Thank you for your ongoing support of our small green business. Because of you, we were able to grow Vermont Woods Studios this year, even as we struggled to compete with online giants. Your customer reviews & word of mouth are our secret sauce and we are grateful. Here are some highlights of your impact at Vermont Woods Studios in 2018.
Being wood furniture makers, we find an important mission in planting trees for future generations. Through our partners, including Forests for Monarchs, we've planted almost 58,000 trees since our start in 2005.
You just never know what you're going to find at our annual Vernon Beach Clean Up. From left to right: Jake Checani, Riley Farabaugh, Geoff Strawbridge, Sean Henry, Ken Farabaugh, Mike Jenkins, Martin Corbin, Liz Francese, "Jerbo" and Peggy Farabaugh. We volunteer as part of a state-wide Green Up Day.
Liz and Michelle are making American Chop Suey for a shelter in neighboring Brattleboro, VT. Liz is leading this project where we provide dinner for the homeless on cold winter nights.
Our annual 3rd grade field trip gives local kids an appreciation for the biodiversity of the forest ecosystem- one that is very near & dear to the heart of every Vermont woodworker.
Every year we adopt local children and seniors & provide gifts to cheer them during the holidays.
Our operations manager Liz is planting a tree on her birthday — as part of the inaugural Plant a Tree Day in East Burke, VT.
These are the good people at Families First in neighboring Brattleboro, VT. They're gathered around a maple conference table we donated. Our team also sponsored the 43rd Annual Brattleboro Rotary Charity Golf Tournament, and made donations to the River Arts Gallery, our local humane society and numerous other environmental and social non-profits.
We donated food to Project Feed the Thousands which provides over 200,000 meals/year to people in Vermont and NH.
Every Friday we deliver meals to seniors in the Vernon community. We've been serving meals on wheels since we opened our doors in 2005.
UpCountry Magazine published a story about VWS and the master craftsmen we collaborate with. Chad Woodruff (Woodruff Custom Furniture), Alex Dunklee (Wrought 'N Wood) and Ken Farabaugh were featured.
The editors at The Story Exchange featured our green business in a story about Vermont's eco-friendly furniture.
The Vermont Sustainable Jobs Fund VSJF featured VWS in an article about how your buying choices affect climate change.
Socially Conscious Living published an article about our environmental mission at VWS.
Green Matters featured VWS in an article about ethically sourced furniture.
Vermont Woods Studios was examined in a case study on Green Business in this Environmental Science textbook.
Mid-Western radio show host, Kathryn DeLong featured us on her popular "My Beautiful Home" show.
We added several new furniture styles to our collection, including Kipling, Sutton, Invigo, Statements, Essentials and Brighton.
It may only last a brief and fleeting moment but for now it is true. As a small business we have to turn a profit. Wayfair does not. They will post about a $500 Million dollar loss this year. In spite of our struggles to compete with them, Wayfair has forced us to improve & be the very best we can. For that we are grateful.
We know how fortunate we are to have customers like you, who share our values. From our start, customer happiness has always been our top priority. Unlike many other online furniture stores, we can honestly say our customer reviews are excellent. You don't have to rely on our own Reviews page. Check out independent 3rd party review sites like Google, Facebook, Yelp and Sitejabber.
Here's the whole VWS Green Team, including Jake and Sophie. From left, 1st row: Michelle Rooks, Ken Farabaugh, "Jerbo", Peggy Farabaugh, Riley Farabaugh. From left, 2nd row: Jacob Friend, Dennis Shanoff, Geoff Strawbridge, Sophia Rabe, Martin Corbin, Liz Francese, Neville Kerr, Jake Checani, Sean Henry & Nina Markiw.
Once again, thank you for your continued support of our small green business. We wish you a happy & prosperous 2019. Please come visit us at our Stonehurst showroom one day. We'd love to meet you.
Shop Vermont Made Furniture & Home Decor Today!


Can Car-Centric Suburbs Adjust to Aging Baby Boomers?
The millions of boomers who will grow old in the suburbs will put pressure on local governments to spend more on everything from transportation to senior services.
Even if a suburb has a regional transit system, the routes are often limited and geared to help commuters get to and from work in the city. The nearest bus or train stop may be miles from the subdivisions where aging boomers live. And while the Americans with Disabilities Act requires most public transit systems to provide pickup "paratransit" for people with disabilities who are unable to use regular bus or train services, that applies only to people who meet certain criteria.
This story was originally published by Stateline. Stateline is a nonpartisan, nonprofit news service of the Pew Charitable Trusts that provides daily reporting and analysis on trends in state policy.


Clothing wasn't just fabric on my back!
In high–school, I would spend hours preparing my entire look – from my matching outfit to my nicely–blended makeup to my half–up and half–down hairstyle.
I lived just a few blocks from school, and still I made it a habit to get up at the crack of dawn to get ready – all the beauty sleep I skipped on makes me shake my head now.
Getting ready for school was like getting ready for battle, dramatic, but true.
I needed a suit of armor. Everything I needed to conquer. The clothing I wore would either make or break my day. It was as simple as that.
Crazy? Perhaps. But, I knew back then how much clothing impacted my mood and the outcome of my day. So, I was careful of what I'd wear.
I knew back then how much clothing meant to me.
As I've mentioned before, my mother made a lot of my clothing as a kid. We both loved it. She'd make them with love, I'd wear them with admiration.
Clothing wasn't just fabric on my back. It was a costume – bringing out a different part of my personality.
I'd spend hours styling outfits, and altering my clothes.
Trimming something or adding a little detail to an article was exciting. I loved making my clothing more me.
This is what I felt I was meant to do. Costume myself, and if lucky enough, one day have the opportunity to costume other women, as well.
Inspiring you by helping you bring out your best side is what drives me. It makes me happy.
A purpose. A talent that is meant to inspire and help others in some way. Something that makes you super happy.
Whatever it is, I hope you bring it to life.


There are specific kinds of loans that borrowers can avail for specific purposes. For examples, mortgage loans are for buying a house, student loans are for higher education, and auto loans are for buying a motor vehicle. Personal loans are loans which can be taken for many different kinds of purposes. Most banks typically do not ask a burrower about the purpose for a personal loan.
Unlike other loans which are secured with a collateral like a car or a house, personal loans are most unsecured and without a collateral. Hence, the associated interest rates tend to be higher than other loans. Burrowers can offer collateral when asking for a personal loan to avail of a lower interest rate.
You may take out a personal loan to finance some high-end purchases that are not within the budget. For example, you may take the loan to buy a top of the line laptop for your child who is going off to college. It is a better option to check the financing option with the seller and compare it with the personal loan, and then select the better option.
If you have collected a lot of credit card debt, then consolidating all that debt and paying it off with a personal loan can be a really use of the loan. Unpaid credit card bills invite runaway interest charges. After you pay it off, you only have to worry about repayment of just one debt, i.e., the personal loan.
Personal loans can be taken for to meet unexpected expenses, such as emergency medical expenses or a sudden but vital travel plan.
You may take out a personal loan to help fund a big occasion such as a wedding. If you charge the sundry expenses of a wedding onto your credit card, then you may not be able to pay the credit card bill, in full, in the following months. This can hike up the interest charges causing you to fall into a debt trap. Instead taking a personal loan is the easier option as you can plan the monthly repayment plan.
A personal loan can be helpful for large household expenses like replacement of a defunct appliance, remodeling the home, or home repairs that need to be done following damage in a fire, flood, etc.
The credit bureaus calculate the credit score of borrowers on the basis of the different kinds of credit options used by the burrower. The presence of a personal loan in addition to credit cards in the credit history adds diversity, thereby helping improve the credit score. Also, personal loans raise the total amount of credit that is available for use by a borrower, which in turn reduces the credit utilization ration and enhances the credit score.
If your job does not offer adequate earnings, you may take out a personal loan and start a small business for additional income.
When to use a personal loan instead of a credit card?


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our students in Israel
Kareen June 2021
Loseen June 2021
Sukina June 2021
Rim June 2021
Saida June 2021
Scholarship project
Terms of grant
one million euro
SANA Foundation our partner
a memorable review 36 year Friends Nazareth
Yoad one of our students
FRIENDS contactletter
Contactletters
Friends of Nazareth: its origins
In 1980 members of the student parish Maranatha in Tilburg made the first contacts with Palestinian Christians and Muslims in Nazareth, the largest Palestinian-Arab town in Israel.
This was the basis for the Foundation Friends of Nazareth, started in 1985.
Since then 'Friends of Nazareth' have called for attention and support to the Palestinian 'minority' among the Israeli citizens.
Many of those involved then, by now ex-parishioners of Maranatha and members of the Ecumenical Grassroots group Tilburg, are still a 'Friend' and donor to the scholarship project.
The foundation' Friends of Nazareth' is an independent, nationally operating NGO having an ANBI status since 2005.
Peacefull solution
Both organisations wants, in this way, to help find a peaceful solution to this, seemingly, unsolvable conflict between Palestinians and Israelis.
Over the years the Foundation has found out a lot about the 'other' Israel. This implies that we want to show how the 'democratic' state of Israel infringes on the rights of one in five of its citizens in many domains of social life. This is also why for all these years the Foundation has exerted itself for this group, generally disregarded.
In 1989 the Foundation took the first steps towards the start of the scholarship project.
'Nazareth' is the name given to the Foundation as a symbol of the well over 1.5 million Palestinian citizens of Israel, 20% of the overall population.
2021: Phasing-out of Stichting Vrienden van Nazareth
You read that correctly, by the end of 2021 the Stichting Vrienden van Nazareth will cease its work. By then we will be responsible for one student only, Saida. She has been informed of the dissolution of the Stichting and knows that SANA Foundation will take over her coaching. We will stand surety for the remainder of her grants. This December the last Friends will be published with content looking back on our history.
During the Board meeting in the spring of 2022 a formal decision will be taken after which all formal business will be completed via the Chamber of Commerce and the ANBI (cf. Public Benefit Organization) status will be abolished.
Your contributions together with the large donations of organizations have enabled the aims of the Stichting, the scholarship program and publicity about The Other Israel during the past 35 years. We are very grateful to you. We are pleased that SANA Foundation, our partner NGO having the same objective as our Stichting, has come
into being over the past few years. Thanks to the great efforts of an active and trustworthy Board our common goal, higher education for young Palestinian women, will remain intact. Friends who made a multi-annual pledge until after 2021 will be
personally informed about the implications.
Diashow diptyches
'Palestinian women, empower their future'
Gerdien Wolthaus Paauw
Palestinian women
by Fatmeh Kassem
Policy Plan 2020-2022
What does the foundation do in close collaboration with SANA Foundation?
Fundraising for the scholarship project
Report about "the other Israel" via FRIENDS contactletter since 1989.
your tax-deductable contribution.
© 2013 Friends-Nazareth • terms of use

redpajama_set_name: RedPajamaCommonCrawl


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Matt Russell returns to Kona
A year after a devastating crash, Russell's comeback season comes full circle
August 24th, 2018 by Cam Mitchell | Posted in Feature, News
Matt Russell racing at IRONMAN Mont-Tremblant 2018.
Matt Russell finishing third at Ironman Mont-Tremblant 2018.
Yesterday, Matt Russell on his social media accounts announced that he received a wildcard entry into this year's IRONMAN World Championship in Kona, Hawaii. After discussing with his family, he has decided to return to the island and compete for a top 10 placing at this year's race.
On August 22nd, Andrew Messick (CEO of IRONMAN) delivered the news to Russell that he was the first professional to not qualify for the championship based on the point system. However, considering the circumstances and the near miss in qualifying 10 months after a devastating crash, Messick offered Russell a wildcard slot for this year's race.
Related: The remarkable comeback of Matt Russell
Two years ago, Russell finished 12th in the professional men's field, a race that was won by Jan Frodeno. Last year, Russell DNF'd following a collision with a van on the bike course. After months of recovery and rehab, he returned to triathlon at IRONMAN 70.3 Texas. The return was difficult but it gave him hope that he could return.
In the past month, Russell has finished third twice – IRONMAN Canada in Whistler, BC, and IRONMAN Mont-Tremblant in the Quebec Laurentians. Now after a busy summer of racing, Russell will prepare for his return to Kona.
Yesterday Andrew Messick gave me a call. He congratulated me on my recent finish at #IMMT and mentioned I was the first professional to not qualify for Ironman World Championships. Considering the circumstances and my near miss at qualifying, he said that I deserve to come back and compete again so they offered me a wild card. Before I made a decision, I wanted to communicate with my family. This morning we made the decision to accept the offer. This was not an easy decision for me but my heart is telling me to finish what I started last year. The above photo is my last Kona finish from 2016 when I finished 12th. I'll be giving my best shot to crack the top 10 this year, however just finishing will be a huge victory to me. Thank you all for the continued support! 🙏🏼 📸 – @talbotcox #grateful #roadtokona #comeback2018 #keepbelieving #nevergiveup #IMKona #followyourheart
A post shared by Matthew Russell (@mattrusselltri) on Aug 23, 2018 at 7:18am PDT


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Norman Rockwell Paintings
Home » Norman Rockwell Paintings
Norman Rockwell Biography
Norman Rockwell was born in New York City in 1894. He always wanted to be an artist so when he was 14 years old, he started classes at the New York School of Art. He left school when he was 16 to study art at the National Academy of Design and then at the Art Students League. Norman Rockwell had painted four Christmas cards before he turned 16 and while he was only a teenager he became the art director of Boys' Life – the Boy Scouts of America's publication.
At 21, Norman Rockwell moved to New Rochelle, New York and set up a studio with the cartoonist Clyde Forsythe and did artwork for several magazines. When he was 22, Norman painted his first cover for The Saturday Evening Post, a magazine Norman said was, "the greatest show window in America." During the next 47 years, Norman Rockwell painted 321 covers for The Post.
Norman Rockwell painted a lot of pictures of his interpretations of President Franklin Roosevelt's address to Congress about freedom. His work was extremely successful but Norman was hit hard when his studio was destroyed by fire. Norman Rockwell lost many paintings and his collection of historical costumes and props. Almost a decade later, Norman moved to Stockbridge, Massachusetts and published his autobiography. In 1977, Norman Rockwell was given the Presidential Medal of Freedom (the nation's highest civilian honor) for his "vivid and affectionate portraits of our country." He died at his home on November 8, 1978 when he was 84.
Norman Rockwell, (Is it Art).
Jessica Schiffman
Indomitable Exemplar
Daniel Anaka
Sleppy teenager
Norman Velazquez or Diego Rockwell
Philippe Walker
Brenna Daugherty
Great Leaders Accomplishing Mission of Mutual Enrichment
Johnny Everyman
to Norman with love
CALLIGRAMME DE GRENOUILLE: BIG SPLASH by Pascal
lecocq pascal
Bezt And Sainer Of ETAM CRU With Norman Rockwell At His Studio Eating Shrooms
Ryan Shane
Why Norman Rockwell?
Norman Rockwell charmed millions of Americans with his humorous, optimistic, and highly-detailed depictions of everyday life, and valued ideals like freedom of speech, civil rights, and acceptance.
Whether you've seen his covers for the Saturday Evening Post, his "Four Freedoms" World War II paintings, or been to the Norman Rockwell Museum in Stockbridge, Massachusetts, one thing is certain: Rockwell is one of the most iconic American painters of the 20th century.
Baroque Paintings
Neoclassical Paintings
Western Paintings
Star Wars Paintings
Surrealism Paintings
Victorian Paintings
Egyptian Paintings
Modern Paintings
Sad Paintings
Wassily Kandinsky Paintings
Grant Wood Paintings
Balthus Paintings
Pierre Auguste Renoir Paintings
Beach Paintings
Butterfly Paintings
Mountain Paintings
Seascape Paintings
Waterfall Paintings
Animal Paintings
Wolf Paintings


2 Commercial acres at the corner of 11th Street and Sherman Ave. In an area with tons of residential. Needs a convenience store! Currently grandfathered in and used as a residential/business property with a mobile home, pool, and +/- 5,500 Sq. Ft. of garage/shed space. Additional land available fronting Sherman Ave.


For many, balance transfers are an enticing way to manage high credit card debt. The promise of interest-free introductory offers and cash back rewards are often enough to tempt borrowers to grab the first deal they see. However, not every offer is as amazing as it seems. Before you decide to take the plunge, beware of three common pitfalls that could derail your balance transfer.
If you're making major life moves—getting married or having kids—and starting to get the homebuying itch, consider asking yourself these 4 questions.
In the simplest of terms, a mobile wallet is a method of paying. You can use your mobile wallet to make payments in a physical store or even sometimes online depending on the retailer. It is exactly like swiping your card in a store at check-out or giving cash to pay, but is much easier than both of those options.
What to do to protect your finances before you leave for vacation and while you're away on vacation.
If you receive a suspicious email that asks for sensitive or confidential information, whether it be personal information or workplace information, you should delete the email. If the email came from someone that you know or do business with, send an email back or call them directly to verify that they sent the email.
Starting to feel a little pressure because of your debt? You might think about consolidating that debt into one loan—but how to do it? We've given you four options that many people consider when looking to consolidate debt.
Knowing how to get the most out of your savings can be a challenge. How do you earn money from your savings without tying it up for years? Enter the magic of CD laddering.
Almost half of young adults with student loan debt say that debt is hindering them from buying a house, according to a survey by NeighborWorks America. While student loan debt can be a concern for many, another new study shows that that for some it isn't interfering with their home-buying plans at all. Four out of 10 millennials still plan to purchase a house within five years, according to Origination News.
Improve your financial fitness and manage your wealth in 2017. Follow our 8 steps to get your finances in shape.


Men's Metro A North West – Premiers!!!
The Footscray Men's Metro A North West have won in a shoot out (4-3) to take home the flag in 2016. The team took on Hawthorn on Saturday 17th September at MHS. Congratulations guys!
Junior Grand Finals – U16's take out the flag in a shoot out!


二月半そば 蕎麦麺 (簡稱二月半蕎麥麵)是許多人心目中的台北中山區美食推薦名單內, 雖然二月半蕎麥麵可訂位, 但還是成為中山捷運站的排隊餐廳之一.
Taipei Healthy Soba Restaurant is on my Taipei Zhongshan District Restaurants recommendation list. It is hard to imagine this soba restaurant has customer lining up during dining time.
二月半蕎麥麵離中山捷運站四號出口很近, 附近餐廳有"大師兄銷魂麵舖" 和 "瑪黑家居選物下午茶" , 恰巧的是剛好在我上次去的"Hana Bi 居酒屋"旁邊. 我抵達餐廳時才剛開始營業, 陸續有相當多人登記等候入座, 這家餐廳裝潢比 "日式洋麵館 麵日和 Men Biyori " 更具有日本風情.
Taipei Healthy Soba Restaurant is closed to Zhongshan MRT station Exit 4. The nearby restaurants include "Master Spicy Noodle Shop" and "Marais Taipei". And it is right next to "Hana Bi restaurant" that I visited before. There are quite a few people lining up. The indoor design is similar with "Men Biyori Japanese Restaurant.
讓我來告訴你二月半蕎麥麵為何如此受歡迎, 第一, 菜單洋洋灑灑很多頁, 與我併桌的客人提到每道料理精采美味, 甚至還有季節限定菜單. 並不會只有生魚片,握壽司或是像 "金子半之助" 只有炸物天丼, 也讓許多老中少年紀不同年齡階層的客人甘心排隊. 第二受歡迎的原因是店員雖然年長但非常親切, 對待常來的客人和初訪客人服務心態都一樣, 也不會像 "雅苑粵菜港式飲茶餐廳"店員急躁, 入座點菜完後, 店員端上蕎麥茶與蕎麥麵沾醬,蔥和哇沙米, 我上次喝到蕎麥茶是在民生社區的"金舌頭食集", 這款熱蕎麥茶如預期醇厚.我要先說我其實很少吃蕎麥麵, 少到應該是一年一次吧, 所以我無法告知這家蕎麥麵與其他家有何不同.
Let me tell you why this restaurant is popular. First, there are many dishes on the menu. Other customers mention that every dish is delicious and worth ordering, unlike some restaurants only offer sushi, sashimi or Fried Tempura like "Tendo-JP restaurant". There are even seasonal menu. Second, the staffs are very friendly, unlike "Ya Yuen Cantonese Restaurant". After seating, the staff would serve the hot buckwheat tea along with green onion and wasabi. Last time I tried the buckwheat tea is at "Origins Foodies". Both tea are not bitter.
蝦天婦羅蕎麥麵沾麵算是二月半蕎麥麵招牌料理之一, 蕎麥麵視覺上就像薄片Pizza , 攤平放在竹簍盤, 不糾結與偏硬的麵體架構更是基本功, 先單吃一口蕎麥麵, 並沒有市面上有些蕎麥風味吃起來像澱粉味, 二月半蕎麥麵本身有著獨特麥香, 店員解釋蕎麥麵是自家揉麵製作. 夾起少許麵放入沾醬, 再連帶著鰹魚露醬油風味入口, 品嚐到的是柴魚海鮮味, 腦海中浮現的是日本風情.
Shrimp Tempura with Buckwheat Soba noodle is one of this restaurant's signature dishes. Honestly, the visual image looks like thin crust pizza on the bamboo plate. The buckwheat soba is great since it is not twisted and with hard texture. I tasted without the dip sauce at the beginning. The flavor is its original wheat flavor instead of simple starch flavor. The staff mentions that they made the soba themselves. With the dip sauce, the soba becomes much more flavorful with seafood flavor, similar with bonito flake flavor.
天婦羅因為是現炸, 較晚端上桌, 份量且品項多, 視覺上是澎湃, 呈現的細膩程度比 "KICHI 吉天婦羅"高, 麵衣薄卻相當酥脆, 最值得一提的是炸蝦天婦羅, 蝦肉是新鮮半熟軟嫩, 而非像市面上是全熟偏硬, 魚肉也不會支離破碎, 最後驚喜的是店員呈上煮蕎麥麵的湯, 可倒入沾醬杯中, 變成了熱湯. 我蠻推這道蕎麥麵, 但前提是你不常跑日本.
Since the tempura is fried upon order, it is served later. I am surprised to see the quantity is large along with many items. Its fried texture is thin but yet crispy and smooth, just like "Kichi Tempura". The most unexpected part would be the shrimp itself is half-boiled instead fully fried, which is great! The soup that cook the soba is served at last. You can pour the soba soup into the dip sauce to become a delicious soup with seafood flavor. I would recommend this buckwheat soba to people who do not travel to Japan a lot.


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use any of the above shape names in the shape property.
At the default multiplier value of 1, shapes are 100px x 100px. Change the value to change the size!
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Version 1.01 released May 24th, 2015.
This plugin was lovingly created by Tyn Soltys.


MUMBAI (AFP) - Topping anything in hit film Crazy Rich Asians, the only daughter of India's richest man ties the knot on Wednesday (Dec 12) after days of lavish celebrations that included a Beyonce concert at a lakeside palace.
Ms Isha Ambani, whose father is tycoon Mukesh Ambani, was set to wed Mr Anand Piramal, son of Indian billionaire industrialist Ajay Piramal, in the Ambanis' 27-storey home in Mumbai.
Days of pre-wedding festivities at a sprawling palace in Udaipur in the desert state of Rajasthan included a concert by Beyonce, purportedly the bride's favourite singer.
Attendees included Hillary Clinton, former US secretary of state John Kerry and dozens of Bollywood stars, including Salman Khan and Aamir Khan, as well as cricket superstar Sachin Tendulkar.
Joining them was a who's who of India's super-rich elite, arriving on dozens of specially chartered flights into Udaipur's normally sleepy airport and whisked away in expensive cars.
Actress Priyanka Chopra and American singer Nick Jonas, who themselves became husband and wife earlier this month, were also guests at Udaipur's City Palace on the banks of Lake Pichola.
Wednesday evening's actual wedding was set to be a more private affair with around 600 close friends and family, and some politicians, expected to be on the guest list.
There was a high police presence in the south Mumbai area around the Ambanis' home, which is called Antilia and reportedly cost over US$1 billion (S$1.37 billion) when it was completed in 2010.
Indian newspapers have been abuzz with speculation about the total cost of the wedding. Conservative estimates have put it at around US$15 million while others insist US$100 million is closer to the truth.
Ms Ambani, 27, and Mr Piramal, 33, got engaged at Lake Como in Italy in September and the high-profile wedding brings together two of India's biggest industrialist families.
Mr Mukesh Ambani is the chairman of oil-to-telecoms conglomerate Reliance Industries. He is worth more than US$47 billion and recently overtook China's Jack Ma as Asia's wealthiest man.
The respective families will hold several other receptions across India's financial capital in the coming days.
The wedding caps a big month for what social media users have been calling "big fat Indian weddings".
The Chopra-Jonas nuptials came shortly after Bollywood stars Deepika Padukone and Ranveer Singh wed.
"Isha Ambani's wedding is a perfect example of the wealth inequality in India," wrote one Twitter user.
"Here you have one of the richest families in the nation spending so much while millions still can't even afford food or shelter," she added.
"The new standard for a lavish Indian wedding is Beyonce. Imagine," tweeted another.


Jeremiah 12:5 wallpaper is available in different resolutions and devices like iPhone, Mac, Macbook Pro, PC, Android, Tablet, Nokia, and others. It can be used as a desktop wallpaper or background for your pc or in powerpoint presentations in your christian church sermons or in your music software for datashow on Christian concerts.
edit "Jeremiah 12:5" wallpaper on Pixlr.
Jeremiah 12:5 christian wallpaper is tagged with some tags like: bible, can, compete, country, foot, have, amoung others.


The large Madame Amberly (voiced by Susan Silo) runs the Academy of Evil. She was once Dr. Neo Cortex's teacher back when he was a kid (whom she would often call a crybaby), and her dislike for him has persisted even during his adult years. She has the ability to generate electricity and won't stop at anything, so don't get in her way unless you want to be put in detention.


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This is not your usual type of museum and it certainly isn't a large grey building with all the exhibits neatly arranged on shelf after shelf in glass cabinets - ask any of our visitors!
There is a do-it-yourself NAAFI on-site for hot & cold drinks, crisps etc with comfortable seating and WW2 newspapers to read.
Well-behaved dogs (on a lead) are welcome.
Group and school visits can be arranged by appointment.
We should inform you that next to us there is another, smaller, museum. This can be confusing for visitors so to ensure that you find us please drive though the red double gates in front of you and then on to the car park inside.
The Davidstow Airfield and Cornwall at War Museum (usually known by the shorter title Cornwall at War Museum) is located on part of the old WW2 airfield RAF Davidstow Moor.


Lower Fifth pupils visited the First World War battlefields in France and Belgium last week and paid their respects at the grave of a former Head Boy.
Lieutenant Richard Stirling was killed by a sniper on 21 August 1915 near Sanctuary Wood in Belgium. Born in Guildford, he joined Exeter School as a boarder in 1902 and finished as Head Boy in 1911. A keen sportsman, he was a key player in both the 1st XI cricket and 1st XV rugby teams.
After visiting some preserved trenches nearby, 102 Exeter School pupils gathered around the grave to hear Richard's story, and Isabel Trelawny and Alex James laid poppies on behalf of the school.
Richard is remembered at school on the war memorial in the chapel, among 72 other Old Exonians killed in the 1st World War, and on a board listing Head Boys in Butterfield Hall.
Head of History, Giles Trelawny, led Lower Fifth pupils on the annual four-day trip to the Western Front battlefields, visiting trenches in Flanders, mine craters and battlefields on the Somme, tunnels at Arras and the Passchendaele Museum.
Several pupils were able to visit the graves or memorials of relatives, and the trip finished with a Service of Remembrance led by the school Chaplain, Reverend Tom Carson, at a cemetery on the Somme where Megan Rhodes was able to visit her great-great uncle, Private Richard Rodgers of the Devonshire Regiment, for the first time.
The pupils also got the opportunity to try on British First World War uniform, to handle rifles, grenades, shrapnel and shell splinters and to reflect on what it was like to experience this war.


text:
// Copyright (c) Microsoft Corporation. All rights reserved.
// Licensed under the MIT License. See License.txt in the project root for license information.

using System;
using System.Net;
using Microsoft.Rest.TransientFaultHandling;
using Xunit;

namespace Microsoft.Rest.ClientRuntime.Tests.TransientFaultHandling
{
    /// <summary>
    ///     Implements general test cases for http error detections.
    /// </summary>
    public class DefaultHttpErrorDetectionStrategyTests
    {
        [Theory]
        [InlineData(HttpStatusCode.InternalServerError)]
        [InlineData(HttpStatusCode.RequestTimeout)]
        [InlineData(HttpStatusCode.BadGateway)]
        public void ResponseCodeIsConsideredTransient(HttpStatusCode code)
        {
            var strategy = new HttpStatusCodeErrorDetectionStrategy();
            Assert.True(strategy.IsTransient(new HttpRequestWithStatusException {StatusCode = code}));
        }

        [Theory]
        [InlineData(HttpStatusCode.NotImplemented)]
        [InlineData(HttpStatusCode.HttpVersionNotSupported)]
        public void ResponseCodeIsNotConsideredTransient(HttpStatusCode code)
        {
            var strategy = new HttpStatusCodeErrorDetectionStrategy();
            Assert.False(strategy.IsTransient(new HttpRequestWithStatusException {StatusCode = code}));
        }

        [Fact]
        public void BadExceptionIsNotConsideredTransient()
        {
            var strategy = new HttpStatusCodeErrorDetectionStrategy();
            Assert.False(strategy.IsTransient(new InvalidOperationException()));
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Disney Plus to stream Dancing with the Stars live — this is a huge change
By Henry T. Casey
Will Disney Plus' latest move force Netflix to finally go Live?
(Image credit: ABC)
Disney Plus is going ballroom, as Dancing with the Stars is coming to the House of the Mouse for its next two seasons. Yes, Disney Plus is getting better in a big way, as Disney announced today (April 8) that the popular TV series will exclusively stream on Disney Plus in U.S. and Canada starting this fall.
And while that's huge news for fans of the show, it's actually even huger news for Disney Plus. As the press release states, this will be "the first live series to debut" on Disney Plus.
The press release continues, quoting Kareem Daniel, chairman, Disney Media and Entertainment Distribution as saying "Dancing with the Stars has entertained fans for 16 years on ABC, and we are excited to bring this beloved show exclusively to Disney Plus as the platform's first-ever live series. The show's broad appeal, as well as the overwhelming popularity of its Disney-themed competition nights, make Disney Plus the perfect home for Dancing with the Stars while continuing to expand our demographic reach."
The series will likely air at the same time it does currently, as to not upset streaming audiences, running at 8 p.m. ET, as it does on ABC at the moment. The live factor is crucial for Dancing with the Stars, as it's one of the many competition-based reality TV shows that has audiences voting in real time, and helping decide contestants' fates.
Analysis: Disney Plus ramps up the streaming war
Two weeks ago, my colleague Kelly Woo wrote about how Disney Plus needed to get into live streaming with The Oscars. The awards show aired on ABC, a Disney-owned channel, so why not? Well, it looks like Disney had bigger plans, likely already in motion.
Right now, Netflix isn't doing anything like this, and neither is Hulu. Both are strictly playing in the world of on-demand, not-live content — with the rare exception of a live concert such as Coachella that hits Hulu. HBO Max is experimenting with live sports in Latin America, while Paramount Plus and Peacock run live sports and other events such as WWE all the time.
That said, Netflix is a powerhouse when it comes to reality TV these days. The likes of Love Is Blind, The Ultimatum and even Is It Cake? give people many reasons to tune in. But for Disney Plus to get one of the biggest competitive reality TV shows? This is huge.
So, while Disney Plus is arguably lagging behind competitors when it comes to streaming live events, they may have found their big way to burst onto the scene. And with all of the many IP under the Disney Plus umbrella, this big foray into the world of live content has unlimited options. Imagine a Q&A with the cast of Doctor Strange in the Multiverse of Madness, or live streams of the San Diego Comic-Con panels?
Will this push Netflix to finally get into live events? Could that help stop people from canceling their Netflix accounts (like I did?)? Only time will tell.
Today's best Televisions and Streaming boxes deals
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Henry T. Casey
Managing Editor (Entertainment, Streaming)
Henry is a managing editor at Tom's Guide covering streaming media, laptops and all things Apple, reviewing devices and services for the past seven years. Prior to joining Tom's Guide, he reviewed software and hardware for TechRadar Pro, and interviewed artists for Patek Philippe International Magazine. He's also covered the wild world of professional wrestling for Cageside Seats, interviewing athletes and other industry veterans.
The Last of Us episode 3 release date and time: How to watch in Australia today
Samsung Galaxy S23 beats iPhone 14 in 7 key ways, says leaker


text:
Home Culture Music Seven Questions with Singer Casey Bazzell
Seven Questions with Singer Casey Bazzell
The Dam Dams. Photograph courtesy of AliyaRose Photography
One of the bright lights on the local indie rock scene, The Dam Dams are fronted by Casey Bazzell. She's been involved in several different projects in recent years, among them a stint with local psych group Troubadour Dali, including an appearance on their first album. Her new band is readying a debut CD; sketches of their new songs are available at the group's Soundcloud page.
Every other week, we ask local songwriters and musicians to take on the same set of questions. Bazzell's responses follow.
Music school? Self-taught? Some variety of both? Or none of the above?
I would say some of both. My mom said I could sing the alphabet before I could say it. I guess I always knew I had an ear for music, and wanted to be like Bette Midler as a wee child. Ha, but I did feel separate from others when I showed that part of me. I felt I saw things almost too differently with my music abilities, but it turns out that's just not true.
I sang in church and whenever I could in elementary school, but spent my afterschool time doing every sport I could. I was a bit competitive, and it was a good release for my anxiety.
I sang in choir in high school, and also in some district and state choirs. I went to Lindenwood for musical theater for a few years, where I studied dance and acting and most of my time was in Voices Only, an advanced acapella choir, where I fell in love with harmonizing in a whole new way. That led me to an internationally competing barbershop quartet. My other passions lie in songwriting and expressing through my perspective.
I was surrounded by musicians at a young age, and learned from those who I believe to be some of the best in music such as Kevin Bachmann, Thom and Steve Donovan, Vocal Spectrum, David and Sandi Wright. Jim Henry and so many more.
Regarding your creative habits, are you a night owl or an early bird?
Hmm, I think I'm more of a night owl than an early bird, but it really depends on what I put my energy into at the time. I can adapt well to either, but I do love to be in a big gathering atmosphere at night, so I would consider myself more of a night owl.
What are the elements that make for an ideal studio/recording experience?
Wow, there's a lot I could say about this! Feeling comfortable and being relaxed in a song is important, and so is trusting your engineer. It's about whatever suits the individual as far as getting them in the zone. Obviously you want a quality recording and the right sound barriers, whatever that might look like. I find that if I don't feel rushed, or think about that, I do much better. Wherever you are mentally will definitely affect the recording.
Is it more rewarding to play a technically solid gig to a moderately engaged audience, or to play a loosey-goosey set to a crowd that's clearly "there" with you?
This is a tough one for me to answer. You always want to be solid, and have an engaged audience. I would have answered the latter in the past, but my priorities have changed a bit in the past 10 years. I always expect to play a solid show with rehearsal, and wouldn't want to let down an audience when they came FOR the music and I can't deliver. It is my responsibility to deliver the goods and I would feel worse about myself if I didn't give it my all. So yeah, I would probably play a technically solid show. However, I do feel I am engaging for an audience when I sing most of the time. I hope! Ha ha.
You're able to wake up tomorrow, magically gifted proficiency on the instrument of your choice, one that you currently don't play. What instrument would that be?
I would say the piano or the violin. I was going to say harp, but I could do a lot more with the others.
From childhood on, what's the very first song that you played to a point of real, true satisfaction?
Not sure of that, but the first song I ever wrote to the point of satisfaction was a song at age 11 on a piano in our family room. It was slightly out of tune, but I ran through the house jumping up and down over the fact that I had written a song.
Do you believe there are musical "guilty pleasures," or is this an unfair and misused term?
I take that term lightheartedly, so I wouldn't say its unfair. If your lead guitar player is shredding away at an awful 80s song (awful to me), I would consider that a guilty pleasure of the guitar player. Mine would probably be spouting out a song from my childhood, like something from The Little Mermaid or a Celine Dion song.
Catch Casey Bazzell performing with The Dam Dams on November 8 at Sky Music Lounge, 960 Kehrs Mill Road, Ballwin, Missouri, 636-0527-6909.


Wouldn't it be great to be able to get a software update to your existing insulin pump when your pump company comes out with new innovations rather than having to wait until your pump is out of warranty and you are due for a new pump?
It's frustrating when you want the latest and greatest version but have to wait. Fantasy should be becoming reality sooner than you think!
Tandem Diabetes Care makes the t:slim, t:slim G4, and the t:flex insulin pumps. They have announced that they have received FDA (Food and Drug Administration) clearance for the Tandem Device Updater. This is a tool that is compatible with both Mac and PC computers for the remote update of Tandem insulin pump software.
Tandem pumps have a touchscreen interface, and this recent FDA clearance makes Tandem the only pump company able to give users access to new pump features outside of the traditional multi-year warranty hardware replacement cycle. It lets Tandem give its customers access to new innovations faster than what has been possible in the past. This is important as we move towards the availability of a commercially available artificial pancreas.
The Tandem Device Updater was first used to get the latest t:slim software to users of t:slim pumps that were purchased prior to April of 2015, with beta testing going on over the summer of 2016. In April of 2015, the updated software, which contained several product updates for convenience and flexibility, started shipping in new t:slim pumps. The changes include expanded reverse correction functionality, the ability to enter a manual bolus directly in the suggested bolus window, and off-pump cartridge filling. The plan is that future software enhancements will be made through the Tandem Device Updater as they receive clearance to be distributed commercially.
At the time of this writing, the Device Updater is not commercially available, so it remains to be seen what this will look like when the product is rolled out. But there is so much potential to using this platform! Imagine if the FDA approved the Dexcom G5 for use with the t:slim and there was a way to get this technology soon after approval. How about when the Dexcom G6 is approved? Perhaps this would be used someday when a closed-loop algorithm becomes available. Of course, the FDA must approve the release of technologies via the Update Tool, so it remains to be seen how this will unfold. However, it gives us hope that exciting innovations are in the pipeline.


Cities are difficult to build, but they can be even more difficult to repair. Los Angeles is a city that keeps rebuilding itself, sometimes through physical structure, sometimes through the lens of Hollywood, its own magic mirror through which its versions of its self-image emerge.
Bunker Hill was once an elegant, elevated neighbourhood of Victorian houses, criss-crossed by streetcars, woven into one edge of Downtown, a slice of San Francisco in LA. Its decline began as the wealthy departed for the greener suburbs, for Pasadena and for Beverly Hills, as early as the 1930s. It became run-down, its apartment buildings split into seedy rooming houses, its delicately crafted timber houses rotted. In the 1950s it became an experiment in Modernist planning, razed in what was billed slum clearance. It became a startlingly anonymous business district with none of its old, dense and dilapidated charm and none of the free exuberance of the LA roadside ecosystem. Instead it looks like anywhere else. But less lively.
Almost since it was rebuilt there has been a metropolitan intention to anchor Bunker Hill with an arts district. The latest step is the Broad Museum, Diller Scofidio + Renfro's striking exoskeletal cage. Positioned beside Frank Gehry's swirling Disney Concert Hall, it has to decide whether it tries to stand up to it, defer to it, ignore it or enter into some kind of conversation with it. Ultimately, it doesn't quite do any of these things. Instead it looks like an exquisitely detailed 3D-printed artefact glued onto a dusty municipal model of Downtown LA from the late '90s.
With its geometric glass-fibre reinforced-concrete skin and its rather blank aspect, it ends up as a self-contained object, a cute box which does little for the city and the street but which contains a deceptively good gallery.
DS+R were hampered by a difficult brief. Not only building next to Gehry's glimmering metal monster but needing to squeeze in Eli and Edythe Broad's massive art storage facility onto the small, square, city-centre site. Their solution is intriguing. Rather than putting the storage at the rear of the site and the public gallery on the Grand Avenue frontage, they made the vault the heart of the structure and wrapped a layer of gallery around and over it. This manifests itself most clearly in the lobby where the veil, lifted slightly at the corners to create an entrance, gives weight to the lump, a grey Venetian-plastered mass of undulating walls which evoke anything from Rudolf Steiner to some kind of geographical museum experience. The latter is reinforced by the attenuated escalator that penetrates the grey blob and is the public route up through the building.
The long escalator seems to be a bit of trope at the moment, Herzog & De Meuron's Elbphilharmonie in Hamburg features a similarly stretched moving stairway to heaven. There is, perhaps, some rationale for it here. Bunker Hill was rebuilt with its streets up to three levels above grade creating a strange, confusing dissonance between street and ground. You are never quite sure what level you are on and its most famous landmark is the one surviving fragment of local public transport, the Angels Flight funicular, placed in the middle of a bleak plaza which flattened what was once an elegant domestic district.
Despite the stage-set quality of the organically undulating walls (or perhaps because of it), there is a kind of choreographed drama about the ascent – a sense of moving towards the light as what begins as a pinpoint of brightness reveals itself as the gallery bathed in the light penetrating through the diagrid ceiling. The slight reflectiveness of plastered walls also recalls the nearby 2nd Street Tunnel, the shiny-tiled sides of which feature in so many apocalyptic blockbusters from Blade Runner to Terminator.
The 'veil' metaphor is reinforced by the gallery as it becomes clear that the cladding continues across the top of the building. In fact it is the angle between the tilt to natural north and the street grid that determines the angle of the parallelogram components. The light is superb, cool, neutral, stripped of its LA intensity, the blue of the sky toned down to a misty grey. And this is an epic space. One entire acre of column-free volume sitting atop a huge art storage facility. The desire to show as much of the Broad's huge collection as possible has clearly trumped the desire to show off the scale of the architecture – fair enough, it is a museum after all. The gallery is filled with freestanding walls to hang paintings so that it never becomes quite clear whether that dramatic geometric ceiling will interfere with the art or not, as it is only ever seen in small sections and each component is so huge you rarely see more than four at any one time.
Cool, white and clinical, the gallery suits the Broad's colourful, often banal collection and yet lets the real quality show through. One space is enclosed by huge Cy Twombly works, another by Ed Ruscha and John Baldessari, and the space is generous enough to allow the art to appear to define the architecture at these moments, to allow it to envelop the visitor without interfering. In the centre the blob re-emerges, its amorphous grey shell poking through the ground and punctured by an elegant cylindrical, glass-cased lift shaft and a stair down through the grey matter. The stairs take the visitor through the vault, and mezzanine stops along the way afford glimpses of the art storage facilities through Flintstone- type openings. It is theatrical, a little silly and quite interesting. The viewing windows are big enough to reveal the sheer scale of the artworks and the architectural qualities of the racks that house them and also give a pointed view into the extent of this personal collection which looms over LA's art scene.
Another gallery on the middle floor is wholly artificially lit, although glimpses are given of the screen facade and, through that, even skimpier fragments of the city streets are revealed. But this is a building in which the city is not allowed to impinge on the art, it is completely self-referential – the complex curves of the facade system filter everything and become the central motif, the inescapable totem. Also stuck in the sectional middle is an office floor and an underscored auditorium. This space, on the main facade, is dominated by a dimple in the front elevation, a kind of thumb-print squeezed into a mushy facade. The architects refer to it as the oculus but it doesn't do anything, it's just an inverse bow window for a corporate space full of chairs.
The stairs take the visitor back down to the lobby which is clearly a public space but one which rather unexpectedly lacks the ticket desk you might expect. In the manner of an Apple store, staff stand around and approach visitors if they look lost. Entry is free although reservations need to be made online.
All this works well. It is a fine museum, free, accessible and unusual. The problem becomes evident where it hits the pavement. The carefully composed facade peels away from the glazed inner shell along the Grand Avenue frontage to create a stingy – although cool and shaded – arcade, a place to queue when it's busy or just to hang out. Yet in putting that one small element of public activity behind the facade, the building fails to do anything to animate the street, isolates itself further behind its impeccably parametric components. This is a real problem. Grand Avenue was conceived as a cultural boulevard and it is studded with buildings by big-name architects which, in any other city, would become major attractions. Its direct neighbour is of course Gehry's dazzling Disney Hall, but across the street is the deserted plaza of Arata Isozaki's (too) late PoMo MoCA and down the road is Rafael Moneo's impressive cathedral and Coop Himmelb(l)au's extremely sculptural high school. Yet the street remains grimly empty of people or activity. There are no children, no skateboarders, no pensioners, no food trucks. It is devoid of the pedestrian life that would transform it from an arts district on paper to a neighbourhood with a physical tangibility.
There is a sense here that the architects were over-pleased with their facade engineering. These elements are especially complicated, each is subtly different – this is the kind of building that can seemingly only be achieved through computer technology. Yet a little distance away on Wilshire Boulevard, architects DMJM achieved a similar effect in 1964 with their wonderful American Cement Co HQ. The consequence is that the elevation becomes everything. The museum presents to the street a screen that might have been intended to be porous but is, in effect, a barrier. It is absolutely the last thing that Grand Avenue needs. There have been some moves to make the setting more recognisably urban. A small plaza with a restaurant (clad, incongruously, in rustic timber – not designed by DS+R) has been built to one side and a new subway station will follow to the rear of the site. But they are small gestures and don't compensate for the fundamental reality that is appearing here. In terms of image, architectural tourism and in branding, the Broad is helping to construct an image of LA's arts district. But it remains a collection of buildings by star architects – not a city centre. The irony is that all this is happening a few blocks from an actual downtown which is alive and fascinating. Gentrification is crushing up against the social realities of the city, and cool bars dimly lit by naked light bulbs jostle with fluorescent taco shacks, pawn shops and eerily empty theatres touting themselves as film locations.
The juxtaposition between the 19th-century city with its adaptable, robust fabric and the bespoke buildings of the preening avenue of contemporary architecture as object could not be clearer. The paradox is that the Broad is an excellent museum in an elaborate shell which doesn't advance the city at all. Perhaps that's fine. Perhaps this is the true architecture of contemporary LA, sharp, eye-catching, photogenic. Perhaps that's enough.


text:
Q: javascript recursive function giving error I have my JSON structured like below which has the next and previous properties of an array of keys from the same structure.
{
  "e6e1de44-d53b-44ae-9d52-8f6e1358f8ec": {
    "course": "Semester 1",
    "status": "completed",
    "next": [
      "d1fc647b-ad7e-4b72-9269-5559948ee61d"
    ],
    "previous": [],
  },
  "d1fc647b-ad7e-4b72-9269-5559948ee61d": {
    "course": "Semester 2",
    "status": "completed",
    "next": [
      "cb00b200-cee3-4ab8-af11-abb7ea26183b",
      "7b958370-d697-4536-9bff-fa564a5688ef"
    ],
    "previous": [
      "e6e1de44-d53b-44ae-9d52-8f6e1358f8ec"
    ],
  },
  "cb00b200-cee3-4ab8-af11-abb7ea26183b": {
    "course": "Semester 3",
    "status": "active",
    "next": [
      "72488692-064c-436c-93cb-8ebe2be7e168"
    ],
    "previous": [
      "d1fc647b-ad7e-4b72-9269-5559948ee61d"
    ],
  },
  "7b958370-d697-4536-9bff-fa564a5688ef": {
    "course": "Semester 4",
    "status": "active",
    "next": [
      "72488692-064c-436c-93cb-8ebe2be7e168"
    ],
    "previous": [
      "d1fc647b-ad7e-4b72-9269-5559948ee61d"
    ],
  },
  "72488692-064c-436c-93cb-8ebe2be7e168": {
    "course": "Final",
    "status": "not-started",
    "next": [],
    "previous": [
      "cb00b200-cee3-4ab8-af11-abb7ea26183b",
      "7b958370-d697-4536-9bff-fa564a5688ef"
    ],
  }
}

I am trying to get the next array and the previous array recursively but it is giving me an error  TypeError: Cannot read properties of undefined (reading 'recursiveFunc') I'm calling a function like this.
let nextRes = [];
recursiveFunc(courseData, 'e6e1de44-d53b-44ae-9d52-8f6e1358f8ec', nextRes, true);
let prevRes = [];
recursiveFunc(courseData, 'cb00b200-cee3-4ab8-af11-abb7ea26183b', prevRes, false);

I was wondering if the same function could be used to achieve a similar result. It is just a matter of traversing forward or backward. How can I get the id of the next data recursively?
nextRes shuld have populated ['d1fc647b-ad7e-4b72-9269-5559948ee61d', 'cb00b200-cee3-4ab8-af11-abb7ea26183b', '7b958370-d697-4536-9bff-fa564a5688ef', '72488692-064c-436c-93cb-8ebe2be7e168'] and prevRes like ['d1fc647b-ad7e-4b72-9269-5559948ee61d', 'e6e1de44-d53b-44ae-9d52-8f6e1358f8ec']
function recursiveFunc(data, parId, acc, forward) {
  for (let property in data) {
    if (data.hasOwnProperty(property) && typeof data[property] === 'object') {

      var current = data[property];

      if (forward && property == parId && typeof current.preReqStages === 'object' && data[property].next.length > 0) {
        acc.push(current.next);
      } else if (!forward && property == parId && typeof current.preReqStages === 'object' && data[property].previous.length > 0) {
        acc.push(current.previous);
      } else {
        this.recursiveFunc(data, property, acc, forward)
      }
    }
  }
}

A: Starting in order of your code, first you don't need to validate data.hasOwnProperty(property) if you're making a for of the properties in data.
Second, your validation of  typeof current.preReqStages === 'object' should be  typeof current.next === 'object' or current.previous for the next if, since you don't have a value of preReqStages.
Then, you are adding current.next to your array, meaning you're adding an array inside an array, when you only want the value, so I added a forEach and added each value.
And then the recursion should be inside the matches, because what you want to get is all the chain of courses, meaning that when you get the next one, you need to get the next one of that new property. So I made the recursion inside the forEach.
Here's the final result:

const courseData = {
  "e6e1de44-d53b-44ae-9d52-8f6e1358f8ec": {
    "course": "Semester 1",
    "status": "completed",
    "next": [
      "d1fc647b-ad7e-4b72-9269-5559948ee61d"
    ],
    "previous": [],
  },
  "d1fc647b-ad7e-4b72-9269-5559948ee61d": {
    "course": "Semester 2",
    "status": "completed",
    "next": [
      "cb00b200-cee3-4ab8-af11-abb7ea26183b",
      "7b958370-d697-4536-9bff-fa564a5688ef"
    ],
    "previous": [
      "e6e1de44-d53b-44ae-9d52-8f6e1358f8ec"
    ],
  },
  "cb00b200-cee3-4ab8-af11-abb7ea26183b": {
    "course": "Semester 3",
    "status": "active",
    "next": [
      "72488692-064c-436c-93cb-8ebe2be7e168"
    ],
    "previous": [
      "d1fc647b-ad7e-4b72-9269-5559948ee61d"
    ],
  },
  "7b958370-d697-4536-9bff-fa564a5688ef": {
    "course": "Semester 4",
    "status": "active",
    "next": [
      "72488692-064c-436c-93cb-8ebe2be7e168"
    ],
    "previous": [
      "d1fc647b-ad7e-4b72-9269-5559948ee61d"
    ],
  },
  "72488692-064c-436c-93cb-8ebe2be7e168": {
    "course": "Final",
    "status": "not-started",
    "next": [],
    "previous": [
      "cb00b200-cee3-4ab8-af11-abb7ea26183b",
      "7b958370-d697-4536-9bff-fa564a5688ef"
    ],
  }
}

function recursiveFunc(data, parId, acc, forward) {
  for (let property in data) {
    if (typeof data[property] === 'object') {
      var current = data[property];

      if (forward && property == parId && typeof current.next === 'object' && current.next.length > 0) {
        current.next.forEach(n => {
          if (!acc.includes(n)) {
            acc.push(n)
            this.recursiveFunc(data, n, acc, forward)
          }
        });
      } else if (!forward && property == parId && typeof current.previous === 'object' && current.previous.length > 0) {
        current.previous.forEach(p => {
          if (!acc.includes(p)) {
            acc.push(p)
            this.recursiveFunc(data, p, acc, forward)
          }
        });
      }
    }
  }
}

let nextRes = [];
recursiveFunc(courseData, 'e6e1de44-d53b-44ae-9d52-8f6e1358f8ec', nextRes, true);
console.log(nextRes)
let prevRes = [];
recursiveFunc(courseData, 'cb00b200-cee3-4ab8-af11-abb7ea26183b', prevRes, false);
console.log(prevRes)

redpajama_set_name: RedPajamaStackExchange


"Return, O Israel, to the Lord, you God: you have collapsed through your guilt" (Hosea 14:1). The admonition that Hosea gave to the Israelite community so long ago remains proper to us today. Our collapse as a society and individually is directly related to our guilt. This is a hard truth to deal with, but it is essential to the well being of our soul as a nation, and to that of our own individual souls.
The collapse of cultural integrity in Hosea's time, is no different than that of our own time. What has become known since the Enlightenment as a human centered "modernity," or even "post modernity" is the result of a societal turning away from dependence on God alone. Our society has increasingly turned science and technology into a god on the one hand, and absolute individualism on the other. As a result, the old determiners of reality, faith and reason, have been supplanted by a philosophical of relativism that believes that reality, truth, and what is good, is determined solely by the individual. Things like truth and justice are no longer matters of common sense, but solely the creation of the individual mind. Because of this, the concept of the common good, with its roots in scripture and theology, have been eliminated by a cynical adherence to "fashionable" things like political correctness and identity politics.
The center no longer holds. Our common inheritance as children of God, is no longer recognized and the result is cultural chaos. Morality is no longer a universally understood concept, but is now defined solely by the individual ego, or the ego of a particular group. And the consequences of this are evident to those with eyes to see. We have become a house divided, and such a house cannot stand. It is only in the Lord, our God, that we can find our mutual dependence and responsibility. The same Spirit who gave Hosea the words of our verse for today, is speaking to us, here and now. Return to the Lord! Turn away from the causes of your guilt!
"Let him who is wise understand these things; let him who is prudent know them. Straight are the paths of the Lord, in them the just walk, but sinners stumble in them" (verse 9) We are told in Proverbs 9:10: "The fear of the Lord is the beginning of wisdom, and knowledge of the Holy One is understanding." It is a fact that the first and greatest cause for the chaos the Israelites lived in at the time of Hosea, and that of our own time, is a universal turning away from the fear of the Lord. Wisdom is no longer available to us when we turn away from God. Without this fear of the righteous justice and mercy of the Lord, we are left to our finite, human devices, with all of their flaws, and all of their ignorances, and all of their prides. But fear of the Lord, rooted in a profound understanding of his perfect goodness, and his unconditional love, makes us prudent, helps us to see his paths more clearly. In this wisdom we are able to walk justly, without stumbling in the blindness of our stubborn prides. In putting our faith in the Lord, we no longer foolishly see ourselves as the center of the universe, but as his children and as equal members of the his Mystical body.
Lord, help us to see our guilts, to admit to them, and to turn back to you for forgiveness and the strength to turn away from them. Though we have collapsed through our guilts, we trust in your mercy and forgiveness. Give us the courage to give you thanks by choosing to walk in your ways in all things and in all circumstances. We pray in Jesus' name. Amen!


The No. 1 factor for Millennials and Boomers in determining which screen to use for an activity is its size, reports Millward Brown Digital. But, according to the new survey, for Gen Xers, it is speed and performance.
Japanese schoolgirls ages 10-18 spend seven hours a day on their mobile devices, according to security firm Digital Arts. It's four hours for male counterparts.
A separate study by the University of Basel said that teenagers who used digital media at night had an increased risk for poor sleep and depressive symptoms.
Every hour, 148,400 smartphones are sold around the world, according to CTIA. For those challenged with math, that's 41 smartphones moved every second.
There was a 15% increase in sales via tablets during recent East Coast snowstorm, per IBM.
This year, Groupon reportedly will launch a targeted deals product powered by beacons.
CBS forecasts 2016 Super Bowl ads to cost more than $5 million. No word on whether mobile will make the big game in any meaningful way.
iPhone 6 Plus owners consume twice as much data compared to other iPhones: Citrix.
JetBlue announced that it will soon accept Apple Pay at 35,000 feet.
73% of mobile searches result in an additional action such as a call, store visit, or purchase: Google.
How many knew this before Valentine's Day? More than 60% of mobile dating apps put the users at a potential risk of cyberattacks, reports IBM.
Mobile now accounts for more than 60% of all digital media time spent: comScore.
Facebook delivers three billion video views per day, with 65% coming on mobile devices.
82% were likely to get a Valentine's Day restaurant recommendation or make a reservation via mobile, a Verizon survey says.
Mobile firms raised $4.2 billion in venture capital globally in January: Rutberg.
Seven in 10 mobile users would stop using an app if it uploaded personal info without permission, according to eMarketer.
Tagged with Valentine's Day, Facebook, Google, IBM, tablets, iPhone 6.
February 15, 2015 by Jeff Hasen.


text:
Q: Uploading data when internet is available Compact Framework I have an application that uses cellphone data connection to communicate with a remote server over web services. However, due to the unreliability of the cell phone network the application doesn't work for as long as the cell network is down. So what I want to do is change the application to process orders directly on the device and upload the orders in the background (like a windows service) when internet is available.
Here's what I'm thinking:
2 Applications
App #1: Change the order taking application to connect to internet at application load to get all settings and save to a sdf DB. Once settings are saved locally the user can process orders and save to database.
App #2: Runs in the background constantly checking db (say every 3-5 mins) for orders and upload to remote server via WCF web service. Additionally after upload is completed updated settings are downloaded back to the device.
App #2 is what I need guidance on. On a desktop I could run a windows service however compact framework of windows mobiles doesn't appear to have a windows service type support.
Any advice?

A: Why run it as a separate app?  In that case you'll have to do cross-process synchronization of data access to make sure that simultaneous access from both processes doesn't cause a problem.  Why not  create a background "service" thread inside the app itself to do data forwarding to the enterprise?


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Het WTA-tennistoernooi van Praag (officieel J&T Banka Prague Open) van 2017 vond plaats van maandag 1 tot en met zaterdag 6 mei in de Tsjechische hoofdstad Praag. Het was de zeventiende editie van het toernooi. Er werd gespeeld op gravelbanen.

Enkelspel
Titelverdedigster Lucie Šafářová was het vijfde reekshoofd. Zij won haar openingspartij, maar moest wegens ziekte voor de tweede ronde verstek laten gaan.

De als eerste geplaatste Karolína Plíšková strandde al in de eerste ronde.

Kwalificante Mona Barthel uit Duitsland won het toernooi. In de finale versloeg zij de ongeplaatste Tsjechische Kristýna Plíšková in drie sets. Barthel wist voor het eerst in haar carrière het toernooi van Praag op haar naam te schrijven. Het was haar vierde WTA-titel, de eerste sinds drie jaar.

Geplaatste speelsters

Toernooischema

Finale

Bovenste helft

Onderste helft

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Dubbelspel
Titelhoudsters Margarita Gasparjan en Andrea Hlaváčková hadden zich niet voor deze editie van het toernooi ingeschreven.

Het als tweede geplaatste duo Anna-Lena Grönefeld en Květa Peschke won het toernooi. In de op vrijdag 5 mei gespeelde finale versloegen zij het als eerste geplaatste Tsjechische koppel Lucie Hradecká en Kateřina Siniaková in twee sets, met een tiebreak in de tweede set. Het was hun vierde gezamenlijke titel. De Duitse Grönefeld had daarnaast twaalf eerdere dubbelspeltitels met andere partners; de Tsjechische Peschke 24.

De Nederlandse Demi Schuurs en Xenia Knoll uit Zwitserland bereikten de tweede ronde.

Geplaatste teams

Toernooischema

Bronnen
  Toernooischema WTA
  Toernooischema ITF

Praag 2017
Praag

redpajama_set_name: RedPajamaWikipedia


The Mira Mar Veterinary Hospital provides a quality, safe environment for its clients. The facility is a purpose built, it offers efficient service and a wide range of new, up-to-date treatments. We have also purchased and operate with many of the latest instruments and equipment for our patients' benefit. This means we can provide you and your pet with better service and care.


Virtually every gear or other metal component in moving machinery makes some degree of noise. The noise stems from vibrations that get transmitted through parts during operation. As such, the vibration damping characteristics of Dura-Bar can be a real benefit in any application that involves moving parts.
A recent customer made the switch from steel to Dura-Bar to produce a balance shaft gear and achieved not only quieter operation, but also a lower cost to produce the gear. Other noisy equipment that could benefit from a switch to Dura-Bar include machine tools, printing presses and textile machinery.
Dura-Bar's enhanced vibration damping results from the graphite inherent in the material. Graphite flakes in gray iron and nodules in ductile iron cushion vibrations as they are transmitted through the part. Therefore, gears and other components made from Dura-Bar ductile iron will be quieter than those made from steel while maintaining required dimensional tolerances and surface finishes. Parts made from Dura-Bar gray iron will be even quieter, but are most suitable for low-stress applications.
For more information on the vibration damping advantages of Dura-Bar, please contact your Dura-Bar Metal Services Account Manager today.


The sport of Powerlifting has exploded in popularity in recent years and the number of female competitors in the sport has risen exponentially. For the most part, training for males and females is largely similar but there are a few key areas of focus that female lifters will particularly benefit from addressing.
One of the most critical aspects in a female improving her bench press strength, is building muscle throughout the upper body and proper attention to accessory work is key to success.
The Pull-Up is a foundational movement to build strength and muscle in the lats and shoulders, as well as enhancing grip strength. It can be a powerful tool to improve your bench press and deadlift but doing a pull-up, let alone multiple sets and reps, is often a daunting task for female lifters.
The post Tips for Female Powerlifters appeared first on Juggernaut.


text:
Creepy Little Noises
by I Can Lick Any Sonofabitch in the House
© Copyright - inmusicwetrust.com / inmusicwetrust.com (678277037625)
Bad-ass muddy country rock from a band called I Can Lick Any Sonofabitch in the House? It doesn't get much tougher than that.
Genre: Country: Country Rock
Share Time Download
1. John L. Sullivan
I Can Lick Any Sonofabitch In the House
2. Graveyard Song
3. Swing Man Swing
4. Creepy Little Noises
5. Whose To Blame
6. Saturday
7. Walk Across Texas
8. Dive
9. Ahhh Cigarettes
10. Fear'd
11. Hey Big Man
Mike Damron, the mastermind behind I Can Lick Any Son of a Bitch In the House is quite the character. Of course, anyone who names his or her band "I Can Lick Any Son of a Bitch In the House" has got to be interesting. Though, Mike Damron backs it up with enough musical muscle to kick anyone's ass.
Grabbing his band's name from boxing champion John L. Sullivan's biography (note: "John L. Sullivan" is the lead track on the album), S.O.B. kicks out muddy, swamp-country-rock that would make John L. Sullivan proud. This bad boy rocking machine known as S.O.B. just beats on you non-stop, from the eerie title track and the fight theme song of "John L. Sullivan", to the grittiest ballad you've ever heard, "Walk Across Texas".
This is muddy, not-to-be-compromised, dirt-under-the-nails rock of the working man. Though, it isn't all hard knocks and sad tales of life. On the reminiscent "Saturday", S.O.B. recalls hanging out with grandma, watching Saturday morning cartoons, Cap 'n Crunch, Dilly Bars at Dairy Queen, and a care free world that everyone will instantly relate to as it brings up plenty pleasant memories of your childhood. But in true S.O.B. fashion, Damron proclaims "Mama, you're never gonna hit me again" as he escapes from the troubles of life on his Saturday, living a happy life, and eagerly waiting for the next Saturday to come around ("Cause six days ain't too long to wait").
Rockers and country fans will get it, because this isn't pleasant pop. This music lives up to the true working man creed of the aforementioned genres, kicking out harsh, wild country-rock with plenty of heart and soul, and a tender spot to boot. Mike Darmon and his backing band do both musical styles justice, keeping it raw, emotional, and plenty lively. Don't miss out.
Key Selling Points:
-National press and tour press campaign
-Constant Touring Throughout 2002 and 2003
-In-store play copies / P.O.P. available
-Available for In-stores on tour route
Label Contact:
Alex Steininger @ inmusicwetrust.com
alex@inmusicwetrust.com / http://www.inmusicwetrust.com
Mike D is a songwriter of major caliber.This is folk music w/howling/soulful melodies, heavily strummed acoustic guitars,a wailing harmonica and more heart and soul than you can shake a stick at. Plus they got SONGS man!!! This is dark stuff from a top notch band and a songwriter that rivals that of Richard Buckner and damn close to Mr. Jay Farrar. And thats high praise indeed.
pickledstevie
I read all the other reviews before i decided to write mine, and obviously i dont have to tell you about Mike D's voice or what the music sounds like, but I will tell you this, I can lick any sonofabitch in the house is my favorite band for several reasons. Not only are they the nicest and most cool guys you will ever meet, but they always put all they've got in to their music. That is the best part of listening to this cd, or any of their 3 cd's, the music is about something, it makes you think, it makes you feel. Not only do I recommend that you check out I can lick any sonofabitch in the house's cd's, but if you are ever able to catch one of their live shows, you will not regret it. They will blow your mind.
The Willamette Week
"I've tasted blood," Mike D (Stumptown scene stud, not Beastie Boy) snarls in the intro to his band's new debut album, Creepy Little Noises, and by the time his cronies in I Can Lick Any Sonofabitch in the House kick in moments later, you can practically hear the plasma dripping from his jowls. With truly demonic harp licks from David Lipkind squealing along to the take-no-prisoners backbeat, and in-your-face lyrics like "It ain't gonna matter what Adolf Hitler did or what John Lennon sung five billion years from now," D sounds like he's on a suicide mission to prove that his group lives up to the drunken boast of its moniker. Even when he switches from electric to acoustic guitar, the intensity does not let up. It's a remarkably clear and dynamic recording, which more than does justice to the surprising subtlety D can muster. The vocals sometimes recall some of Axl Rose's throatier moments, or peak-junkie-period Steve Earle, with vowels twisted into an improbable twang." But beneath the bluster lie songs of substance, with humor and personality to burn.
The Portland Mercury
Is there such a genre in music as
"redneck western"? Icanlickanysonofabitchinthehouse's name
says it all: A squawking and undisciplined harmonica, the
same forceful bass line of Rev. Horton Heat, and determined
lyrics about graveyards and rattlesnake bites. More redneck
than country-western, there is not much that is melodious
about Mike D's voice--raspy and scratchy. But then again,
there is not much that is melodious or glad-handing about
kicking a sonofabitch's ass. The band's louder songs grab the
anger and chaos of a barroom brawl by the short hairs, but
what sets them apart are their softer songs, shuffling ditties
that sound like a lamenting good-for-nothing, slopping his
worries into the bottom of a glass. Hard-hitting barroom
music: just my style.
Some bands have detectable influences, while others try to hide their musical history. I Can Lick has clear influences and relishes shoving them in your face. The Gun Club can be heard here, Mojo Nixon on expired cough medicine can be heard there, a guitar section gets stolen shamelessly from Led Zeppelin, and throughout the CD's 11 tracks can be heard a whole lot of "Let It Bleed"-era Rolling Stones.
Ringleader Mike D. introduces the set with an insane a cappella hog-holler before the music proper kicks in, though nothing's proper about the racket he makes with his partners in slime, Jon Burbank (guitar, keyboards), Dewey Revelle (bass), David Lipkind (harmonica) and one Flapjack Texas (drums).epy Little Noises" run the range from the chugging desert swagger of "Graveyard Song" through the downbeat and boozy '70s pop vibe of "Swing Man Swing." While Mike D.'s raucous rasp clearly is at the center of every song, several of Lipkind's wailing harmonica solos step up to nearly steal the show, and the rest of the band forms the ideal bridge between the two primal forces.
While "Creepy Little Noises" is the full-length debut CD release from Portland band I Can Lick Any S.O.B. in the House, it also seems an important release of another kind for frontman Mike Damron.
Exploring his inner demons, Damron reflects openly on his personal life and the world as he sees it, resulting in an album that is more heart-wrenching and moving than its title might imply. Bent by a muddy country-western influence, the quintet has down-home, back-porch flavor, too. It's just that listening to "Creepy Little Noises," you also get depth and a small peek into the main man behind the music. The meeting of fervent musicians and honest subject matter yields story-backed sounds that are powerful and likable.
The band members -- singer-guitarist Damron, guitarist-keyboard player-producer Jon Burbank, bassist Dewey Revelle, harmonica player David Lipkind and drummer Flapjack Texas -- invent a sound that can stomp and strut, coo and confess, growl and hiss all at once. While dishing out colorful variety, I Can Lick Any S.O.B. in the House paints a rumbling soundscape of sunsets and tumbleweeds.
Like a letter to his father or a journal entry just to vent the pain, Damron's "Hey Big Man" is a touching acoustic track that has no reservations about conceding his personal hardships. His Steve Earle-like singing is low and gravely, revealing his struggles within: "Hey big man/Did you ever give a damn about me?/I did not understand, you see/Why'd you wanna hurt me."
Also reflecting on childhood is the jangly jump-around of "Saturday," which contains a more upbeat remembrance, perhaps about an escape from his own home and from a mother who was no more nurturing than the father: "Mama oh mama/Now where have you been?/Down at the Tahiti lounge/Just drinking again."
Here's to the willingness to let it all out, and the courage to do so.
Matt Cibula
Portland kicks ass, okay? I mean, we have the world's most dysfunctional NBA team, the country's nicest transportation system, lots of beautiful parks for the runaway kids to squat in, lots of seedy heroin dives, and a Chinese food restaurant called Hung Far Low. Or at least we did when I grew up there. I last lived there 16 years ago. I live in Wisconsin now, and I miss the PDX.
Especially when there are kick-ass alt.blues.country acts like I Can Lick Any Sonofabitch in the House still there. This debut record from ICLASOBITH is pretty much all the work of one guy, the very very confident Mike Damron. This guy is working all sides of the street: bluesy roots-rock ("Graveyard Song"), dragged-up-from-the-depths personal pop-rock that sounds like bonus tracks left off Let It Be by the 'Placemats ("Swing Man Swing"), and death ballads (the title track). And that's just the first four songs!
Look: Damron is a huge huge talent. His songwriting says a little too much -- does he really need to describe himself mouldering in the grave? Does he really need to call a track "Fear'd" and then sing about how he ain't a-feared? -- but hey, it's a first album, cut my homey a break. And his punky whiskey-flavored soulful voice and John Mellencamp-esque chord changes (and that is SO not an insult in any way... Mellencamp's chord structures are amazing) sell every single song.
But even if the rest of the album -- which includes love songs and cheatin' songs too -- wasn't so great, two songs would completely justify you getting this record NOW. They are both focused on the physical abuse of children, but they couldn't be more different. The first one is "Saturday," an outwardly jovial burner about a nine-year-old who hangs with his grandparents having fun that day every week: Captain Crunch, baseball on TV, plastic army men, watching The Cars on Midnight Special with Wolfman Jack, the whole nine yards. Only after you listen to it a couple of times do you hear the lines dealing with WHY he's so happy to be there: "Close my eyes, count three, and pray / Mama you ain't gonna hit me again." Whiplash!
And the closer is a chill-inducing indictment called "Big Man." In this piece, Mike D.'s narrator calls out a father for being a big huge asshole to his five-year-old self: "And I will survive you / Hallelujah! / And I will love bigger than you / And I won't do all the bullshit you did do" (and here the pauses are crucial) "I will not be a big man / I will not be a big man / Like you!" Yeah, brother, testify! I'm right there with ya. To hell with that old bastard, he wasn't shit, you're a better man, keep on walking and hold your head up. Wow I love that song.
It's a good album. A little short, and a little too calculated in places, but I Can Lick... is gonna be huge real soon.
highbias.com
(In Music We Trust)
The problem with most roots rock artists is that they're too polite. Constrained by fan expectations and their own deep respect for American music traditions, too many roots rockers treat country, blues and rockabilly as sacrosanct forms not to be futzed around with or applied to anything but reserved emotional states. Even songs about killers make the villains out to be sedate and possessing the finest manners.
Fortunately, not all roots rockers forget the art of being rude. For instance, the awkwardly but appropriately monikered I Can Lick Any Sonofabitch in the House sounds like it crawled out of the bar with an arm in its teeth and a knife in its back on Creepy Little Noises. Frontperson Mike D. sings in a voice so grizzled even his larynx must have tattoos on it, and his country rockin' songs leave nothing to the emotional imagination, whether he's dealing with anger, fear, despair or something more tender. "The barrel tastes good in his mouth," he raspily croons in the title track, "He's gonna go out like he came in/All alone." Not much false sentiment here; even the more whimsical material like "Saturday," which celebrates the titular day of play while noting "Mama, you won't hit me again," has a dark edge. For all the crazed energy permeating the record, there's a sense of craft here; "Graveyard Song," "Walk Across Texas" and "Swing Man Swing" display a strong sense of melody and a close attention to grimy detail that belies the spontaneity of the performances. Creepy Little Noises sounds like the raging drunk at the end of the bar, but that drunk has the soul of a poet. Michael Toland
Musicemissions
I Can Like Any Son of a bitch In The House (hereforth known simply as Sonofabitch) is a Portland Oregon based band led by Mike Damron. He took the title of his band from the the biography of boxer John L. Sullivan, and he also leads the album off with a track called 'John L. Sullivan'. Sonofabitch is a noisy affair that takes cues from rock-a-billy as well as country, while keeping one foot in the blues. Mike's vocals are very gruff and the lyrics are rough around the edges. Think Keith Richards and you sort of have the voice down, and if Keith sang a more folky style then he would be just like Mike. They could also be compared to Social Distortion but not as much punk. There are some fairly mellow tracks on the album like the title track and "Swing Man Swing" and they are along the lines of a Steve Earle tune. Creepy Little Noises is actually a very impressive debut album that should appeal to folk, blues, rock-a-billy and country crowds alike.
Try if you like -
Social Distortion, Keith Richards, Steve Earle
Colleen Rodgers
no one better
When i first heard Creepy Little Noises, i cried. Their music is so real and so powerful it fills you with what they were feeling when they wrote the song. I have been a SOB follower for many years and i can honestly say you will never meet a better group of guys. They sing to sing, not just be get big. this is honestly their best work, but it gets better and better everytime i hear it


Your teen might as well begin making choices while under your roof so you can help them learn.
What's more, I like doing things for my kids.
I'm good at taking care of things.
It makes me feel like I'm needed.
But sometimes, I have to choose to let them do something differently than I would and without my help. And when I make those choices, I know I'm also training someone else—me.
Because my sons will be making choices for the rest of their lives. Some of them I will agree with, some of them I won't. As adults, husbands, men, they will even make good decisions but in ways that differ from how I would do it. So giving them the freedom to choose now not only prepares them for the day they will be on their own, but it also prepares me. Because I'm not just preparing my children for adulthood.
I'm also preparing myself for their adulthood.


text:
Home » House OKs $36B two-year budget with more money for school vouchers, higher cigarette tax
House OKs $36B two-year budget with more money for school vouchers, higher cigarette tax
February 22, 2021 | Lindsey Erdody
The Republican-controlled Indiana House on Monday passed a $36.3 billion two-year budget mostly along party lines.
The budget, which would take effect in July and still needs Senate approval, would make a handful of one-time investments in small businesses, regional projects, student learning loss, health initiatives, broadband and police training, and it would significantly increase funding for the private school voucher program.
House Bill 1001, authored by Rep. Tim Brown, R-Crawfordsville, includes $150 million for a learning loss grant program, $30 million for a small business grant program, $50 million for a health grant program and $150 million for the regional collaboration program that Gov. Eric Holcomb pitched during his State of the State address this year.
It also includes $70 million to pay for upgrades at the Indiana Law Enforcement Academy in Plainfield and $250 million to expand broadband internet access through the Next Level Broadband Grant Program.
The House passed the spending plan 65-30 on Monday evening. Two Republicans—Rep. John Jacob of Indianapolis and Rep. Curt Nisly of Milford—voted against it.
For K-12 funding, the budget increases the allocation by 1.25% during the first year and 2.5% in the second year, for a total of $378 million in new dollars over the biennium. But more than one-third of that increase would be dedicated to expanding the state's school voucher program, which uses public dollars to pay private school tuition. That program's cost would go from about $174 million this school year to $256 million in two years.
Republicans have repeatedly said they fund children, not schools, and have touted their proposal as giving parents more choices about how to educate their children. Democrats and other opponents have argued that it further drains funding from traditional school districts while they are struggling to find ways to boost the state's lagging teacher pay.
The budget does not address any of the recommendations from the governor's Teacher Pay Commission's report, which recently concluded that $600 million would be needed to address the pay shortfall for Indiana educators.
For higher education, the budget restores a 7% cut Holcomb ordered for colleges and universities in fiscal year 2021 to adjust for revenue shortfalls caused by the pandemic. Then it holds university funding flat in fiscal year 2022 and increases it by 2% in fiscal year 2023. No capital projects are included in the budget currently.
The budget plan is projected to leave the state with a surplus of $130 million in fiscal 2022 and $227 million in fiscal year 2023. Reserves would be at 11.9% of spending in fiscal year 2022 and 11.7% in fiscal year 2023, which means the state would have about $2 billion set aside.
The budget also includes a cigarette tax increase, but it's only a fraction of the amount advocates had sought.
The cigarette tax would increase from $1 to $1.50 and a 10% retail tax would be imposed on e-cigarettes and e-liquids. A different bill considered this year would have increased the cigarette tax to $2. Advocates for the tax increase argued that $2 didn't go far enough and have pushed to raise it to $3.
State lawmakers have not increased the cigarette tax since 2007.
Brown said he's proud Indiana is in such a strong fiscal position despite the COVID-19 pandemic.
"We've come through a lot," Brown said. "A year ago I didn't think we would be in this place."
Last week, House Republicans rejected nearly two dozen amendments to the budget proposed by Democrats, including one that would have established a work share program within Indiana's unemployment system, one that would have increased funding for food banks and another that would have dedicated $500,000 in grant funding for minority- and women-owned businesses.
The House Ways and Means Committee's ranking minority member, Rep. Greg Porter, D-Indianapolis, said there are parts of the budget he supports, such as the $150 million for a regional collaboration program. But he said the plan still doesn't provide enough funding for the state's human infrastructure.
"We could do a lot better," Porter said.
Rep. Ed DeLaney, D-Indianapolis, criticized Republicans for crafting a budget without any vision or support to fix some of the state's problems, such as teacher pay and the overall health of Hoosiers.
"You've got the supermajority," DeLaney said. "Do something with it, other than pat yourself on the back."
The budget moves to the Senate for further amendments.
6 thoughts on "House OKs $36B two-year budget with more money for school vouchers, higher cigarette tax"
Robert H. says:
wow the state is spending so much money. i am going to sell all my assets in the entire state before people start fleeing left and right. i can't believe all my tax money doesn't just get put into an account somewhere and it's actually being spent.
Matthew C. says:
Sickened that some of my taxes will fund private schools – so much for separation of church and state.
Wesley H. says:
Why are my property taxes going to private schools instead of IPS, which needs the money?
DUSTIN D. says:
they aren't going to the schools. they are going to the kids of families that care enough to take the time to apply and send their kids to a better school. it is called school choice and it works. IPS spends more per student than these private schools and can't get the job done.
JOLF R. says:
Private schools are selective – it's not a level playing field. How about we invest in the public school system and not put a band aid on the problem. No society will thrive in the future without a robust, public education system.
BRAD J. says:
If a public school district can't keep the kids in their schools, they are going to lose the funding to other schools regardless.


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Obituary: Stephen L. Solheim
The Chancellor's Office has received word that Stephen L. Solheim, age 66 of Whitewater, died on Monday, Feb. 18, 2019. Solheim came to UW-Whitewater in August of 1991 and served as a professor in the Department of Biological Sciences.
A celebration of life gathering is planned on campus from 3 to 5 p.m. on Sunday, March 31, at the Young Auditorium Fern Young Terrace.
In lieu of flowers, donations may be made to the National Resources Foundation of Wisconsin, P.O. Box 2317, Madison, WI, http://www.wisconservation.org/
The campus flag will be lowered to half-staff on Earth Day, Monday, April 22, 2019 in his honor.
There are counselors available for those who would like to speak with someone.
- For students, please contact University Health and Counseling Services, located in the Ambrose Health Center. Appointments may be made by calling 262-472-1305.
- For faculty and staff, please call FEI, the Employee Assistance Program at 866-274-4723 (24 hours a day, 7 days a week). Additional access to FEI is available through their website, visit https://www.feieap.com (Username: SOWI)


Steve Morse (gtr); Dave LaRue (bss); Van Romaine (drm).
Morse continues to record albums outside the purple road, sometimes solo, sometimes as Steve Morse Band.
In 2000, he recorded the first album consisting of tracks written in the spirit of Morse's many influences, including Cream, Jimi Hendrix, Jeff Beck, Eric Johnson, Alex Lifeson, The Byrds, Jimmy Page, John McLaughlin, Rolling Stones, Mountain, George Harrison, The Allman Brothers Band, Kansas and Yes.