text:
HMS Linnet was originally His Majesty's revenue cutter Speedwell, launched in 1797, that the Royal Navy purchased in 1806. Linnet captured a number of privateers before the French frigate Gloire captured her in 1813. The French sold or transferred her to the Americans, who operated her as the privateer Bunkers Hill. In March 1814 the British recaptured her, but did not return her to service.

Customs service
Speedwell was one of four revenue cutters present when the boats of a squadron under the command of Sir John Borlase Warren cut out the French privateer Guëppe on 30 August 1800.

Royal Navy service
Having purchased Speedwell and having renamed her linnet, the Royal Navy commissioned her in December 1806 under Lieutenant Joseph Beckett. In 1807 Lieutenant John Tracey (or Treacy, or Treacey, or Tracy) transferred from the hired armed cutter Princess Augusta to replace Beckett. On 29 July, Tracey was captain of Linnet when she and  captured the French sloop Victor.

Puissant and the "armed cutter" Linnet shared in the detention on 27 August of the Danish ship Deodaris. At the time, Puissant was an unarmed third rate serving as a receiving ship in the harbor at Portsmouth. That same day Linnet was in company with the cutter  when they captured Kron Prinz Frederick.

On 4 November, Linnet detained the galiot Wilhelmina, Willem Elderts, master. Wilhelmina, Eddarts, master, had been sailing from Petersburg. Linnet sent her into Portsmouth. About a month later a Wilhelmina, carrying cordage and timber, and detained by the Linnet, also arrived at Portsmouth.

On 16 January 1808, Linnet was some six or seven leagues from Cape Barfleur when she saw a French lugger pursuing two English vessels, a ship and a brig. Linnet joined up with the English vessels and towards night was able to close with the lugger. After an engagement of a little over two hours, the French lugger was in a sinking state and so struck. She was the privateer Courier, of 18 guns. She had a complement of 60 men under the command of Captain Alexander Black, and had lost her second captain killed and three men wounded. (Linnet had no loses.) Courier had been out four days and had been sheltering from a gale at the Îles Saint-Marcouf. She had not captured anything before herself being captured. However, earlier that day Courier apparently unsuccessfully engaged for two hours the merchant vessel Tagus, Connolly, master, which had been sailing from Monte Video and Cork.

In March Linnet captured two French fishing vessels. The first was the Aimable Henriette (26 March) and the second was the Marie Alexandre.

Linnet was in company with  and  and so shared in the salvage for the recapture on 10 August of the Pappenbourg galiot Young Hariot. Later that month, on 30 August, Linnet captured the French privateer lugger Foudroyant off Cherbourg. Foudroyant was out of Saint Malo and had been armed with ten 6-pounder guns, six of which she had thrown overboard during the chase. She had a complement of 25 men, under the command of Michael Pierre Gamier, but only 15 or 18 were on board. Linnet sent Foudroyant into Portsmouth.

On 30 October, Linnet recaptured the Harmony, Watson, master, which had been sailing from Oporto to London with wine.
A little over two weeks later, on 16 November, Linnet and  worked together to capture the privateer General Paris, of Calais. General Paris was armed with three guns and had a crew of 38 men under the command of Mons. T. Sauville. She was three days out of Havre but had not taken any prizes.

Linnet is listed as one of the many vessels that took part in the ill-fated Walcheren Campaign between 30 July and 18 August 1809.

In December 1810 Linnet recaptured the ship John, of Newcastle. John, Bertie, master, had been sailing from Newcastle to Jamaica when the French captured her on 9 December off the Owers. Linnet sent John into Portsmouth.

On 29 May 1812, Linnet took the privateer Petit Charles off Start Point, by Start Bay. The privateer had a crew of 26 men, armed with small arms. She was four days out of Roscoff and had not captured anything. Prize money was paid some two to three years later. Linnet brought Petit Charles into Portsmouth on 32 May; the report of her arrival refers to her as carrying two guns.

When news of the outbreak of the War of 1812 reached Britain, the Royal Navy seized all American vessels then in British ports. Linnet was among the Royal Navy vessels then lying at Spithead or Portsmouth and so entitled to share in the grant for the American ships Belleville, Janus, Aeos, Ganges and Leonidas seized there on 31 July 1812. A few days later, Linnet and the sloop  captured the American brig Nancy.

Capture and fate
Linnet was sailing in the western approaches to the Channel on 25 February 1813 in high winds and heavy seas. She sighted a large vessel that proceeded to give chase, and did not identify itself. By 1430 hours, the frigate had gotten close enough to Linnet to identify herself as the Gloire, and to call on Lieutenant John Tracey to surrender. Instead, Tracey managed by adroit sailing to hold off his attacker for over an hour until shots from Gloire did sufficient damage to Linnets rigging forcing Tracy to surrender. The court martial of Lieutenant Tracy on 31 May 1814 for the loss of his vessel acquitted him, noting his seamanship, courage, judgment, and his attempt to disable the enemy vessel. The Navy subsequently promoted Tracey to the rank of commander.

Gloire took Linnet into Brest, arriving on 27 February. The French transferred or sold Linnet to American owners who sailed her as the privateer Bunkers Hill or Bunker Hill. In August she was under the command of Captain Jacob Lewis when she sent into Chatham a British brig that had been carrying rum from Jamaica to Halifax. Then on 18 August the British brig James arrived in Boston. She had been sailing from Halifax when Bunker Hill had captured her. On 29 August there arrived in New York a British brig that had been sailing from Quebec to Bermuda when she had fallen prey to Bunker Hill.

On 4 March 1814, Pomone and , were sailing on the east coast when they captured Bunker's Hill. She carried 14 guns and had a crew of 86 men. Previously very successful, she had been cruising for eight days out of Morlaix without having made a single capture. The Navy did not take her back into service.

Notes

Citations

References

Rhode Island Historical Society (1898) Publications of the Rhode Island Historical Society. Volume 5.
Troude, O. (1868) Batailles navales de la France. (Challamel ainé).

Ships of the Royal Navy
Privateer ships of the United States
1797 ships
Captured ships


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From the moment Better Call Saul premiered way back in February 2015, fans have wondered when any characters from Breaking Bad would make cameos or extended appearances on the Bob Odenkirk-led series. It didn't take long to see old heads like Tio Salamanca, Huell Babineaux, Francesca Liddy and of course, Mike Ehrmantraut whip Jimmy McGill into shape. However, arguably the most memorable and enigmatic character of the Break-verse, Gustavo Fring portrayed by the esteemed Giancarlo Esposito, quietly made his presence known late in season two, and arrived in a calm, measured demeanor for season three.
Now a recurring presence in Better Call Saul, the details of Gus' rise within the cartel will be thoroughly chronicled in season four, along with his tenuous arrangements with Saul's leads, namely Ignacio "Nacho" Varga, played by Michael Mando. The pair aren't even close to a match made in Heaven, as Esposito remarked at San Diego Comic-Con.
Though season four will descend further into intrigue when it comes to cartel business, Michael Mando was proud of Nacho's maturation as a person (and partly as a criminal), especially after the Salamancas upended his family's legitimate livelihood. Furthermore, Mando had nothing but high praise for his co-star – and how effective Esposito was in setting the tone in scenes as Gus Fring.
It's been confirmed by Gilligan and Gould that season four will begin to bleed into the Breaking Bad timeline, so it's possible this burgeoning "partnership" between Gus and Ignacio could be short-lived, or lead down a path no one outside of the writer's room could have anticipated. In any case it's clear both Mando and Esposito will have a choice number of scenes together this year and potentially lay the foundation for Gustavo's ultimate plan for revenge.
While acquainting himself with these relatively new characters (and familiar faces for the first time timeline-wise), Esposito remarked how he also attempted to find a new slant for Gustavo Fring during filming. Although this secretive figure that successfully managed dual lives may have appeared to be "complete" in Breaking Bad, Fring has many nuances left to explore within his personality due to Saul's exceptional writing.
When you come into a situation in your life when you're given a gift… all you can do is be in gratitude. For me, to come back to this show I had great questions about "have I done all I can do with Gus? I don't want to repeat myself, how will I ever do this?" After having a conversation with Vince [Gilligan], I just… actors are like racehorses who are at the gate and just want to run. I love the concept of the show, I love stories about someone who you would look at as an 'everyman'. And then be somehow, as you're looking at that, going "This everyman is going off the rails. He's changing. That could be me." We all have that dark and light side of ourselves.
So when I asked just simply to speak to Vince about what will this be, how will this be, and Vince said to me "Well you know, Gus is a mystery. Certainly that mystery remains electric if we see him less than more." Just what an actor wants to hear! [laughs] But I thought to myself and started to write down what would be the challenges, and why think you've done it all. Why not think you haven't even scratched the surface?
So I started thinking about ways in which I could create a more subtle version of who Gus was back in time. Is there a moment in time where we see how his brutality came to be, how his vengeance came to be. What can I do with this? … In the beginning the reason to come back to such great writing – again it's the gift that we're given as actors – by two really great minds who are able to be in service and be inclusive of you as an actor, as well as their other writers.
Vince and Peter [Gould], I'm just so grateful because I realize every time I come to work it's not work for me, it's play. And I realize how excited I get inside, whether I had nothing to say and just have to be in the scene with no words or whether I have a lot to say, it is this kind of excitement that really brings us together as audience and actors, as creators and writers. It creates a situation where you feel simply like how I have felt, and that is "I am home".
The fourth season of Better Call Saul premieres Monday August 6 at 9/8c on AMC!


The toughest part to any journey is starting out. Social media, especially, may be one of the most difficult treks to make if you're a small business owner looking to create a solid fanbase.
It's difficult because there are so many pages like you attempting to do the same thing. Did you know that there are over a billion active Facebook users? Did you know that there were 42 million pages, as of mid-2012? One can only wonder how large that number is now, considering there are so many businesses seeing the potential merits and rewards of being prominent and influential on social media.
At One Twelfth, all of the accounts we run could be categorized as either a small business, a company looking to make their presence felt in America, or a niche market. It wasn't easy, but these accounts have made progress on account of our patience, as well as experimenting with what types of posts were successful.
But that's no reason to be discouraged. All you need is patience and these four tips that are guaranteed to improve your brand on social media.
There's no point in posting if you don't even know who you're posting for. This is the exact reason why you should be adamant against buying your likes and followers. Those false fans might make your page look more attractive at first with a few thousand likes on the page, but your engagement numbers will be disappointing once you notice your fanbase has absolutely no interest in what you're posting.
The key to building anything, whether it's a business or a home or a relationship, is a solid foundation. Your real fans, the people who are aware of your product or service and use it, need to be your foundation. Once you establish that, you can use word-of-mouth, attention-getting events, and a consistent presence to build up your fanbase.
It's more rewarding to have an honest 1,000 fans than 10,000 fans that have no idea what you're selling. The likes and comments and shares will come. It takes patience to build up a small business on social media, what with so many other pages attempting to garner attention from you.
For further reinforcement, a study, done by Get Satisfaction in 2011, revealed that 37% of the likes on a Facebook/MySpace page and 44% of followers on a brand's Twitter did so because of special offers and deals. Taking second place, for both sites, were that they were current customers. Entertaining content finished third.
Can you blame them? Think about why you would follow a brand. Is it simply because you like the brand, or because they give stuff away? Everybody loves a giveaway, and you should, too, if you're the one running the page. Because not only are you showing your appreciation to your current fanbase, but you're only attracting new potential customers because of your willingness to take a loss and depart with one of your products.
It doesn't take much to convince your followers that you're generous. It doesn't have to be a once-a-week thing or even a monthly thing, just enough that will keep your audience at the edge of their seats and waiting for more.
Plus, using buzzwords like 'Free', 'New', or 'Guaranteed' are huge if you're holding a sale or trying to attract some attention for a specific product or service.
People use social media not just for your giveaways and discounts, but because it's the best form of customer service ever created.
Think about it. Where else can you get a direct link between you and, for example, Reeses' Chocolate? Before social media, you'd have to call, wait for who-knows-how-long, and then hopefully speak to a human representative that will likely give you a generic company response.
Now with social media, you can inquire of anything you want of your favorite company and, if the page is run correctly, should merit a response from them.
Community managers, engaging and interacting with your followers is the best way of creating transparency. There is no way of telling your fanbase that there's a human behind the account and the computer screen than directly answering the compliments, complaints, and questions of fans. It just shows that you're going the extra mile, that you care, and that you're willing to take the time out of your day to help that individual.
One thing I will say is to not answer a customer with a generic, fill-in-the-blank response. If they wanted that, they could have called the company and received the same response. Take the time to show each and every one of your fans that you care. It will pay off.
There is nothing more important running an social media account than having perspective.
You're no different than your followers. They, too, scroll through mostly filler until they come across something that's eye-catching and makes them stop for a few seconds. Social media is just another cog in our increasingly fast-paced world. You only have a second or two to make your point. Whether it's with a catchy headline or an interesting photo, your impact has to be immediate and swift.
That usually means not creating long-winded posts with paragraph-long posts. The most effective posts are usually the ones with the shortest description and an attractive image that momentarily grabs your attention. Those are the posts that will make people stop and stare.
There's so much information flying at you at every second that it takes a special kind of post to make you actually stop scrolling. Use perspective to think about what catches your eye (perhaps it's a specific word or picture) and then apply it to your own page.


Fluorescence is the visible light some diamonds emit when they are exposed to invisible ultraviolet (UV) rays. On a GIA diamond grading report it is described based on its strength, or intensity, of the diamond's reaction to long-wave UV, which is an essential component of daylight. The light emitted lasts as long as the diamond is exposed to the ultraviolet source.
Yes. Of the diamonds submitted to GIA over the past decade, approximately 25% to 35% exhibit some degree of fluorescent effect. However, only 10% of those show strengths of fluorescence that may impact appearance (i.e., strengths noted on laboratory reports as medium, strong, or very strong).
What impact does it have on the appearance of a diamond?
GIA studies show that, for the overwhelming majority of diamonds, the strength of fluorescence has no widely noticeable effect on appearance. In many instances observers prefer the appearance of diamonds that have medium to strong fluorescent effect. In rare cases, some diamonds with extremely strong fluorescence may appear hazy or oily; fewer than 0.2% of the fluorescent diamonds submitted to GIA exhibit this effect.
As with any diamond the guidance of a true expert is highly recommended. We would love to sit down in person with you and help to further your diamond knowledge.
To make an inquiry or book an appointment, complete our online form or call us today!


text:
During the May 21, 2019 meeting of the Lexington County School District One Board of Trustees, the board promoted Colleen M. Pelley to the position of assistant principal at Gilbert Primary School and hired Brandon M. Winchester for the position of assistant principal at Rocky Creek Elementary School, both effective as of July 1, 2019.
A veteran educator with 30 years of educational experience, Pelley began her career in 1989 as a teacher at the South Carolina School for the Deaf and the Blind. While there, she held the positions of lead teacher, early childhood interventionist and residential supervisor.
In 2000, Pelley moved to Maryland where she served as special educator coordinator and compliance specialist at Gilmore Elementary School. Three years later, she joined Norfolk Public Schools in Virginia, teaching kindergarten and an inclusion classroom from 2003 to 2006, when she joined Lexington District One.
Pelley worked as a resource teacher at Gilbert Elementary. She became the school's lead interventionist in 2008, currently serving in that role.
Pelley holds a Bachelor of Arts in elementary education from the University of South Carolina Spartanburg, a Master of Education in special education from Converse College, and a Master of Education in educational administration from the University of South Carolina.
She holds certifications in Tier 1 elementary principal, early childhood, elementary education, reading teacher, generic special education, deafness and hearing impairment, learning disabilities, and trainable and educable mentally disabled.
Fellow educators at Gilbert Elementary in 2012 and the South Carolina School for the Deaf and Blind in 1998 chose Pelley to represent them as school level Teacher of the Year.
Pelley is a member of the Association for Supervision and Curriculum and Development, the International Reading Association, Phi Delta Kappa International and the South Carolina Education Association.
Winchester comes to Lexington District One from Anderson County School District 2.
Since 2017, he has served as Jobs for America's Graduates career specialist and summer school coordinator. He won South Carolina JAG Outstanding Specialist in 2018.
Winchester began his teaching career as an art and video productions teacher at Greenwood High School. He moved to Saluda Middle School in 2011, where he served as art and English language arts teacher, and coached track and cross country. In 2014, he joined Brewer Middle School in Greenwood to serve as advanced fine arts and ELA teacher.
Winchester received a Bachelor of Science in visual arts with K–12 certification from Lander University, a Master of Education in curriculum and instruction from Concordia University, and an Education Specialist degree in school administration from Clemson University.
A member of Palmetto State Teachers Association, he holds certifications in visual arts K–12, middle level ELA G5–8, and Tier 1 elementary principal. He also earned Read to Succeed Literacy endorsement.

redpajama_set_name: RedPajamaCommonCrawl


If you really wanted to get a feel of how the Missouri School of Journalism works, I invite you to take a look at the broadcast track every potential TV/Radio journalism major faces. Lordy.
This school is so hellbent on getting you firsthand experience through your classes. Broadcast I-III all involve eventually doing more and more for KBIA and KOMU. These are professional journalism outlets who rely solely on students for a majority of their content.
I dare you to find any other school in the country that does this. You are literally being thrown into the fire as soon as you enter the fray. With journalism being an experience-driven field, that's what this school heaps on you from the start.
With all of that responsibility surely comes a great deal of time commitment. They want you to take 12 credit hours when taking Broadcast II, just so you can have as much time as possible to commit to your stories. It's quite the reality check.
Some may consider the commitments daunting, and I can totally see why. Much falls on the shoulders of students, but I think it will ultimately pay off. There's a reason this establishment is considered the best in the business. And this has got to be the main reason why.
It's the Missouri Method in full form. I can't wait to dive into it.


Flutists: Should You Play Piccolo?
If you are a flutist, odds are you have come across the piccolo at some point. The piccolo is a member of the flute family, and it can be a vital tool in a flutist's arsenal.
I first got into the piccolo a few years ago when I got my own instrument. I still have it and use it a lot; it's an Armstrong 204 piccolo. As a flutist, playing the piccolo has opened a lot of doors.
So, in short, yes you should play piccolo. Here are a few reasons why.
1. You'll have more opportunities.
Playing the piccolo, even if it is not your specialty, will open many doors for you. You open yourself up to more solo, chamber, and large ensemble repertoire.
While there is not much in the way of solo music for piccolo, the repertoire is growing. And if orchestral playing is of any interest to you, piccolo is super important. Even the principal flute has to play piccolo occasionally.
You can also take on doubling gigs, which is where you are required to play both flute and piccolo. You don't have to be the best piccolo player, but you should know the basics.
2. You'll have a unique part.
If you play in a concert band a lot, playing piccolo is a great change from flute. While the piccolo usually plays with the flute section, it does have its own solos. This past year, I had a few piccolo solos in my university band, and I would not have had a solo otherwise.
Even when the piccolo plays with the flutes, it will be heard more. The piccolo is a higher pitched instrument, and the sound will naturally carry over the band or orchestra.
You have a bit more leeway with piccolo, because you are your own section leader. You will be heard amongst all of the other instruments, and it's cool to get some solos.
3. It will help your flute playing.
I know, it sounds crazy. The piccolo requires a different, smaller embouchure, so how could it help your flute sound? Playing piccolo is harder than flute, and it requires a lot more skill, muscle control, and proper breathing.
All of those techniques from the piccolo can be transferred back to the flute. When I switch back and forth, I notice an improvement in my flute sound, for sure.
Playing the piccolo will also help with your ability to tune. The piccolo requires a more accurate pitch when tuning, and you have to make more adjustments. This will improve your aural skills.
4. It will make marching band easier.
If you are required to participate in a marching band, playing piccolo is something to consider. It is much easier to achieve a proper stance with piccolo than flute.
The piccolo is held closer to the body, and you can turn easier and your arms will not be so tired.
Another benefit to piccolo on the marching field is that you will be heard. It is almost impossible to hear concert flutes outside amongst dozens of brass instruments and the drum line. The piccolo will carry more through the field, and that part won't get lost.
5. You can take it anywhere.
Now, that doesn't mean you can just pull out a piccolo in the middle of the library. Though I have done that for scheduled performances :).
You can stick your piccolo in almost any purse or bag you have, so it is super easy to take it with your flute. There are also some flute cases that have a pocket or section for a piccolo.
Being able to put a piccolo almost anywhere means that you can whip it out at a moment's notice. You won't have to worry about not having room for it when heading to a rehearsal or performance.
6. It's expected of you.
At the collegiate and professional levels, it is almost always expected of you to play piccolo and to have your own. Whether you are going to be playing in an orchestra or a studio, a piccolo is a necessity.
If you take a job that requires piccolo and you can't play it, that will make you look bad. You don't want that. That being said, not every flutist plays piccolo, so having it as a skill can set you apart when it comes to finding jobs.
For the aspiring private teachers out there, piccolo can also open you up to more students. While most flute players start out on the concert flute, some will want instruction on the piccolo. The last thing you want to do is turn a student away and send them to your competition.
Not everyone will enjoy the piccolo, but if you do, there's no better reason to play piccolo than that. I really love pulling it out and playing everything from Vivaldi or Telemann to Gordon Jacob.
Piccolo gives me a nice break from the flute, and it helps my flute playing in the process. The piccolo is a great way to take a break from the concert flute without having to take a complete break from music.
Have you played the piccolo before? Did you enjoy it? Let me know in the comments!
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Next Next post: Are Private Lessons Necessary?


Classification: Brunello di Montalcino Riserva D.O.C.G.
Variety: 100% Sangiovese (large variety).
Altitude: 1,476 feet above sea level.
Harvesting Method: The grapes are rigorously handpicked and placed in small crates.
Vinification and Maturing: Grapes are manually sorted on the conveyor belt and vinified in conical trunk wood vats. Fermentation occurs with wild yeasts, careful 'rimontaggio' (pumping must over the dregs), and scrupulously controlled temperatures. This process is slow and may take up to thirty days. Once the malolactic fermentation is complete, the wine is placed in 30 hectoliter French oak barrels where it is then aged for 50 months.
Organoleptic characteristics: Deep and intense ruby red with a garnet rim. The trademark bouquet is determined and penetrating, with aromas of leather, spices, and tobacco accompanied by ripe plums. It bursts in the mouth, making a rigorous, strong nevertheless elegant entry and leaves a pleasant persistence. The robust tannin blends well with the sweetness of the wood and promises long and graceful aging.


text:
Lord, Anne M. (2003) Youth.
PDF (Exhibition)
PDF (Catalogue Entry)
Image (JPEG) (Artwork)
View at Publisher Website: http://www.lessedra.com/
Lessedra Gallery and Contemporary Art Projects organize the juried exhibition held in the National Palace of Culture in Sofia. They also publish the hard cover catalogue for this exhibition with attached CD of works and essays. The jury includes two Professors of Art, Purdue University and Rutgers University, and the Editor of Printmaking Today amongst a jury panel of six. My work addressed the issue of youth and it was included here as a contemporary wood engraving addressing an age-old concern.
Research Background
Lessedra Gallery and Contemporary Art Projects organize the juried exhibition held in the National Palace of Culture in Sofia. They also publish the hard cover catalogue for this exhibition with attached CD of works and essays. The jury includes two Professors of Art, Purdue University and Rutgers University, and the Editor of Printmaking Today amongst a jury panel of six. My work addressed the issue of youth and though this has been addressed it was included here as a contemporary wood engraving addressing an age-old concern.
Research Contribution
The work created for Bulgaria, a wood engraving titled Youth, was selected for the exhibition, and acquired for the collection. This combined the traditional process for a suggestive image of youth and hands, ambiguous in pose as caress or abuse.
Research Significance
The work was displayed in an international exhibition and included in a published catalogue. An invitation was issued to present a new image free of charge for the next Mini Print Award.
Media of Output:
Show/Exhibition:
Lessedra International Print Exhibition
wood engraving; youth; visual arts
http://www.fac.org.au/
The wood-engraving Youth was part of a series of engravings about people and it was accepted in the juried exhibition for the annual Fremantle Print Award in 2002.
19 STUDIES IN CREATIVE ARTS AND WRITING > 1905 Visual Arts and Crafts > 190502 Fine Arts (incl Sculpture and Painting) @ 100%
95 CULTURAL UNDERSTANDING > 9501 Arts and Leisure > 950104 The Creative Arts (incl. Graphics and Craft) @ 100%


text:
Ehren Kee Natay works in the rhythm of creation
|In Artists with Impact
|By Nicole Rupersburg
Ehren Kee Natay has been a drummer for 20 years and refers to rhythm and percussion as his "principle art form." But at age 23 he began to shift his focus more towards visual and traditional arts.
He studied silver smithing and began making jewelry, a traditional Navajo craft. This led him to the Native arts scene in Santa Fe, and from that point he expanded into three-dimensional expression.
"I had always worked in all mediums but I never really delved into the technical aspects of creating and constructing and fabricating," Natay explains. "Jewelry really opened me up and made me realize I could apply music, three-dimensional sculpture and jewelry into imagery and interactive and performance art."
Rulan Tangen, the founder and director of Dancing Earth Dance Company, discovered him and "made a dancer" out of him. After touring with the company for three years, doing youth and community outreach at different reservations, Natay became focused on sharing knowledge and educating and working with youth.
"Now that's pretty much what my life is like," he says. "Mostly I'm an arts educator, but my livelihood and where my drive and my passion are is through creating. I don't look at myself as an artist but as a creator. In being creative and intuitive, a lot of it is just listening to what needs to come into the world. What does the rest of the world need to learn from my experience?"
While Natay has worked in a variety of mediums ranging from music and movement to sculpture and smithing, he has also been a muralist, having worked on commissioned pieces for commercial projects like Nativo Lodge in Albuquerque as well as his latest, a mural to raise awareness for the Cystic Fibrosis Foundation on behalf of a close friend whose daughter has CF.
"With Nativo I was trying to express myself and my experience as coming from third-generation assimilation," he explains. "My [Navajo] grandfather went through the boarding school assimilation process. It's well documented. We know the crimes that were committed against him in order for him to be a part of American society."
Natay's work at Nativo Lodge.
He says he wanted to tell that story because it's the story that he lives as being half Kewa (Santo Domingo Pueblo) and Diné (Navajo) on his father's side and half Anglo-Saxon (German and Irish heritage) on his mother's side. He wanted to tell that story, he says, because, "I don't think it's too far off from happening again."
Natay walks in both worlds all the time – the world of the Native American and the world of the white man.
"I can't not walk in both worlds; it's kind of an obligation," he says. "Because of the way I look, because of the way I am, because of the responsibility I feel like have, I feel like it would be easy to just be one or the other, that it would be a little more sure. There is a lot of questioning of self that comes from being half this and half that."
Despite this feeling of straddling two different worlds – and, by extension, two different cultural identities – Natay makes it a point to say that he is no different than anyone else.
"I don't feel like I'm any more special or any different when I examine myself," he says. "But through other people's perspectives, they do sometimes think that there is something different happening there, or another angle [I hadn't intended]. In painting this most recent mural, the design is someone else's work. I just designed the layout. It's a big fairy with big butterfly wings holding roses with the Cystic Fibrosis Foundation logo in the background in a child's mosaic fashion. To me, I see it as a fairy tale, but when we were painting it we had people asking, 'Is this a Native American design? Do these represent the pueblos?' We keep getting this reference to our work being Native, and we're not even trying to put that in there at all but it's unavoidable. Our experience is such a unique experience, whether we want it to show in our art or not it finds its way in there."
Natay has won awards from the Museum of Indian Arts and Culture Native Treasures Fine Art Show, the Wheelwright Museum of the American Indian, the Artist Designed Collection Fellowship at the Southwest Association for Indian Arts (SWAIA), and the Rollin and Mary Ella King Fellowship at the School for Advanced Research.
The School for Advanced Research (SAR) has a division called the Indian Arts Research Center (IARC). One provocative piece that Natay has created is a photograph of him in front of a sign at the IARC building using spray paint to cross out the word "Indian." This was actually his self-portrait for his fellowship at SAR.
"It was supposed to be a little bit of a slap on the wrist for the institution," he says. "They're all about being supportive of identity and being a think tank for arts and culture and community, where the cross section is between a museum that stores things and a tool for the people that created those things originally. It's so interesting that there's all of this push to give back and repatriate [the Native communities], but at the same time this same institution that's trying to give us our power back continues to name us by their terms.
'I've been to India and I know I'm not from there. We all say 'Indian' because it's part of our vernacular; I say it all the time. But really if we want to self-identity and utilize these tools to lessen the otherness and create a bridge of understanding between these institutions and their way of thinking and the preservation of our way of thinking and being, then we have to be able to start identifying ourselves the way we want to be identified. We need to start identifying who we are and how we want to be categorized, then ultimately the otherness will be less and less and it will just be the 'Arts Research Center' not the 'Indian' or 'Indigenous' Arts Research Center."
Natay says that a lot of his earlier work was based on identity – not really knowing how to fit or how to name or how to live with the naming of things. Now, he says, he is focused on listening to the outside from within.
"I'm really into meditation and biomechanics right now as a way of me learning other therapies and how to be pain-free, how to be stress-free, how to be connected, how to connect with others and be open and aware," he says. "I think that's more important than anything I can really paint or sculpt. So often when people approach me they ask, 'What were you thinking about? What's your inspiration?' But really I'm trying to inspire you."
He still does a little bit of everything, from his music and movement to his sculpting and smithing. "I pretty much will do anything to not have a real job," he jokes.
For his next evolution as an artist and creator, he wants to get more into a curatorial and organizational leadership role. He is currently developing a new kind of formula for artist panels that allow for more conversation between the community and the artist about the artist's work, getting away from the more formalized structure of artist panels in which the artist submits a statement and CV to an organization and everything is orchestrated in a very institutionalized kind of way.
"I don't sit there and try to think of ideas, I just listen to what needs to be out there in the world," he says. "I feel like the more I listen, the less I feel needs to be out there in a tangible form. I feel like the more I am a vessel of my own creation, the closer I am to really embodying that. When you start putting all these concepts into what you're creating, it's so much more than, 'This is my painting in a frame, this is my sculpture on a podium.' You're actually a living, breathing creation. That's what it's all about for me."
(1) How do you like to collaborate?
I like to product manage. I feel like I have a gift of bringing people together, so more than anything, more than sharing my perspective and my angle, I like to organize other people through their passions. What do you really feel passionate about and how can I create that space for you to do something you really like do? That's' my favorite way of collaborating.
(2) How do you a start a project?
I start them in my head. I'll put a brush stroke in my mind. I'll create a foundation and think of the five problems I could possibly run into in doing that – I'm a planner in the way I'm constantly working on something from within before it comes out. That's mostly how I work and how I start pieces – I think on it.
(3) How do you talk about your value?
Because I don't feel like I'm "special" in the way I think about myself, I really feel like I'm blessed with ability. I'm able. I don't have a disease, I don't have a dire situation, so I'm able. My parents taught me the value of working hard so I'm a hard worker. Anything I put my mind to, I'm available to offer that ability – I know how to work hard. The thing that I've worked the hardest and spent the most hours on learning was how to play drums. I know that I have an acquired technical ability that other people haven't. I've spent more than 10,000 hours to mastery. Because of that my value isn't just music; my value is rhythm. When you really look at what rhythm is, and even the etymology of word – it is derived from Sanskrit and the base word also means birth, earth, all these concepts of spirituality – this music, the drumming, the rhythm has aligned me with the outside world, feeling where the energy is and where the tension is. It's all a rhythmic capacity. I'm able to understand that and that's the value I bring to my work.
(4) How do you define success?
I feel like whatever I'm doing, as long as I'm a little bit more awake than the day before, then the day was a success…and I mean consciously waking up. As long as I'm a little bit more awake and aware of what really matters, then it's a success. Now that I feel like I'm a little more answered in my seeking of who I am, I can consciously wake up every single day.
(5) How do you fund your work?
I'll play drums for Bboys at the farmers market and make quick cash there. I'll write a grant for a project. I'll sing a song at somebody's funeral. I'll teach something. The money thing isn't my focus; it's just kind of something I need to do. I haven't had a job since 2008; I just decided that I don't want to work for anybody but myself.
All photos courtesy of Ehren Kee Natay.
Dance Music Rural Visual Arts
Albuquerque Navajo Nation
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Meet the people around the country who are using their art, creativity and connections to shape their communities.
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Queer and Undocumented: The Art and Activism of Coming Out, and Coming Out
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Chandler's Downtown Crosswalk Beautification
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Quick dry cleaning software is exclusively crafted for dry cleaning and laundry businesses, helping you to smoothly manage your business. The software is equipped with intuitive features that help you and improve client satisfaction by providing.
Illustris LMS is enabled by very handy functionality and features that would decrease effort. Simple and laid on the line functions that would shorten day to day order management in your generic levaquin. It comes with many useful tools to manage a.
Linen Tech is a comprehensive large and medium range industrial/commercial laundry service management software. after coming into existence our company must always be focused on one core goal and this is to raise the productivity and effectiveness.
Purbis is one of the most reputed laundry delivery management software. It supports both mobile (Android & iOS) and web platform. We provide you the most convenient way to do laundry and dry cleaning management service. With our laundry delivery.
Wash-cycle Laundry is a commercial laundry service that is based in Philadelphia. They are a growing enterprise that delivers laundry on bikes. This company was started in 2011. It does laundry of saloons, hotels, campus etc. They have been.
The Laundry Management Application is a very simple and Online Services with mobile and computer friendly themes development.


The client tier consists of a client program that makes requests to the middle tier (associative version) | Webel IT Australia "The Elements of the Web"
Here we see an alternative "focus" Class Diagram for a «wrapper» Component of one sentence, this time usually a purely "associative" approach, with no inline composite structure (and thus also no Connectors for delegation from/to the boundary of Ports of Classes. It certainly makes it easier to handle at least some tracing to the Classes of analysis elements mentioned, however it is not clear (unless the attributes compartments are shown) how to relate the text to Properties like :Request, and it is also harder to show some flows.
Typically, multi-tiered applications have a client tier, a middle tier, and a data tier (often called the enterprise information systems tier).
The middle tier's business functions handle client requests and process application data, storing it in a permanent datastore in the data tier.
Java EE application development concentrates on the middle tier to make enterprise application management easier, more robust, and more secure.


Can Generation Y save Israel?
Disillusioned with capitalism,Israel's millenials seek peaceand a new world order.
"They're not like us" is the working title of a soon-to-be-published book by Prof. Oz Almog and his wife, Dr. Tamar Almog, both of Haifa University, on Israeli "millenials," or Generation Y – those born between 1980 and 1995.


..These findings resemble those of hepatitis B virus (HBV) infection, chronic hepatitis, cirrhosis, and hepatocellular carcinoma saga. ..
..Surgical pathology and immunohistochemistry of both cases confirmed the diagnosis. Both patients died within the following 6 mo to 1 yr. ..
..These findings could prove useful for diagnostic purposes in small biopsies. ..
..FNAB proved to be highly cost-effective, avoiding a surgical biopsy. The procedure was found to be extremely helpful when deciding on preoperative chemotherapy. ..
..The combination of prepubertal YST and bilateral TM has not been reported previously. Finding of TM at this early age suggests a congenital deranged Sertoli cell function and/or an abnormal gonadal embryogenesis in its pathogenesis. ..


Lord, another day, another tragedy… we are very aware that we live in a fallen world. We choose to remember today that we focus on what lies ahead: eternity. We face each day with hope, because we know hope is found in Jesus Christ. Today, Heavenly Father, we acknowledge the senseless act of violence that took place in Toronto, Canada, yesterday. We are thankful for the efforts of the officer (identity not public at the time of this writing) who apprehended suspect Alek Minassian after Minassian intentionally drove over and into people along a busy street in Toronto, killing 10. Today we pray for the wheels of justice to move swiftly as Minassian appears in court at 10 AM ET. We also pray for insights into what drove this man to wreak such havoc and terror upon innocent bystanders. We pray for the grieving today, that you would carry them through this dark valley, soothing them with words of peace and hope. We pray for those who experienced the trauma of witnessing this incident. Bring healing to their hearts and minds. Help them find people who will provide support, encouragement and words of wisdom along the healing journey. We ask your blessing on the brave individuals, both officers and citizens, who acted with courage in the midst of carnage, protecting others and attempting to save lives. We are thankful for their example and their efforts. We pray for the city of Toronto today—that it would bounce back from this tragedy, and that citizens would respond not with fear, but by extending extra hope and kindness toward those around them in the days to come. In Jesus' name we pray, amen.


Heres an adapted version of Precision Nutritions 5 Lean Habits that I share with my nutrition clients. This isn't a diet plan, its a lifestyle. Many of us are too sedentary, and consume far too many processed, high sugar, high sodium, calorie dense foods. The key to weight maintenance is daily activity, and a diet consisting of whole, natural, unprocessed proteins, fruits and vegetables. If its comes in a box, package, or bottle, its probably devoid of any nutrient value and loaded with empty calories. Best selling nutrition and culture author, Michael Pollan, summed it up best "eat often, not too much, mostly plants." For more information on my diet and exercise prescriptions, feel free to contact me here.
1. Frequent Small Meals. Eat every 2-4 hours - eating boosts your metabolism via the thermic effect of feeding (TEF), and promotes stable blood sugar levels, combating cravings and binging. It also affects several hormones, which set the body up for either fat storage or fat burning.
2. Protein First. Protein comes from the Greek word Proteios, meaning first or most important. Amino acids are the building block of every cell in your body. Choose a lean protein (poultry, fish, lean beef, pork, eggs, 2% dairy, whey protein supplements, soy) every time you put any food in your mouth - Make protein the focus of each meal. Protein boosts the metabolism, as its harder to digest than other foods. It also promotes muscle development which is more metabolically active than fat. Your body can store sugars and fats, but cannot store proteins, so its important to fuel this need regularly, or your body will tap into muscle to get the proteins it needs to function, thereby decreasing your metabolism, promoting fat storage.
4. Time Your Carbs. Starchy complex carbs (whole grains, pastas, breads, rice, cereals, snacks, sugars) only 1-2 hours following exercise. Otherwise, these carbs are converted to sugars and stored as body fat. Starchy carbs are simply long chains of sugars molecules. Feed your muscles with starches post workout when insulin sensitivity is greatest. Avoid these carbs on rest, and cardio days.
5. Eat fat to burn fat. Eat more healthy fats throughout the day (nuts, nut butters, avocados, olives, olive oil, fish oil supplements, marine foods, chia seeds, flax) Fats are calorically dense, and provide satiety, keeping you full between meals. Many of the tissues in the body are lipid(fat) based. Eating more fat, will enhance weight-loss, mood, hormone production, fat soluble vitamin absorption, and immunity.
In a recent online discussion with some industry leaders, the topic of a fitness professionals role in dispensing nutritional recommendations came up. You can follow that discussion here, but I wanted to expand it on a little. You cant out train your diet. Most of my general population clients have weight loss or body comp goals. While its easy to present the value of moving and feeling better, shifting the focus away from aesthetic goals, most clients are more vain than that. Another large client base are athletes with performance goals. You cant out perform a bad diet either. As a CSCS and nutrition minor, I feel confident and qualified to dispense general nutrition and supplement guidelines as stipulated by my governing certifications and degrees. However, clients need to recognize the qualifications of the fitness pro they are working with and take what they say with a grain of salt, or sans salt :). Ask about their credentials and know only a registered dietician should be giving specific caloric suggestions and food combinations. Adverse side effects from too much or too little of certain nutrients or calories can leave an unqualified professional liable. I often take for granted, how little people know about nutrition and how it plays a role with their goals. I find most often, the aspiring Manhattan chic predisposes clients to infrequent eating, followed by poor choice binging at restaurants that don t have their guests nutrition in mind. Combine these heavily salted, high fat, high calories meals with excessive alcohol consumption, and a sedentary lifestyle, and you have a recipe for a US obesity epidemic. Simple changes such as 4-6 small meals a day, lean proteins, healthy fats, high fiber carbs, and increased non-caffeinated, non-alcoholic fluids, can be life changing. Many clients fail to realize an alcoholic drink of any concoction, is going to exceed 100 calories, and a gram of alcohol is almost as calorically dense as a gram of fat. (7kcal/g vs 9) 2 drinks a day, over the course of the week, easily adds up to an additional 2000 calories. A pound of fat is 3500 calories. How long will it take you to gain another pound?? The average adult gains 2 pounds a year. Cutting your alcohol intake by 50% could dramatically drop your caloric intake. Eating more meals at home that out is an easy way to know what you are putting in your body. Restaurant foods are salted, sweetened and larded for pleasure, desensitizing our palettes to salt, fat and sugar. Even with healthy menu options its hard to turn down what we want in the moment versus our long term goals. Having said that, I do not believe there are "bad" foods, its the quantity of those bad or calorically dense foods. Learn portion control. A fist size of protein and high fiber carb is more than enough for most people. You do not have to clean your plate, save it for later. Skip the dessert and cut back on the alcohol. Little modifications over time can make all the difference over time. Be consistent with your diet and exercise. Make moderate eating and exercising a lifestyle. Consult a qualified fitness professional and nutritionist to help you get on the right track. Some mainstream applications I like for tracking calories and being more mindful of eating habits can be found at livestrong.com or loseit.com, both are conveniently available on blackberries and iPhones too.
For the fitness professional, remaining within ones professional scope of practice and referring out is important. But for many, simple lifestyle modifications can be more than an ounce of prevention, and fitness pros are the first in the line of defense for many diet related diseases and preventative care.
We are all aware of the importance of fiber in the diet. Few of us however, know why it's beneficial, how to eat more, and most importantly, how it will affect our waist lines.
Fiber is like natures intestinal mop to clean out the digestive tract helping our bodies to fight high cholesterol, certain cancers, heart disease and diabetes. Fiber comes in two forms, soluble and insoluble. Both are found in fiber rich foods and are usually higher in one form or the other.
Soluble fiber dissolves in water and creates a gel like substance that helps to carry fat out of the body reducing cholesterol and aiding in stabilization of blood sugar levels. Legumes, certain fruits and vegetables, oats and whole grains are all good sources of soluble fiber.
Insoluble fiber aids in the bodies regular movement of waste through the intestinal tract and can be found in whole wheat cereals, wheat bran, whole wheat breads, and some vegetables.
Here are some simple ways to add more fiber to your diet.
- Try to attain your fiber thorough whole fruits and vegetables rather than from juices. Fiber is found mainly in the peel and pulp that is usually removed from juices.
- Sprinkle wheat germ or flaxseeds over your oatmeal, dried cereal or yogurt.
Take a look at your diet and see if you are getting the fiber you need for your digestive tract and add more if necessary. For more information let us at Train Daly help you with your dietary needs through our expert nutritional counseling.


A broadcasting degree can prepare a student for a wide variety of careers in the broadcast industry by employing hands-on learning tactics for experience, and theory and business lectures for skill building. A degree in broadcasting will develop the student's skills in news presentation, interviewing techniques, videography, production, and news writing. All of this will prepare the student for a career in any of the following positions: television broadcasting director, newscaster, sportscaster, announcer, technical director, and many more.


Situated in Portland, Oregon, USA, Flint Group is acknowledged for being a good business. Tubing is one of the specialties of Flint Group. A firm like Flint Group, engaged with tubing, is not odd to be rooted in Oregon. Tubing isn't the only matter Flint Group deals in; extrusions are yet another domain of expertise. Cutting and hose, in addition to tubing and extrusions, may also be supplied by them. Yet many outputs one may get from this company are plastics, assemblies and ink and ink products.


text:
001
018    package org.apache.hadoop.io.compress;
019
020    import java.io.IOException;
021    import java.nio.ByteBuffer;
022
023    import org.apache.hadoop.classification.InterfaceAudience;
024    import org.apache.hadoop.classification.InterfaceStability;
025
026    /**
027     * Specification of a direct ByteBuffer 'de-compressor'.
028     */
029    @InterfaceAudience.Public
030    @InterfaceStability.Evolving
031    public interface DirectDecompressor {
032      /*
033       * This exposes a direct interface for record decompression with direct byte
034       * buffers.
035       *
036       * The decompress() function need not always consume the buffers provided,
037       * it will need to be called multiple times to decompress an entire buffer
038       * and the object will hold the compression context internally.
039       *
040       * Codecs such as {@link SnappyCodec} may or may not support partial
041       * decompression of buffers and will need enough space in the destination
042       * buffer to decompress an entire block.
043       *
044       * The operation is modelled around dst.put(src);
045       *
046       * The end result will move src.position() by the bytes-read and
047       * dst.position() by the bytes-written. It should not modify the src.limit()
048       * or dst.limit() to maintain consistency of operation between codecs.
049       *
050       * @param src Source direct {@link ByteBuffer} for reading from. Requires src
051       * != null and src.remaining() > 0
052       *
053       * @param dst Destination direct {@link ByteBuffer} for storing the results
054       * into. Requires dst != null and dst.remaining() to be > 0
055       *
056       * @throws IOException if compression fails
057       */
058      public void decompress(ByteBuffer src, ByteBuffer dst) throws IOException;
059    }

redpajama_set_name: RedPajamaGithub


text:
Q: Looping through stack values in Java In the given array, I want to count the only consecutive values to the left which are smaller or equal to the each value.
For example in the following array, first index value is 100, there is no smaller value than it so, it will be 1. For the value 70, there is 60 which is smaller than it, so the count is 2, and so on.
Note: This should be done using stack (its a stack practice problem).

My approach:
I'm trying to solve this way:

*

*Run loop through the array, each time add array value to stack.

*If stack is empty, set first array element as 1.

*Else, if stack.peek() is greater then add 1.

*If the stack.peek() is smaller then loop through the stack as long as there are smaller or equal values.

Problem:
Now the problem is that: Because of the stack.pop() it will work first time correctly but for next time it will not.
Question:
My question is that, how can I loop through the stack without stack.pop()?
Code:
Here's what I'm trying:
public static int[] getStockSpan(int[] prices) {

        int[] arr = new int[prices.length];
        Stack<Integer> stack = new Stack<>();

        for ( int i = 0; i < prices.length; i++ ) {

            if ( stack.size() == 0 ) {

                arr[0] = 1;

            } else {

                if ( stack.peek() > prices[i] ) {

                    arr[i] = 1;

                } else {

                    int count = 1;

                    while ( stack.size() > 0 && stack.peek() <=  prices[i] ) {
                        count++;
                        stack.pop();
                    }

                    arr[i] = count;

                }

            }

            stack.push(prices[i]);

        }

        return arr;

    }

A: Import these in java :
import java.util.*;
import java.util.Stack;

Then replace your code with this :
public static int[] getStockSpan(int[] prices) {

        int[] arr = new int[prices.length];
        Stack<Integer> stack = new Stack<>();

        for ( int i = 0; i < prices.length; i++ ) {

            if ( stack.size() == 0 ) {

                arr[0] = 1;

            } else {

                if ( stack.peek() > prices[i] ) {

                    arr[i] = 1;

                } else {

                    int count = 1,t=0;
                    Iterator iter=stack.iterator();
                    int ia[]=new int[prices.length];
                    while ( iter.hasNext()  ) {
                        Integer k= (Integer)iter.next();

                        ia[t++]=k.intValue();
                    }
                    for(int j=t-1;j>=0;j--)
                    {

                        if(ia[j] <=  prices[i])
                            count++;
                        else
                            break;
                    }
                    arr[i] = count;
                }
            }
            stack.push(prices[i]);
        }
        return arr;
    }

redpajama_set_name: RedPajamaStackExchange


Author Shteyngart will adapt his book and co-write the script alongside Tom Spezialy (The Leftovers, Watchmen, Castle Rock). Both will serve as showrunners and exec produce alongside Gyllenhaal and his Nine Stories banner topper Riva Marker. The series, which is currently in development, will be produced by Endeavor Content and Nine Stories.


text:
Twisted Bracelet
Material: Brass with 18-karat gold plating, Black Onyx and Zirconia.
Description: The Twisted bracelet is made in brass and has an 18-karat gold plating. The bracelet it's self has been twisted around it's own axis and that is why it's called twisted bracelet. At one end of the bracelet there is a square shaped black onyx stone that measures 1,5 cm across. At the other end of the bracelet there are several stones set into a flower leaf shape. The flower leaf is made up out of several boat shaped zirconia. The bracelet can easily be adjusted and in size by pressing the bracelet gently. The bracelet fits any size wrist and is very adjustable.


We as Christians, followers of Jesus Christ, have a mission and when we became followers of Jesus, we chose to accept it. It is commonly called, the Great Commission. As most of you know, the prefix, "co" means together or with, so we are to be with Jesus and on a mission with Him. His mission on this earth, which He chose to accept, was to redeem humanity and to give us the opportunity to reestablish a relationship with God.
His command to us was to "Go" and to "make disciples." He said that He would be with us as we were going and making disciples. So my question to you is, "how are you doing in making disciples"? Can you honestly say that there is someone in your life right now that you are teaching and pouring into so that he or she can observe and follow the teachings of our Lord Jesus? Are you making a disciple who will in turn continue this pattern of making more disciples? If you are making disciples, then great! Praise God and keep at it!
If you are not, then it is time to get on mission with God. Pray and ask God to show you someone in your life that you can help to become a follower of Jesus. Maybe you start from scratch and begin by sharing your faith with a co-worker, family member, or a friend. On the other hand, maybe there is a young believer that you know who needs a Christian friend and mentor. In order to disciple someone, contrary to popular belief; you do not need a ton of training. All you need is a willing heart, some time, and a Bible. Begin by meeting with someone on a regular basis and start reading the Bible with him or her, explaining what the meaning is, and then discussing what the Word of God says.
If you want something a bit more structured, here at Sunrise we have follow up materials that can you can take a young believer through which will help you explain foundational Christian truths and establish a relationship/friendship with the person as you meet with them on a regular basis. Just come to the front office and we can help you find the materials you need so you can begin making disciples.
My encouragement to all of you is to get on mission with Jesus and begin making disciples. As you do this, not only are you a part of Jesus' mission on this earth, but you will be blessed because you will be helping a fellow follower of Jesus grow in their relationship with Christ and then they will reach out to someone else and make disciples as well.


Rationality, philosophy: rationality is the ability of a being to consciously adapt to a situation due to the generalizations of his experiences. It can also be rational to want to learn something new. See also system, order, creativity, discoveries, evaluation, repetition.
Rationality/Economy/Economic Theory/Political Economy: Economically oriented political science was confronted with problems because it initially assumed that the actors had complete information.
Solution: In the 1970s and 1980s - both in political science and in economics - the rigid axiomatic of rationality was therefore softened in favour of the idea of a "restricted, bounded rationality." (3) This takes into account the limited rationality and processing power of humans.
2. J. S. Coleman,Th.J. Fararo (Eds) Rational-choice theory. Advocacy and critique. Newbury Park 1992.


text:
Der Song The Wallflower (auch bekannt unter den Titeln Roll with Me Henry und Dance with Me Henry) ist ein Rhythm-and-Blues-Song, der von Etta James aufgenommen und von Modern Records 1955 veröffentlicht wurde. Der Song wurde von Johnny Otis, Hank Ballard und Etta James geschrieben und ist eine Antwort auf Work with Me Annie von Hank Ballard & the Midnighters. Die zweite Stimme des Songs, der sich als "Henry" im Dialog mit der Sängerin befindet, stammt von Richard Berry, einem Sänger und Komponisten, der am bekanntesten für den Song Louie Louie ist.
"(Hey Baby, What do I've to do, To make you love me too,)
You have got to roll with me Henry;
(Alright baby)"
Der Song wurde ein großer Erfolg und stand vier Wochen an der Spitze der R&B-Jockey-Charts.

Für den Popmarkt wurde der Song von Georgia Gibbs gecovert, diese Version erreichte verschiedene US-Popcharts und war Nummer 1 der Most-Played-in-Juke-Boxes-Charts. Coverversionen unter dem Titel "Roll with Me Henry" gibt es von Sue Foley und Christine McVie.

Der Song wurde 2008 in die Grammy Hall of Fame aufgenommen. Ebenso ist er in den Soundtracks der Filme Sister Act (als Roll with Me Henry) und Zurück in die Zukunft (als The Wallflower) zu hören.

Einzelnachweise

R&B-Song
Lied 1955
Etta James

redpajama_set_name: RedPajamaWikipedia


Do you see the duck or the rabbit?
One of the greatest lessons learned during my professional career to date is that there is always another way to look at things – and the same set of facts can be interpreted differently. In spite of this being so, our individual response to information commonly defaults to the picture that we allow the facts to create in our mind, as filtered through our individual and or organisational perspective, knowledge and experience.
For example: if one sees the above picture as a duck and another sees it as a rabbit, neither would have failed in the correct interpretation of the facts, although each party would have read them differently. Their individual interpretation will depend on what each chose to see.
The same applies in business in-so-far as there is often more than one way in which to view a particular matter, yet so often the 'same old – same old' is applied.
The unique space in which I have chosen to operate at the intersection of health, business and law has highlighted the need to see each and every assessment referral; dispute matter; case management and coaching clients from different perspectives, so that the most appropriate, cost-effective and time efficient service and route is selected when engaging professionally. What is required is the constant awareness of the need to maintain the balance between the merit of the application of set processes (the 'same old') and the need to move beyond them.
In this regard, not every referral for a functional capacity evaluation (FCE) is necessarily suited to this particular process. Just because it has been referred for such an assessment does not automatically mean that another method of assessment would not be preferable. It may be that an objective review of the case's papers constitutes a better route; or a phone call to the relevant involved parties from an objective outsider would be of greater benefit; or a short assessment is required rather than a full report.
Similarly, when dealing with disputed claims matters or litigation cases, there may be different service options more suited to the case than that which is in process, such as mediation for instance.
Having enjoyed valuable personal time with a number of clients across the risk and legal domains during the first half of 2018, it has become increasingly evident that the role of facilitated mediation in disputed matters provides the opportunity to a faster and cheaper alternative dispute resolution process through which both parties are properly heard, their individuality recognised and their dignity honoured. Irrespective of the settlement agreement reached both leave the table feeling intact, with a sense of gain and retained personal power, rather than victory or defeat.
Furthermore, an externally facilitated case management process may be a less positive experience for an individual than a coaching process that engages them on an entirely more personal level. The latter draws on their sense of self-management, control and purpose, whereas the former runs the risk of being experienced as a demand for their engagement upon instruction.
I see it as part of my professional responsibility to look at things differently and to consider what the 'best' service option may be in dealing with the matter in hand, inclusive of the recommendation of the referral of the case to another professional when necessary.
It is the application of the above-mentioned kind of approach that allows for the development of new and better solutions; and it was because Mercantile and General Reinsurance applied their mind in becoming creative in 1990 that FCEs in the life industry were born.
Having been the pioneer in creating the space that FCEs currently enjoy – and being a continued supporter of their value – my journey so far has warned that their potential downfall lies in the risk of becoming an established pattern that reduces the appetite for doing things in a different way.
The same goes for the processes followed in disputed matters, whether managed through the internal arbitrator; a referral to the Ombudsman for long-term insurance or litigation. When a more creative solution will improve the reputation and experience of an organisation, while simultaneously providing a better service to the client, it ought to be pursued.
'Creativity is a great motivator because it makes people interested in what they are doing. Creativity gives hope that there can be a worthwhile idea. Creativity gives the possibility of some sort of achievement to everyone.


To the surprise of many shoppers, Cybermen were spotted in two major cities in the UK today, to mark tickets going on sale for Worlds Collide, the first official Doctor Who live escape game.
One of the Time Lord's oldest enemies, which feature in the new game, commandeered a barge on the canal at Gas Street Basin in Birmingham. Next, they were seen threatening to 'upgrade' unsuspecting Christmas shoppers outside the iconic Birmingham Bullring shopping centre, before travelling up through the UK, heading straight for Leeds City Centre, frightening local commuters in the process.
Fans have been eagerly awaiting details of the BBC Studios and Escape Hunt Doctor Who-themed live escape game, which will be playable at Escape Hunt venues across the country from early 2019.
Teams of up to six become the Doctor's new friends and are transported into the future, to the offices of ChronosCorp HQ, where eccentric billionaire Alastair Montague's efforts to develop commercial time travel have caused a tear in the fabric of space and time, a tear which the Cyberman will use to attack Earth!
We are thrilled that tickets are now on sale and fans can start booking to be the first to play the game in January. We are extremely proud of Worlds Collide and look forward to giving fans a unique Doctor Who escape game experience.
We're very excited to be revealing details of the very first official Doctor Who escape game in collaboration with Escape Hunt. We used to hide behind the sofa when the Cybermen appeared on TV, it's amazing that fans will soon be able to encounter them face to face.


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Formula One's Most Valuable Teams
Chris Smith Forbes Staff
I cover the business of sports.
Red Bull's two F1 teams are among the very few able to turn a profit in the world's most expensive sport. (Photo by Mark Thompson/Getty Images)
The world of Formula One is in an interesting place these days. In some ways the sport remains as staid and boring as ever, while in other regards it's currently going through one of the most exciting transitions in recent memory.
The points grid continues to be dominated by the same teams every year. This season Mercedes won its third straight championship, and in those three seasons only four teams have finished among the top three. Sponsorship investment in the sport is largely stagnant and few new corporate partners have entered the sport. And global interest continues to dry up - TV viewership is down to some 400 million, or a roughly 33% drop over the last eight years.
And yet this season the on-track action was meaningful right down to the wire, with Nico Rosberg clinching his first drivers' championship in the season's very last race (last year Lewis Hamilton locked up a second consecutive title with three races left). Haas F1, the first team from the United States to compete in Formula One since the 1980s, excelled in its premier season, finishing eighth with 29 points. And taking the biggest headline of all was Formula One itself: The series was finally sold after years of rumors, with billionaire John Malone's Liberty Media taking over in a deal that valued the series at $8 billion.
Gallery: Formula One's Most Valuable Teams 2016
We ultimately estimate that franchise values are mostly flat for the time being. Though Liberty's investment may wind up boosting the sport and its teams in the long run, especially if Liberty makes efforts to target some of the struggles we highlighted in our story a year ago, the average team is now worth $446 million, up just one-third of a percent from last year. Our values are based on team financial performances in the 2015 season, so this year's valuations do not yet include Haas.
Ferrari remains on top, now worth $1.33 billion. No team comes close to matching the Italian powerhouse, though the next three are in a close race for second place: Mercedes ($685 million) , McLaren ($655 million) and Red Bull ($630 million). We expect Mercedes will continue to close the gap, especially as its ongoing dominance of the sport will guarantee greater future revenues from series prize money.
Most in the industry appear to be in agreement that Liberty's takeover will benefit the sport. Liberty has already talked about its intentions to improve digital operations and global promotion, and a new set of eyes may take a more critical look at the sport's vast financial inequalities among teams. Investors have apparently liked what they've seen so far, as Liberty's stock is up more than 40% since announcing its acquisition in September. Yet how the media company's investment and leadership winds up impacting the teams and their valuations largely remains to be seen; for the time being, the sport's finances are steady.
Sponsorship money, the very lifeblood of the sport and what allows teams to collectively shell out some $2 billion per season, has increased slightly for some teams but few new corporate partners are entering the sport. And it seems car-side advertising is continually dominated by the same major sponsors, or lack thereof - McLaren continues to race without a title sponsor since losing Vodafone's $75 million-per-year investment three years ago, which may help explain why longtime team chairman Ron Dennis was pushed out of his role in November.
Series-level revenues have also remained mostly flat. Formula One's commercial rights income increased by $20 million in 2015, but revenues from advertising and sponsorships fell by $14 million. Thankfully for the teams, their share of series revenue rose by $41 million (or 5%) to $904 million, which was paid out in quarterly installments this year as prize money. Of course those payouts help some teams far more than others, since the grid's top teams are ensured greater guarantees as part of their agreements to stay in the series until 2020. That partly explains the stark drop off in value from F1's elites to the lower-tier teams, which typically share the scraps of what Formula One distributes (last year's bottom three teams collectively received just 18% of the pot).
And as always, Formula One remains the sports world's best way to quickly lose lots of money. That's because profitability is rarely an end goal. Instead, most teams consider breaking even as a best-case scenario, while the often-significant losses are viewed as marketing expenses for parent companies that desire exposure in F1's global market. FORBES estimates that just four teams made money last year, and two of those were Red Bull and Toro Rosso, which count a significant portion of parent company Red Bull GmbH's investment as sponsorship revenue rather than team expense. Total net losses for the ten teams in last season's grid: $134 million.
Some of the sport's top teams are taking the biggest hits on the bottom line. Mercedes has dominated on the track, but it's cost a fortune to do so. Last season the team lost $50 million despite increasing revenues 45% to $315 million. The German outfit will see its cut of prize money increase thanks to its on-track success (the full financial impact of winning takes some time to kick in), but Mercedes has shown no signs that it plans to cut back on spending - last year the team shelled out $115 million just on staff costs, or 67% more than McLaren.
And even Ferrari, the premier team that's as old as the sport itself, has hit some snags. Last year the Italian team picked up nearly $20 million in new sponsorship and commercial revenues, but research and development costs tied to engine development skyrocketed while it lost $12 million in engine rental income (the latter is not a major concern, as Toro Rosso and Haas both used Ferrari motors in 2016). Ferrari was still in the black, but its $7 million in operating income was just a 1.5% margin.
For now the view is rightly on the longterm, especially as teams consider investing in the series. Liberty made public that it was opening the door for teams to take a financial stake in F1, and several teams have reportedly expressed interest (as of now the only team "ownership" is Ferrari's single share, or 24 billionths of a percent, of parent company Delta Topco). Not only could that series equity increase in value, but the teams would also presumably get a greater say in rules changes, which often have major impacts on team spending - some teams are still feeling the effects of the 2014 move from V8 engines to V6 turbo power units.
Follow @ChrisSmith813
I report on the business of sports for Forbes' SportsMoney group. My sports interests range from baseball and hockey to cricket and Formula One, though I specialize main...


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Court Ridge ist ein niedridger, von Eis überdeckter Gebirgszug in den Ford Ranges, der von den nordwestlichen Ausläufern der Haines Mountains bis zum Sulzberger-Schelfeis reicht.

Er wurde von Teilnehmern des vom 15. bis 15. Dezember 1934 dauernden Nordostfluges der zweiten Antarktisexpedition (1933–1935) des US-amerikanischen Polarforschers Richard Evelyn Byrd entdeckt. Benannt ist er nach Arnold Court (1914–1999), Meteorologe auf der West Base des United States Antarctic Service von 1939 bis 1941.

Weblinks
  (englisch)
 Court Ridge auf geographic.org (englisch)

Gebirge in Antarktika
Ford Ranges


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RENZO PIANO: THE COMPLETE LOGBOOK
Renzo Piano, Kenneth Frampton
Thames & Hudson, 2017
Excluding GST A$73.64 A$90.00 A$81.00 BUY
Renzo Piano has created some of the most emblematic buildings of our age, including the Centre Georges Pompidou in Paris, the Shard in London, the Parco della Musica in Rome, and the New York Times Building in New York City. Here, Renzo Piano himself - whose many international awards include the prestigious Pritzker Prize - presents in his own words the works on which he has built his reputation over a span of 50 years.
More than eighty works are described (almost twice as many as featured in the original edition that this volume supersedes), accompanied by over 1,000 images, including new photographs, drawings and sketches, both intimate and authoritative, all with commentaries by the architect that combine personal anecdote and technical description with original insights. This is an unmatched introduction to the work of one of the world's most influential and inspiring architects.


What Is Oppositional Defiant Disorder?: What therapies are ineffective in treating Oppositional Defiant Disorder?
What therapies are ineffective in treating Oppositional Defiant Disorder?
Experts agree that therapies given in a one-time, short-lived approach (e.g., boot camps, tough-love camps, scared straight programs, and brat camps) are not effective for kids and teens with Oppositional Defiant Disorder. In fact, these approaches may do more harm than good.
Trying to scare or forcibly coerce kids and teens into behaving only reinforces aggressive behavior. These children may comply while under duress, but will learn from the scare tactics that were used on them – and use those same tactics on others at a later date. Kids respond best to treatment that rewards positive behavior and teaches them skills to manage negative behavior.
Before you send a troubled child or teen with Oppositional Defiant Disorder to a boot camp, it's important that you understand what these boot camps are and how effective (or not) they are in transforming angry, unhappy, struggling kids.
The theory behind most boot camps is that "if you scream enough at kids and discipline them, they will shape up." Angry, defiant, oppositional children and teens may shape up while in the intensely overwhelming, military-like environment of a boot camp, but in most cases, these short-term "SCARE camps" do not create lasting changes in behavior. It is more likely this type of setting will create more hostility and resentment toward authority figures.
Most troubled children need structure, strong guidance, therapy, and the discovery of natural consequences of behavior. For this reason, if your child or adolescent is truly struggling with behavior, emotions, and academics, he/she needs something that is more sophisticated and sensitive than a tough drill sergeant in his/her face.


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← I hear with my little ear: Podcasts 16-23 November 2019
Movie: Yuli →
'A River with a City Problem' by Margaret Cook
2019, 198 p plus notes
As it happened, when I was in Brisbane earlier this year, we ambled along the Riverwalk floating walkway. Watching the ferries and catamarans plying the river, crossing the pedestrian bridges and feeling the sand under our toes on the man-made beach, we wondered "Why doesn't Melbourne do more with its river?" Then we passed a restaurant on the walkway that had a mark on its window (which I've highlighted here in red) to show the height of the 2011 flood. You can gauge its height by the legs on the stools at the bottom of the window.
At first I thought "What resilience!" but after reading Margaret Cook's book, I'm not so sure. This restaurant would have been under water in 1893 and 1974 had it been there then, and it will be under water again when the floods inevitably return. This dogged determination to keep rebuilding is exactly what Cook means when she says that the Brisbane River is a river with a city problem, and not the other way round.
White settlers, like the indigenous people who were here before them, are always drawn to fresh water sources. They should have listened to the Turrbal and Jagera people whose Dreamtime stories tell how the river was created by Moodagurra, with an emphasis on the rain and cloud that allowed him to wriggle to form the sinuous river. Of course, they didn't listen to anyone. Early development took place on the floodplain, subjected to regular floods, but riverfront continued to be viewed as prime land.
Until 1893, that is, when the floodwaters surged onto the floodplains, where homes, wool sheds warehouses and industries had been located. Thirty-five people drowned. The solution? Why, build a dam, of course!….and this has been the approach in Brisbane ever since. There was a hiatus between 1893 and 1974, when drought was often more of a problem than flood, but inevitably the floods came again, and the Somerset dam was found lacking. And so, the solution? Why, build another dam – this time, the Wivenhoe, which was designed to be a dual-purpose dam that would maintain a water supply for Brisbane in times of drought, but also prevent Brisbane and Ipswich from flooding during heavy rains. A shorter hiatus this time, between 1974 and 2011, then inevitably the floods came after days and days of rain. This time, the ubiquity of smart phones meant that the flood was captured in all of its swirling, turbid power, and rank, stinking aftermath.
This book tells the story of the three major floods – 1893, 1974 and 2011 – from ecological, geographical and human perspectives. More importantly, though, it looks at the failure of policy as successive governments of both persuasions lacked the courage to say 'enough!' and prevent development on the floodplain. In the aftermath of a crisis, there's a proud defiance in claiming that" we will rebuild" but often it defeats good sense.
But the Queensland governments were even more egregious than other Australian governments, in their dogged pursuit of growth and development at all costs. It's not just Joh Bjelke-Petersen's white shoe brigade here; it's Clem Jones the Labor Mayor of Brisbane, and a succession of Premiers of both persuasions who consistently looked to technology instead of asking the harder question "Should we even be building here?" When other governments were looking at floodplain planning, especially in the light of global climate change, Queensland governments went through the motions, leaving loopholes that were (of course!) exploited, and tip-toeing around developers and their investments.
By the time the 2011 floods came, even though the water level itself was lower than earlier floods, the financial implications were disastrous because of the encouragement of higher-density development on the floodplain. She discusses the role of Newscorp media after this flood, most particularly the Australian, in attacking the science behind the decision to release dam water to save the dam, and blaming individuals rather than opening up a broader analysis of the systems that had led to such disastrous results.
The book had its origins in a PhD thesis, which is a remarkably hard genre to shrug off when writing for a more general audience. This is most obvious in the chapter 'Flood Management with Hindsight', which examines the decision to release flood water during the 2011 floods. There are lots of acronyms in this chapter, and I rued the lack of a glossary of abbreviations. I also regretted, as a general reader not local to Brisbane, the lack of a more detailed map of the Brisbane River within the city of Brisbane. There is a map that shows the Brisbane River Catchment more broadly, but when mentioning suburbs and city landmarks, the names meant little to me without a map.
The presence of images throughout the book, especially when discussing the three floods, breaks up the text. I liked that the pictures were placed within the text, instead of being corralled in the middle of the book as a set of plates – a decision probably made easier by the fact that they were black-and-white newspaper images, rather than colour photos.
By the end of the book, I was not at all confident that anything had been learned at all, and I don't think that Cook is, either. That line on the restaurant window showing the flood level that I spoke of earlier seems now to be more an act of hubris, than a mark of resilience. For now. Her conclusion, titled "The Floods Will Come Again" is a statement of fact, rather than a prognostication of doom. Perhaps then the political courage might be found to acknowledge that the city itself is the problem, rather than the river. As the title says, it is a river with a city problem, and not the other way round.
Source: review copy courtesy of the author
I have included this review on the Australian Women Writers Challenge Database.
This entry was posted in Australian Women Writers Challenge 2019, Book reviews. Bookmark the permalink.
2 responses to "'A River with a City Problem' by Margaret Cook"
Lisa Hill | November 26, 2019 at 11:41 pm | Reply
Yes. Yes. Compare that with the decision of the Indonesian government to move the capital Jakarta because of endemic flooding. (Consistent with the anti-Indonesian stance of Australian journos, that is of course being reported here from the standpoint of the aggrieved residents of the place it's going to be moved to, not as a sensible and long overdue response to a problem).
You know what else made me mad about the 20911 flood? Everyone in Australia, rich or poor had to pay a flood levy through their taxes because the Qld government, unlike every other government in Australia, didn't have insurance. They'd better not try that again!
residentjudge | December 2, 2019 at 11:58 pm | Reply
It's interesting, the whole question of insurance. I see that the north of Australia is starting to agitate that the rest of the country support cyclone insurance – almost a repetition of the Queensland flood scenario. I remember reading a book by T.C. Boyle 'A Friend of the Earth' and even though I can't remember much about the book, it was set in the near future where countries and communities were just not able to insure their infrastructure or buildings against weather events caused by climate change. It seemed a very bleak, decrepit scenario.
Leave a Reply to residentjudge Cancel reply
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Ethel Cecelia Bartholomew was born on May 03, 1880 in Solon Township, Leelanau County, Michigan, USA, The Daughter of Edwin Bartholomew and Verona Umlor.
Ethel Cecelia Bartholomew married William Abraham Roszel on May 28, 1900.
Ethel Cecelia Bartholomew had 3 children. Their names are Sylvia Veronica Roszel, Gladys Rosanna Roszel, and Ralph Arden Roszel.
Ethel Cecelia Roszel (nee Bartholomew) passed away on November 19, 1970 in Jackson, Michigan, USA. She is buried at Hillcrest Cemetery, Jackson, Michigan, U.S.A..


Processing Notes: Essential oil is obtained by steam distillation of the blossoms. A single distillation is interrupted at four different times to produce four grades of oils-grade extra, 1, 2, 3.
Haven't had any of this for years!