Mason's office windows. Neither administrator came outside, and most of the students went back to class after the rally.
The Aspen Mobile Pantry, held from noon to 2 p.m. every Wednesday in the Aspen Golf Course parking lot, is open to anyone who might be feeling the financial strain of the pandemic.
Photographer Dede Reed opens "Reflections" at The Art Base
Late-night fire at base of Carbondale's Red Hill highlights mid-winter fire danger


You will be intrigued by the Town of Simple. At first it appears the town is a place where everyone has the perfect life and you might even wish you could live there.
It is easier to create an illusion of what we want others to think than it is to actually create what we truly want.
If you want to be happy, healthy, and wealthy, remember first and foremost that those words do not mean the same to everyone. Take my gift of wisdom, take the APE Philosophy and do with it what you will!


Awake before the sun peeks over the horizon, to the sound of chirping birds. Eyes open, heart open, body a bit fatigued and rather confused. It thinks it is still five hours later since, for 10 days, where I was living, it was. Time can be a confounding and fascinating thing. At birth, we are given so many tick-tocks, that measure out our days. I ask myself all the time how I want to spend those moments. For much of my life, I have toggled back and forth between bravely leaning over the edge about to leap into the unknown and playing it safe with my feet firmly planted on familiar ground. Both have served me in some ways, and yet the second has certainly prevented me from living as fully as I would like to. As I am approaching 60, I decided to fulfill a long-term dream of traveling to Ireland. I have imagined that it is a past life connection which draws me to the people, culture, music, art, language, and land, since in this lifetime, to the best of my knowledge, I have no ancestry there. Irish accents melt me. I have two friends who grew up there and immigrated to the U.S. and they supported my dream of this birthday gift to myself. A typical pub tour wouldn't have worked for me since I am a teetotaler. I then cast out a wish to the Universe, declaring that Spirit would be my tour guide and I would find the ideal circumstances.
And so it was that I embarked on the Muse Juice Tour.
What I have learned is that once I make a decision to do something, events unfold, people show up, opportunities arise, feelings flow. Even though it was a few months away, the trip had already begun. Within a few weeks, a potential roadblock arose, as I found myself in the hospital with pneumonia, feeling as if I was drowning. Another exercise in trust as it brought with it, a challenge to allow myself to receive support from family and friends who visited both while I was there and once I returned home. They brought food, so I didn't need to cook, some offered energy healing work, others gifts, but primarily the gift of their presence and love. I reluctantly, but necessarily breathed it all in. I have been on the offering end of all of these things, and yet, (not sure why), have resisted being on the receiving end. Call it control, not wanting to be vulnerable. That I certainly was, as each breath was sometimes hard won. To compound matters further, I coughed ribs out of place and a few days after discharge wound up back in the ER. Even though I knew I would heal, I still fretted over my condition and feared that I wouldn't have the stamina to go on the trip. How would I keep up? I didn't want to slow anyone else down. Another core issue came to the fore; not wanting to inconvenience anyone. I knew I needed to explore that one more deeply. Since our bodies are resilient, I bounced back slowly, taking time to both rest and re-build my strength, so I could easily trek about.
Another cosmic coincidence occurred that told me I was on the right track.
As the time approached, that financial fear came back with intensity since I had missed two weeks of work as a therapist as I was recovering. How would I afford the trip and pay my bills since I would be away for another 10 days? My dear friend, surrogate mom, and mentor, Yvonne Kaye came up with an ingenious plan. She posted on my Facebook page that since my birthday was approaching and this trip of a lifetime was my gift to myself, that perhaps other people would like to contribute as a way of early celebration. I had several competing feelings about it. I was tearfully grateful that she would do that for me, embarrassed that I needed a boost, feared that no one would help out and questioned my worthiness to receive such generosity. I then took a deep breath and trusted. Money began to flow in, offered by some who have known me for decades and some I have never met face to face. I still shake my head in awe about those who stepped up and chipped in; some for whom it was a stretch to help out. I bless you and love you all.
My sweet son and daughter-in-law, Adam and Lauren paid for my airfare and gave me a vividly pink, (came to be known as a combo of bubble gum, Pepto Bismol, and Pink Panther) suitcase that was not only easy to spot on the baggage carousel as was the initial intention, but on the busses on which I rode).
The day arrived when I boarded the plane and settled back for a long leap across the pond. As much as I intended for the transportation to flow smoothly, sometimes glitches occur.
"As Divine Providence would have it, I missed my connecting flight to Dublin going through customs and met these two delightful women from Seattle named Mary and Nicole who are traveling to Dublin for a friend's wedding. Because I got bumped to a later flight British Airways paid for breakfast. We must have trekked a few miles to the new terminal. Now flying Aer Lingus. Trusting the process and the pancakes with fruit and pumpkin seeds at a place called Wondertree." We had hung out together for awhile and got separated and then, wonder of wonders, ended up seated next to each other in the restaurant!
I assured myself that I would still get there in plenty of time to settle in before the Muse Juice Tour officially began. The theme was 'anam cara', translated to 'soul friend,' and was made popular by writer and philosopher John O'Donohue. Angi beckoned us to befriend our own souls as we welcomed others. I have long loved John's writings and the ideas he espoused. One of the places we stopped along the way, was his grave at the Creggagh Cemetery. The group sat in silence at first and then offered wishes and thoughts to this man who inspired the journey since he was a major influence for Angi.
Uncharacteristically, I didn't feel compelled to write much, so I allowed photos to do the talking for me, as I took people along on the ride with me. Social media is a grand thing when it offers a window (or in this case, a doorway) into the lives of others. Journaling was part of the experience and Angi offered morning writing prompts to spark our inner explorations even as we explored sacred sites, ruins, landscape; saw sheep, horses, and cows (which may well outnumber people in Ireland- 4,803,748 as of 2018).
I found myself in repose a great deal of the time.
This rock was in the middle of a standing stone circle and it spoke to me quite clearly. My mother had always been the rock of the family on whom everyone leaned. I used to tell her that rocks crumbled, even as I came to take on that role. On this day, the boulder's message was that I need not do that and that I could lean into her. I sprawled across her cool surface, embracing her and absorbing the energy she emitted. I then turned around and faced the sky as I stretched backward into her as if being absorbed.
On this day, the boulder's message was that I need not do that and that I could lean into her.
On one of our final days there, we visited the Cliffs of Moher, initially viewed by boat and then from the top of the structure sculpted by wind and water over eons. I found out that two major movies Harry Potter and the Half Blood Prince, as well as one of my favorites, The Princess Bride were shot on location there.
The food for this near vegetarian was healthy and plentiful. This was an aubergine (eggplant), kale and pumpkin seed pie served at The Piemaker in Galway. Another time I found a lovely Indian/Nepalese restaurant. Excellent vegetable biryani and raita. My sinuses were really clear afterward and I drank nearly an entire pitcher of water.
One of my intentions was to hug my way through Ireland, which I had the joy of doing.
Portable sign and open arms, I found people (with very few exceptions) willing to embrace this Love Ambassador as a friend had called me before my trip. These were buskers and their friend. The two men had just done Etta James proud with their rendition of At Last.
One of the most memorable people I met, was this young man who was blowing massive bubbles in Eyre Square in Galway. He told me that I came from the land of the purple marshmallow people since my hair was dyed that shade and I was wearing a vividly purple scarf. After the first round of hugs, I passed through the park again and he snagged me, rubbing his head against my shoulder and told me that he was spreading patchouli oil on me. How did he know that this tree hugging, crunchy granola hippie loved that scent?
Kylemore Abbey is one of the most visited sites in Ireland and is a shrine of sorts in tribute to a loving union. I was fascinated by the mirror image that called out to be photographed. That night, we were treated to an intimate concert (maybe 100 of us) in the chapel. The performer was one of my favorites, Irish musician Luka Bloom whose music I heard initially on WXPN. When I met him afterward and told him about the connection, his face lit up and he said, "Oh, World Cafe." (One of the station's signature shows that he was on).
Connemara ponies in the field. We were told that newborns are darkly colored and it isn't for a few months that they gain their white coat.
This sweet pupster was my companion on a trek down a hill. I had hiked up with the other folks to the Burren green road and turned around to take a solo jaunt back to the visitors' center. He was one of three I had met on the way up and as the trio greeted me on the return trip, the other two remained and he kept on going, playfully jumping up and grabbing my wrist. I encouraged him to back home and he encouraged me to let him stay. He won. He kept me company for nearly an hour as I waited for the others. I suspect that this angel in a fursuit was sent as a reminder to slow down and be more playful.
We couldn't have asked for better weather; sunny and in the 60's and 70's all but one day. We joked with the locals that we brought the weather with us.
Who comes back from Ireland with a tan?
I am convinced that people are called together for a higher purpose and to help each other heal.
Kevin Clancy was our driver/guide for most of our time on what I have come to think of as 'Further,' which was the bus from the Tom Wolfe classic The Electric Kool-Aid Acid Test. We were indeed a band of Merry Pranksters. A seasoned guide and photojournalist in his previous professional incarnation, he took us to many places where tourists don't normally go. I felt a kindred spirit connection with him as we chatted about life, the Universe and everything. He encouraged me to climb aboard a rope swing and once on it, I felt like I was flying. What a freeing experience!
These are the people with whom I have become family of choice as they challenged me to expand comfort zones, stretch physically, emotionally, mentally and spiritually. One of the things I realized as I got to know them is that each of us carried with us (as if packed in our luggage), losses, wounds, and traumas, that we safely unpacked in each others' presence. I am convinced that people are called together for a higher purpose and to help each other heal. There was a sense of incredulous, "You too?" responses to certain conversations, many that were prompted by Angi's morning emails and questions throughout the trip. She is genius at pulling the deep stuff out of people with her sometimes no filters/no holds barred/no limits expression. Silas is her balance; grounded and calm. He is a composer and artist with a deep appreciation for Gustav Mahler and a curiosity about the world. I found that we are all mirrors for each other, reflecting the beauty that exists within each of us, even if we are blind to it at times. Angi is aptly named as a Muse; with the heart of a wild child and the soul of an ancient elemental. I see myself in that description as well.
I was blown away by realizing the planning that goes into an experience like this. Months of research and reservations, carving out wondrous encounters, trusting that all will flow into place, allowing for flexibility and change of plans, infinite imagination, shepherding a group of strangers safely, creating the container for conversations that might not otherwise occur, beckoning us to stretch comfort zones while honoring our own needs. That is a gift that no amount of money can buy.
I feel as if I am between worlds at the moment.
I feel as if I am between worlds at the moment, missing my tribe who are re-integrating back into their pre-trip lives, but I imagine, like me, are forever transmuted by the time in Ireland. I feel at home in both places.


Every year for ten years, a young woman's body was found in Edinburgh at Christmas time: naked, throat slit, body washed clean. Ten years, ten women. The final victim, Kirsty Summers, was Detective Constable Tony McLean's fiancee.
The Book of Souls is James Oswald's second electrifying thriller in the Detective Inspector McLean series. Every year for ten years, a young woman's body was found in Edinburgh at Christmas time: naked, throat slit, body washed clean. Ten years, ten women. The final victim, Kirsty Summers, was Detective Constable Tony McLean's fiancee. But the Christmas Killer made a mistake. In a cellar under a shop, McLean found a torture chamber and put an end to the brutal killing spree. Twelve years later, and a fellow prisoner has just murdered the incarcerated Christmas Killer. But with the arrival of the festive season comes a body. A young woman: naked, washed, her throat cut. Is this a copycat killer? Was the wrong man behind bars all this time? Or is there a more sinister, frightening explanation? McLean must revisit the most disturbing case of his life and discover what he missed before the killer strikes again.... Fans of Ian Rankin, Peter James and Stuart McBride will love James Oswald's work.


text:
Diary of the Coming of a Christ-Centered Age
Kenneth McCarty Bird
WHAT THE BOOK IS ABOUT
Diary aims to thought-provoke critical thinking on what is authentic Christianity, in the face of society's apathy and cynicism; and it aims to raise consciousness to the real Jesus and the true church in light of what it means to pursue the kingdom of Heaven.
About two miles to the southeast of Jerusalem was the small, but alluring village of Bethany. This is where Jesus went often to visit friends --the two sisters Martha and Mary, and their brother Lazarus. The women had a unique roll that set them apart as homemakers and occasional hosts to someone as important as Jesus. They sought His presence and coveted the opportunity to meet with Him as a guest in their home. Hence, whenever Jesus had time to take a break from His rigorous ministry He would come to this village where, unlike Nazareth it was a lot less cold, rainy and wet.
On one occasion, Jesus and the disciples were passing through, and at Martha's invitation He acquiesced to a visit with them. Upon entering the house, Martha continued preparation in lieu of what was hospitable for one so honored a guest. Mary, however, sought to use the opportunity to learn something from Jesus. She took a seat at His feet and listened to every word that fell from His lips; being immersed and mesmerized with His teaching. The time was fleeting by, and Mary, much to her chagrin, was left to do all the work. She stopped what she was doing and said to Jesus:
"Lord, don't you care that my sister has left me to do all the work by myself? Tell her to help me!"
Jesus was non-compliant. And much to Martha's surprise, He had a lesson for her as well. He said, "Martha, Martha,.. you are worried and upset about many things, but only one thing is needed. Mary has chosen what is better and it will not be taken away from her."
Martha, like Mary could've sat awhile and listen to the invaluable words Jesus had to share with them. But it didn't pique her interest enough to pull her away from her usual preoccupations. She was overly concerned about dishes, and hors d'oeuvre, lint and dust mites on the couch, while a vital lesson was passing her by. Jesus had to bring the lesson home in order for this young woman to understand the priority of the kingdom of heaven.
Martha was often very particular about keeping up appearances, and was satisfied with just knowing Jesus was there, and with whom she could share her hospitality and His fame. But Mary had no agenda except to hear what He had to say, and glean some important truth from the messiah they had waited long to see. The relationship that Martha and Mary had with Jesus served as a metaphor to two kinds of people who bear witness to Jesus and His teaching.
They represent two separate camps of Believers: The camp who studies the "word" and preaches the gospel of Jesus, and the other camp that studies the "word" but preaches the gospel Jesus taught. There's an important difference between the two. Like Mary, one has to be willing to learn at the feet of Jesus the rudimental message of the kingdom. Such a one must have a willing heart, an opened mind, and focused attention to glean what the Holy Spirit says.
Like those who are overly preoccupied with the message about Jesus, many preachers are content to stay at the cross, hammering the most minute details of the crucifixion; on how Jesus died, how long the nails were and where they were placed on His limbs. This leads to a response of intense grieving, sorrow, and emotional vulnerability on the part of the listeners; that sometimes help to pull a sinner from the pew to the alter of repentance. But when this becomes the focal message of the gospel, it becomes an impingement on the real purpose for which He died; which purpose was to pave the way for the kingdom of heaven....


This page provides support for the contour binning algorithm, which is published in Sanders (2006; MNRAS, preprint colour B&W, final version). It is an algorithm for binning X-ray data using contours on an adaptively smoothed map. The generated bins closely follow the surface brightness, and are ideal where the surface brightness distribution is not smooth, or the spectral properties are expected to follow surface brightness. Colour maps can be used instead of surface brightness maps.
Download source contbin-1.4.tar.gz (2010-12-07), containing some compilation fixes for recent gcc versions.
Contact Jeremy Sanders for support of this software.
This is not an official page of the Institute of Astronomy. Page was last updated on 2014-10-09 by Jeremy Sanders.


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text:
package com.microsoft.signalr;

import java.util.Map;

public final class CancelInvocationMessage extends HubMessage {
    private final int type = HubMessageType.CANCEL_INVOCATION.value;
    private Map<String, String> headers;
    private final String invocationId;

    public CancelInvocationMessage(Map<String, String> headers, String invocationId) {
        if (headers != null && !headers.isEmpty()) {
            this.headers = headers;
        }
        this.invocationId = invocationId;
    }

    public Map<String, String> getHeaders() {
        return headers;
    }

    public String getInvocationId() {
        return invocationId;
    }

    @Override
    public HubMessageType getMessageType() {
        return HubMessageType.CANCEL_INVOCATION;
    }
}

redpajama_set_name: RedPajamaGithub