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Pilgrim Camp
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By Edith Blumhofer
The following is a transcript of a talk given by Prof. Blumhofer on August 26, 2006 at Pilgrim Camp, during the celebration of camp's 60th anniversary.
In his Autobiography, Mark Twain wrote: "The historian who would convey the truth must lie. Often he must enlarge the truth by diameters, otherwise his audience would not be able to see it." Historians tend to be a bit more sanguine about our work, though we do debate objectivity and truthfulness and admit that we never fully present the past. I do not propose to sketch the history of Pilgrim Camp. Rather, I want to ask a simple question: "Looking back, what made Pilgrim Camp Pilgrim Camp?" Or, put another way, "What can we learn from the past that will help us discern what this place should be in the present and future?" As times change, what clues do we find in the past to aspects of camp's purpose that cannot change without fundamentally altering what camp is?
One caveat: People generally sentimentalize the past. Menus offer old-fashioned food; businesses promote old-fashioned values. Protestants used to sing about an "old-fashioned meeting in an old-fashioned place where some old-fashioned people had some old-fashioned grace" and profess that they "liked it far better in the old-fashioned way." Camp meetings and revivals feature songs about "old-time power" and "old-time religion"—"Give me that old-time religion/It's good enough for me." The notion that the past was somehow better than the present is as old as recorded history, and so it is important to remind ourselves at the outset that there is no rosy Christian past—not even at Pilgrim Camp. People have always been flawed, and the saints of the church have generally been the first to acknowledge their own human frailty. And while it is satisfying to reminisce, attempts to recreate the past are not productive. Unlike adherents of Eastern religions, Christians have a linear view of history: history has a beginning and an end, and it is moving forward, not flowing in cycles. We are called not to hold on to the past but to commemorate God's faithfulness in the past as a reminder of His absolute dependability today and tomorrow. That is what Old Testament markers and feasts were about. They were regular recollections of God's past acts that assured later generations of God's character, grace, and mercy for the present and future. As we consider aspects of camp's history, we will find markers placed by the people who established this place—markers they intended as reminders of what they intended this place to be.
First, consider the broader context. Pilgrim Camp began in 1946 at about the same time that American evangelicals across the country were launching new youth ministries, including camps. Two well-known ones are nearby—Word of Life and Camp of the Woods. These camps were part of a new concerted effort by younger evangelical leaders like Jack Wyrtzen, Percy Crawford, Billy Graham, and Torrey Johnson that included youth rallies, radio broadcasts, and youth-oriented evangelism as well as camps. These post-World War II camps tended to grow out of urban-centered ministries. The idea was to offer youth opportunities for spiritual growth, fellowship, and outdoor activities in settings away from the distractions of post-World War II urban life. More than most Christians, American evangelicals explicitly targeted young people, and camps were part of the evidence of their strong commitment to the next generation. Pilgrim Camp fits into this broader evangelical trend.
Roots: Ridgewood Pentecostal Fellowship
Pilgrim Camp's particular roots are in the Ridgewood Pentecostal Fellowship. The Fellowship's founder, Hans Waldvogel, had the vision for camp and also provided substantial financial support. The first campers were Ridgewood Sunday school youth, but Uncle Hans also had adults in mind. In the 1940s, most people who attended Fellowship churches lived in crowded apartments, worked long hours, and traveled seldom. Uncle Hans thought of Camp as a place where they could take a few days for rest and renewal. In 1946, Gordon and Caroline Gardiner, Edwin and Edith Waldvogel, and Karl and Gertrude Sailer found the property that became Pilgrim Camp. The Gardiners became camp directors while the Sailers closed a flourishing business in New York City to move their family to Brant Lake and care for the property. Karl Sailer, Edwin Waldvogel, and volunteers from fellowship churches built the house that became the Sailers' home and Pilgrim's Rest.
The ethos of the Ridgewood Fellowship shaped Pilgrim Camp. When Camp opened, Uncle Hans had been pastor at the Ridgewood Pentecostal Church for 21 years, and during those years evangelistic efforts around New York City birthed a network of churches that included as well the congregation in Elizabeth, New Jersey pastored by Rudy Kalis. These congregations shared several distinctives:
They were independent congregations without denominational affiliation;
Directly or indirectly they were influenced by the Pentecostal leaders associated with the Zion Faith Homes in Zion, Illinois. There after 1907 men and women who had first entered the ministry under John Alexander Dowie, an outspoken advocate of holiness and divine healing, embraced the new Pentecostal movement. Within a few years, they opened Faith Homes to train young people for the ministry. Hans Waldvogel spent time in the Faith Homes where ministers like Martha Wing Robinson and Eugene Brooks taught people to "wait on God" and acknowledge in practical ways the implications of the reign of Christ within. Faith Home spirituality was Christ-centered, and worship was marked by the exercise of spiritual gifts like prophecy and words of knowledge as well as tongues and interpretation. Zion ministers tended to see the Pentecostal experience as the Holy Spirit revealing Christ to the soul. The Zion Faith Homes stood somewhat apart from the larger Pentecostal movement, and the Ridgewood Fellowship did, too.
The Ridgewood Fellowship was emphatically evangelistic. While still an associate in his father's German Baptist church, Uncle Hans was first attracted to Pentecostals because they held street meetings near his parents' parsonage in Kenosha,Wisconsin. Evangelism was his heartbeat.
The Ridgewood Pentecostal Church had German roots and a decided bent toward German pietist rhetoric and style. German pietists resisted formal religion, celebrated the new birth, promoted Bible study, undertook missionary work, showed their faith by their works, and invigorated the larger church. They coveted corporate revival and personal spiritual renewal, had a Christ-centered piety, and engaged in expressive worship that made much of congregational singing. The founding members of the Ridgewood Pentecostal Church manifested these traits, which also broadly influenced early American evangelicalism, and as Ridgewood DNA spread in church plants in other parts of the city, these emphases continued.
Pilgrim Camp quickly became a premier Fellowship venue. People from the various congregations mingled, and ministers and missionaries from the different churches preached, each using their own gifts to expand on the cluster of themes that gave the Ridgewood Fellowship its particular identity. From the outset, the camp's extended family included as well Helen and Joseph Wannenmacher and Alice Reynolds Flower.
Pilgrims and Puritans
After examining context and immediate roots, historians look for clues in the subject itself. We have established that Pilgrim Camp was not an anomaly: rather, it was part of a larger trend to found non-denominational Christian camps. We have seen that the Ridgewood Fellowship's distinctives shaped Camp's practice. But while what we might call Ridgewood Fellowship DNA molded Camp, early Camp leaders also chose to feature particular themes in harmony with Fellowship emphases. Camp was a place apart where certain values could be cultivated and the place itself could be structured to highlight certain values.
One Camp theme clearly centers in the word "Pilgrim." Why is Camp called Pilgrim Camp? I asked my dad, and he agreed that there is a two-word answer: Gordon Gardiner.
Gordon Gardiner graduated from Wheaton College with a major in history, and he was also proud of his family ties to New England. He gave camp a New England flavor by incorporating the Pilgrims into its fabric. Look at the names on rooms and buildings: it's like taking a trip to Plymouth Colony. William Brewster was a Pilgrim leader and lay preacher; Edward Winslow negotiated with Native Americans and represented Plymouth Colony in England; John Carver was the Plymouth Colony's first governor; William Bradford wrote Plymouth's classic history, "Of Plymouth Plantation." John Robinson was the Pilgrim's pastor in Holland. Miles Standish and John Alden were prominent in the public affairs of Plymouth Colony and were memorialized in Henry Wadsworth Longfellow's poem "The Courtship of Myles Standish." Robert Cushman was a Puritan preacher who visited Plymouth Colony in 1621 and delivered the only sermon preached in Plymouth for which the text has survived. Prudence, Charity, Mercy, Faith and other virtues were common Plymouth female names.
The Pilgrim theme is a bit muddled around camp by the introduction of Puritan names from Plymouth's rival colony to the north in Massachusetts Bay. Generations of Mayhews were Bay Colony pastors—Jonathan was a famous champion of the American Revolution. Cotton and Mather—aptly two sides of the same Camp building—represent either John Cotton and Richard Mather, both influential Bay Colony pastors, or their descendant, the pastor, scholar, and historian Cotton Mather. Eliot commemorates the saintly missionary to Native Americans just outside Boston. A page from John Eliot's translation of the Bible (the first Bible printed in the American colonies) hangs in the lodge, and the Village cabins in Natick take the name of the town where Eliot's native converts lived. Brainerd honors David Brainerd, another missionary to Native Americans. Richard Baxter (Baxter's Rest), on the other hand, never left England but had a profound evangelical influence on the Anglican Church. Camp buildings, then, recall Pilgrims and other Puritans. Was this a whim of Gordon Gardiner's, or did it have intent? The answer is probably a bit of each.
The Pilgrims were Separatists who at great personal cost resisted cultural accommodation and the requirements of the established Church of England. They were not all saints—as they put it, there were a fair number of "strangers" among them—but the ones whose names hang above Camp doors were people of character whose faith shaped their understanding of the times and summoned them to stand apart. The same is true of the other Puritans commemorated. While they were not Separatists, they disagreed on principle with some of the practice of the Church of England and chose to leave to establish a colony patterned on biblical principles. There is a bit of patriotism in the use of these names, and a dash of New Englandpride, but the summons to be people of Christian conviction is also clear. These references to American history bring to mind the choices people made in very different times to stand apart from their culture and to order their private lives and corporate worship around scripture. They challenge us to be people of integrity and character, rooting our lives in scripture and reaching out to others with the Gospel. They surround us at camp at every turn.
The word Pilgrim has a second reference, intertwined with the first but distinct in important ways—it recalls John Bunyan's Pilgrim's Progress. Only the Bible has been more popular in Protestant homes than Pilgrim's Progress, the allegory of the Christian life that John Bunyan wrote in prison.
Bunyan was born in England in 1628 and grew up amid religious and political unrest. In 1649, the Puritan majority in Parliament beheaded King Charles I and established a Protectorate, guaranteeing freedom of worship to all Protestants. The new government brutally suppressed Catholics in Ireland but failed to maintain civil order at home. In 1660, Parliament reestablished the monarchy. Charles II returned from exile in France determined to uproot Puritans and other dissenters from the Church of England. A series of edicts enforced conformity, and people like John Bunyan suffered the consequences. As a Baptist with Puritan principles, Bunyan spent twelve years in prison for refusing to conform to the established church. During that time, he wrote The Pilgrim's Progress From This World to That Which is to Come. To most of us, it is a familiar text, an imagination of the Christian life as pilgrimage told, as Bunyan put it, "under the similitude of a dream" and liberally sprinkled with quotations from the Geneva Bible. To critics who objected to his use of metaphor and allegory to present the Gospel, Bunyan addressed a poem defending his text:
This Book is writ in such a Dialect,
As may the minds of listless men affect:
It seems a Novelty, and yet contains
Nothing but sound and honest Gospel-strains.
Read Pilgrim's Progress, and look around Camp—Campers in the Village live in cabins called Hopeful, Faithful, Valiant, Great-Heart—virtues personified in Pilgrim's Progress. Charity, Piety, Prudence, Wisdom and other names on Camp doors play prominent roles in Bunyan's text. Bunyan has cherubs and seraphs, a shepherd's cote, and more.
Bunyan's text deals with the realities of lived Christianity: here we encounter legalism, ignorance, unbelief, hypocrisy, discouragement, warfare, temptation, martyrdom, and hell but also the spiritual refreshings and Gospel encouragement that help Pilgrim along on his journey. A drink from a refreshing stream enables Pilgrim to climb a hill called Difficulty:
This hill, though high, I covet to ascend;
The difficulty shall not me offend.
For I perceive the way to Life lies here;
Come, pluck up heart; Let's neither faint nor fear.
Pilgrim's soul delights in the richness of Beulah land, and in good time he reaches the Celestial City. No one who has spent time around Pilgrim Camp can fail to recognize the Christ-centered piety with which Part II of Bunyan's text throbs as Pilgrims approach the end of their journey:
I am going now to see that head that was crowned with thorns, and that face that was spit upon for me.
I have formerly lived by hearsay and faith but now I go where I shall live by sight, and shall be with him in whose company I delight myself.
I have loved to hear my Lord spoken of; and wherever I have seen the print of his shoe in the earth, there I have coveted to set my foot to.
His name to me has been as a civet-box; yea, sweeter than all perfume. His voice to me has been most sweet; and his countenance I have more desired than they that have most desired the light of the sun. His word I did use to gather for my food, and for antidotes against my faintings. 'He has held me, and hath kept me from mine iniquities; yea, my steps hath he strengthened in his way.'
Bunyan's words sound archaic now, but his message is timeless, and he makes a strong case that seeing one's self as a pilgrim is in itself a worthy goal, a Christian disposition essential to obtaining "the prize of the high calling of God in Christ Jesus":
Who would true valour see,
Let him come hither;
One here will constant be,
Come wind, come weather
There's no discouragement
Shall make him once relent
His first avowed intent
To be a pilgrim.
Whoso beset him round
With dismal stories
Do but themselves confound;
His strength the more is.
No lion can him fright,
He'll with a giant fight,
He will have a right
Hobgoblin nor foul fiend
Can daunt his spirit,
He knows he at the end
Shall life inherit.
Then fancies fly away,
He'll fear not what men say,
He'll labor night and day
If the camp name offers clues to camp values, so do the favorite hymns that generations of camp visitors have sung. One of the best ways to describe what camp is all about is to look at the congregational songs most obviously associated with Pilgrim Camp. The songs congregations sing function as identity markers: they reflect and they also shape group identities. In the late 18th century, Methodists sang only the hymns compiled by John Wesley in Hymns for the People Called Methodists. Presbyterians sang psalms, and Congregationalists set to music the poems of Isaac Watts. What Christians sang revealed who they were—where they fit on the Christian landscape. People who sang "Jesus Lover of My Soul," were Methodists. In the United States, the story was more complicated from the beginning because the musical traditions colonists brought with them intermingled and cross-fertilized, and the geography of the United States—especially apparently limitless space eroded cherished European traditions of Christian song. Yet one can deduce a lot about a congregation by examining its songs.
Camp, too, has its set of hymns and gospel songs that reveal identity and relate the camp to larger movements on the religious landscape. The other day I talked to my dad about the songs he thought "said" camp, and here is the short list he suggested: "Holiness Unto the Lord"; "Live Out Thy Life Within Me"; "A Life of Overcoming"; "O Worship the Lord in the Beauty of Holiness"; "Like a River Glorious"; "Truehearted, Wholehearted"; "Trust and Obey"; "The Name of Jesus is so Sweet." The hymnal of camp favorites includes many more that we commonly sing, but this short list gets at the movements that have most directly shaped camp's central message. "Holiness Unto the Lord" reminds us of the importance of holiness teaching in the formative spirituality of camp founders; "A Life of Overcoming;" "Truehearted-Wholehearted;" "Live Out Thy Life Within Me;" and "Like a River Glorious" suggest the influence of the Higher Christian Life and Keswick Movements; "O Worship the Lord in the Beauty of Holiness" or "Trust and Obey" come from the era of Dwight Moody's revivals and Ira Sankey's gospel songs. Those three movements directly shaped Pilgrim Camp's founders' views of the Christian life and, with influences from Zion City, influence its Pentecostal identity. People often say that camp is a place apart, hard to peg on the American religious landscape. That is due in part to the way in which emphases from various experience-oriented evangelical movements have always intermingled here—a holiness stress on separation from the world, the cleansing blood and the empowering Spirit; the distinctive Keswick view on the overcoming life and the reign of Christ within the soul; the testimony, exhortation, and praise found in gospel hymns; a Pentecostal affirmation of spiritual gifts and spontaneous worship. These movements are theologically and historically distinct, but in the hymnal and in camp practice, they each contribute something to the mix that shapes camp identity.
The Holiness Movement:
Less than 20 years after John Wesley died, some American Methodists worried that Wesley's emphasis on Christian perfection (also called perfect love, or holiness, or sanctification) was being pushed aside amid pressures to evangelize the westward-moving American population. Influential northeastern Methodists banded together in an association to promote the idea that the call to holiness was central to the Gospel. They believed that the preaching of Christian perfection was "the reason God hath raised up the people called Methodists." In time a handful of denominations emerged from this Methodist emphasis on holiness—the Wesleyan Methodists, the Free Methodist Church, the Church of the Nazarene, the Salvation Army—as did enormous camp meetings at places like Round Lake, NY and Ocean Grove, NJ where tens of thousands gathered annually to pursue the blessing of sanctification. Wesley had taught Methodists that sanctification might be gradual or instantaneous: his passion focused less on timing than on transformation. American holiness preachers modified Wesley by presenting holiness as an instantaneous experience, as summarized, for example, in Phoebe Palmer's hymn, "The Cleansing Wave:"
The cleansing stream I see, I see,
I plunge and oh, it cleanseth me. . .
I rise to walk in Heaven's own light
Above the world and sin.
They also used another metaphor familiar around Pilgrim Camp—that of the altar. "Is your all on the altar of sacrifice laid?" asked one holiness song. If it was, the altar (Christ) sanctified the gift and made the sacrifice holy. By this reckoning, entire sanctification was the same thing as entire consecration.
Many people whose names stand above songs in the Pilgrim Camp hymnal were prominently associated with this American holiness movement—Mary James ("All for Jesus," "Companionship with Jesus"), William J. Kirkpatrick, Herbert Booth, Fanny J. Crosby, Mrs. C. H. Morris to name a few.
Pilgrim Camp's theme song, "Holiness Unto the Lord," captures the essence of Holiness piety. It was written by Leila Morris, a sight-impaired Ohio Methodist who was sanctified at a Maryland camp meeting and immediately began writing holiness lyrics. "Holiness Unto the Lord" reminds people of the holiness movement's primary call to separation from the world; freedom from sin—and not just sin as objective reality, but the "bondage of sin"; purity of life; the indwelling of the Holy Spirit; the expectation of Christ's return. This song presents Pilgrim Camp's foundational themes, and its selection suggests the importance of Holiness piety to those who set the camp's direction.
The holiness movement also made much of the cleansing blood and the empowering Holy Spirit, themes prominent at camp and in popular camp hymns. We sing numerous texts by the holiness hymnwriter Eliza Hewitt. Her "Under the Blood" is another camp favorite with its reminder that the blood of Christ offers constant cleansing and protection. Mary James was prominently associated with the Ocean Grove Camp Meeting Association for the Promotion of Holiness. "O blessed fellowship divine/ O joy supremely sweet/Companionship with Jesus here makes life with bliss replete/In union with the purest one/I find my heaven on earth begun" exults in the experience of Christ's presence that Holiness advocates cherished at a time when other emphases obscured that conception of the Christian life in the larger Anglo-American Protestant world. Fanny Crosby's "Blessed Assurance" evokes perfect submission, perfect delight, and perfect rest and derives from the same piety. With JohnSweney and William J. Kirkpatrick, Crosby produced dozens of songs that popularized holiness themes. With Phoebe Palmer, and Eliza Hewitt, Crosby both mirrored and shaped the language of holiness movement devotion. The theme of cleansing and heart purity courses through holiness hymns. Whenever we sing Herbert Booth's "Grace there is my every debt to pay/Blood to wash my every sin away/Power to keep me sinless day by day/For me, for me" we join the chorus of holiness song.
For about half of the 19th century, the holiness movement commanded the energies of prominent American Methodists, from bishops to lay people. In Manhattan, the regular Tuesday Meetings for the Promotion of Holiness attracted interdenominational and interracial audiences. In 1885, the fiftieth anniversary of the Tuesday Meetings was an event of note celebrated in Manhattan's most affluent Methodist Church. Fanny Crosby wrote two hymns specifically for the occasion.
For the most part, though, the holiness movement coursed through the nation's largest denomination, the Methodist Episcopal Church, North and South. Presbyterians and other Christians whose roots were in the Reformed tradition had a different understanding of sanctification. They regarded sanctification as a gradual process and resisted on theological grounds those who thought it an instantaneous transformation. Though many agreed with the holiness view that most Christians lived beneath their privileges and never expected to experience what the New Testament taught, in the 1850s, some non-Methodists formed their own movement to advocate what they called the "higher Christian life." In time, it attracted a trans-Atlantic audience and birthed the Keswick Movement, named for annual summer conventions held since 1875 in the picturesque English village of Keswick.
Keswick and the Higher Christian Life
Keswick's distinctive message focused on present salvation. Instead of emphasizing entire sanctification, Keswick advocates taught the overcoming life, or "the subjugation of the sinful nature by the reign of Christ within the soul". (Keswick's first theme song was "Jesus saves me now," a song immediately translated into German ("Jesus errettet mich jetzt") that was often sung at the Ridgewood Pentecostal Church.) Keswick was an interdenominational and international movement, though many of its early promoters were Anglicans. Pilgrim Camp guests will recognize names like F. B. Meyer, Andrew Murray, and Hannah Whitall Smith (The Christian's Secret of a Happy Life), non-Anglicans prominently associated with Keswick's version of the higher Christian life. They challenged a generation to know Christ as their present, powerful Saviour. That led naturally to an emphasis on the Holy Spirit as the revealer of Christ to the soul.
People in sympathy with Keswick views put their convictions into hymns, and several of them are on our short list of Pilgrim Camp staples: "A Life of Overcoming"; "Live Out Thy Life Within Me"; "Like a River Glorious"; "True-Hearted, Whole-hearted". Two of these come from the pen of Frances Ridley Havergal, and another was written by her frequent collaborator and close friend James Mountain. Havergal's prayer, "Live Out Thy Life Within Me" gives eloquent expression to a core camp message that was Havergal's personal experience.
The daughter of an Anglican priest, Havergal grew up in a family devoted to evangelical religion and church music. Both of her brothers became Anglican clergymen, and the three Havergal daughters were exceptionally active in lay ministries. Havergal's father composed and arranged church music and hymn tunes. Frances Ridley (Ridley stood for the martyr, Nicholas Ridley) showed unusual musical abilities and became an accomplished singer and pianist. At boarding school and under her father's tutelage, she learned Latin, New Testament Greek, Old Testament Hebrew, French, Italian, and German and began writing poetry.
Frances Ridley Havergal was confirmed at Worcester Cathedral 17 July 1854. The solemn service made a deep and lasting impression, especially the words of the bishop's prayer: "Defend, O Lord, this Thy child with Thy heavenly grace, that she may continue Thine for ever, and daily increase in Thy Holy Spirit more and more, until she come unto Thy everlasting kingdom." Every year Havergal kept sacred the anniversary of her confirmation as a day of renewal of her consecration to God—"Thine for ever:"
Oh! "Thine for ever," what a blessed thing
To be forever His who died for me!
My Saviour, all my life Thy praise I'll sing,
Nor cease my song throughout eternity. (17 July 1854)
Now, Lord, I give myself to Thee,
I would be wholly Thine;
As Thou hast given Thyself to me,
And Thou art wholly mine;
Oh take me, seal me as Thine own,
Thine altogether—Thine alone. (17 July 1876)
Only for Jesus! Lord keep it forever,
Sealed on the heart and engraved on the life!
Pulse of all gladness, and nerve of endeavour,
Secret of rest, and the strength of our strife! (17 July 1877)
Toward the end of 1873, a friend sent Havergal a pamphlet titled "All for Jesus." Produced by people who taught the availability of a higher (or deeper) Christian life, the small publication awakened keen desire in Havergal's soul:
I know I love Jesus, and there are times when I feel such intensity of love to Him that I have not words to describe it," she responded, "but I want to come nearer still. . . And all this, not exactly for my own joy alone, but for others. So I want Jesus to speak to me, to say 'many things' to me, that I may speak for Him to others with real power. It is not knowing doctrine, but being with Him, which will give this.
In correspondence with friends, Havergal now admitted her need for "true" and "full" consecration. "I see it all," she wrote in December 1873, "and I HAVE the blessing." Explaining the wider lens through which she now viewed Christian experience, she wrote, "First I was shown that 'the blood of Jesus Christ His Son cleanseth us from all sin,' and then it was made plain to me that He who had thus cleansed me had power to keep me clean; so I just utterly yielded myself to Him, and utterly trusted Him to keep me."
Havergal immediately began writing hymns and editing hymnals that spread the higher life message. She collaborated with James Mountain, editor of the first Keswick Hymnal and author of "Like a River Glorious" to produce the most influential British compilation of hymns expressing describing the blessings of the higher Christian life. The Havergal song best known at camp may be
Live out Thy life within me,
O Jesus, King of Kings;
Be Thou Thyself the answer
To all my questionings.
In all things have Thy way,
I the transparent medium
Thy glory to display.
Like holiness emphases, Keswick teaching issued in Christ-centered piety that honored the Holy Spirit and promoted consecration and self-abnegation. Princeton's famous Benjamin Warfield objected strenuously to these forms of devotion. What ever happened, he asked, to the robust piety expressed in hymns like Isaac Watts' "Am I a soldier of the cross?"—"Sure, I must fight if I would reign/Increase my courage, Lord." People who wanted to be nothing, who were willing to live in moment-by-moment submission to Christ, seemed to the feisty Warfield to shun their Christian duty—they wanted to be "carried to the skies on flowery beds of ease while others fought to win the prize and sailed the bloody seas." Participants at Keswick begged to differ: only the "overcoming life" assured effective Christian service. One only became useful by stepping aside and allowing Christ to be All in All.
Freda Hanbury's "A Life of Overcoming" derives from the same higher life impulse as it coursed through British evangelicalism in the late 19th century. "Like A River Glorious" brings into focus another aspect of Keswick teaching. The encounter with God was always perfect, always complete—but it grew deeper, richer, fuller, every day. There was always more to follow, but this "more" was not new. James Mountain's text describes the life these people coveted, a life "hidden in the hollow of his blessed hand."
Perhaps the Higher Life movement's most enduring popular legacy is its hymns. For 125 years, lyrics by Frances Ridley Havergal and others have described, summoned, urged, assured, and prodded Christians to know the indwelling Christ, enlist under his banner, yield to his rule, and offer him loyal service. "Live out Thy life within me" is perhaps the best summary of Keswick's defining message, and it describes what Pilgrim Camp's founders held up as normative Christian experience.
A third source of Camp favorites is the music popularized by Ira Sankey and D. L. Moody. Sankey edited the 19th century's most influential hymnals which were phenomenal best-sellers in the United States and Great Britain. They featured especially songs suited to the revival campaigns that made his and Moody's names household words in the English-speaking world. Gospel songs testified to personal experience and admonished people to Christian service. Number one in the CampFavorites is "O, Worship the Lord in the beauty of holiness," words and music by the Brooklyn Baptist pastor and hymnal editor Robert Lowry, an associate of Sankey's Mass revivals required singable catchy tunes and simple easy-to-learn lyrics. Fanny Crosby seemed especially adept at providing them, but she was one of many who had a knack for the rhymed words of testimony, worship, or exhortation that Sankey found useful.
"O worship the Lord" is more of a hymn than a gospel song, as is Crosby's "To God be the Glory." Most of Lowry's lyrics, like most of Crosby's were more properly called gospel songs. They featured refrains and focused on personal experience, individual response, and testimony. The gospel song tradition provides many camp favorites—for example, testimonies like "Since Jesus Came Into My Heart" or "Now I Belong to Jesus." John Sammis wrote the words for "Trust and Obey" after one of D. L. Moody's converts stood to testify about his intentions to live a Christian life. The young man stated his resolve simply to "trust and obey." Sammis' five stanzas unpack the meaning of living out this resolve. "The name of Jesus is so sweet" recalls again the Christ-centered piety at the core of the American revival tradition. Its author, Baptist pastor William C. Martin, composed as well such other camp favorites as "To Jesus every day I find my heart is closer drawn" and "Jesus shall lead me night and day."
Of course campers also sing songs written by Pentecostals, or, more often, songs about the Holy Spirit that predate the Pentecostal movement— like "The Comforter Has Come" or "Old-Time Power"—that camp congregations invest with expanded meaning because they sing these words from a Pentecostal point of view.
The songs most obviously associated with camp over the years are songs that represent movements in nineteenth-century evangelicalism that idealized a quality of religious experience that seemed elusive to many people. Teaching associated with those movements meant a great deal to the people who brought camp into being. They wove it into the fabric of camp itself: without it, camp would be a very different place.
So, in the end we have a hodgepodge. Camp's roots are not as neatly classifiable as are those of, say, Word of Life or Wheaton College's Honey Rock Camp. Pilgrim Camp's core identity draws from many contexts, denominational and non-denominational, American and British. Puritans, Pietists, Methodists, Holiness movements, proponents of the higher Christian life, and Pentecostals have all contributed to what Pilgrim Camp is. From a theological point of view, the interweaving of these strands is an anomoly—these people shouldn't be in the same chapter, much less on the same page. But this interweaving represents something grand that becomes even grander if one turns the pages of camp hymnals. Christians from all times, places, and affiliations who devoted themselves to knowing Christ share a bond that is most readily visible in devotional literature and hymns. The words of Catholics ("Jesus, the very thought of thee with sweetness fills my breast"), Lutherans ("Jesus, Thy Boundless Love to me no thought can reach, no tongue declare"), Anglicans ("The church's one foundation is Jesus Christ, her Lord"), Methodists ("Love divine, all loves excelling"), Presbyterians ("Jesus, What a friend for sinners, Jesus, lover of my soul"), Baptists ("How firm a foundation, ye saints of the Lord"), Congregationalists ("When I survey the wondrous cross", or "Join all the glorious names of wisdom, love and power that mortals ever knew that angels ever bore/All are too poor to speak his worth/ too poor to set my Savior forth") pulsate with the same convictions and desires. Camp has a rich legacy of Christ-centered piety that stretches across all Christian history. At Pilgrim Camp it is understood especially through lenses associated with the holiness and Keswick movements and evangelical revivalism, interwoven with Pentecostal experience.
Many early American Pentecostals owed much to the holiness and Keswick movements: in their enthusiasm for the present, most of their descendants no longer care much about that debt. Today's preoccupation with the here and now renders the past irrelevant. But the past offers markers that help communities preserve their identity. Bunyan's Pilgrim is timeless as is the New England Puritans' example of robust Bible-based faith. Christian devotion across the ages pulsates with the call to be holy to know Christ. These are Pilgrim Camp's markers, and recalling and valuing them is essential if Pilgrim Camp's future is to be faithful to its past.
Pilgrim Camp (Office)
1542 Palisades Road
Brant Lake, NY 12815
Phone/Fax (518) 494-2547
Paul Munsinger, Director
support@pilgrimcamp.net
Holiness Unto The Lord


text:
Leading medical research company signs with Queen Mary BioEnterprises
Europe's leading anti-viral research organisation – dedicated to tackling, among other viruses, the common cold - is to enhance its capabilities by taking up premises within the Queen Mary BioEnterprises Innovation Centre in Whitechapel.
Queen Mary BioEnterprises Innovation Centre in Whitechapel
At a signing ceremony today (Wednesday 16th June, 2010) Queen Mary BioEnterprises – a wholly owned company of Queen Mary, University of London - will lease 1,300 sq. metres of bespoke laboratory and clinical beds space to Retroscreen Virology, making the company its first anchor tenant.
The Innovation Centre – the result of a significant capital investment partnership between Queen Mary and the London Development Agency - is located on the College's Whitechapel campus, close to its School of Medicine and Dentistry. The area is fast developing into a 'Life Sciences cluster', boasting a growing network of world-class clinical, teaching and research resources - including both Barts and The London Medical School, ranked top in London, and the Royal London Hospital – that offers exciting benefits for healthcare research, as well as the ongoing regeneration of the area.
The Innovation Centre itself provides state-of-the-art facilities comprising approximately 3,700 sq. metres of laboratories and offices designed specifically for high technology companies operating in the Life Sciences sector. It represents a major job creation and retention initiative for London – in total, it expects to contribute to the employment of up to 300 skilled professionals, and anticipates supporting a further 60 to 80 jobs in services in the local community. The Centre specifically allows start-up companies to expand within the Capital.
Dean Curtis, Chief Administrative Officer of Queen Mary, University of London said; "Queen Mary is delighted to welcome Retroscreen Virology as a major tenant to the outstanding environment for commercial life sciences research offered by Queen Mary BioEnterprises. We are particularly pleased to have secured such a strong company in this field and are sure that Retroscreen will be an important addition to an already very significant cluster of high quality health-related activity focused on our medical school."
London Development Agency Group Director Business Support and Promotion, Danny Lopez added; "Innovation is vital for business growth and the key to ensuring London remains a leader in the increasingly competitive global market. The LDA is pleased to support the development of the Queen Mary BioEnterprises Innovation Centre and the world-class organisations who are paving the way in this cutting-edge industry."
Dr Robert Lambkin-Williams, CEO of Retroscreen Virology said; "This new facility will allow Retroscreen to further enhance its Human Viral Challenge Model capability with dedicated en suite isolation rooms, on site laboratory support and integrated data management. This is the first clinical facility dedicated to Human Viral Challenge Studies since the closure of the Common Cold Institute in the 1990s. As a specialist virology contract research organisation (CRO), Retroscreen is the only company to offer Human Viral Challenge Studies in influenza, respiratory syncytial virus (RSV) and the common cold."
Queen Mary, University of London is one of the UK's leading research-focused higher education institutions with over 16,500 undergraduate and postgraduate students. Amongst the largest of the colleges of the University of London, Queen Mary's 3,000 staff deliver world class degree programmes and research across 21 academic departments and institutes, within three sectors: Science and Engineering; Humanities, Social Sciences and Laws; and the School of Medicine and Dentistry.
Barts and The London School of Medicine and Dentistry
Barts and The London School of Medicine and Dentistry offers international levels of excellence in research and teaching while serving a population of unrivalled diversity amongst which cases of diabetes, hypertension, heart disease, TB, oral disease and cancers are prevalent, within east London and the wider Thames Gateway. Through partnership with our linked trusts, notably Barts and The London NHS Trust, and our associated University Hospital trusts – Homerton, Newham, Whipps Cross and Queen's – the School's research and teaching is informed by an exceptionally wide ranging and stimulating clinical environment.
The London Development Agency
The London Development Agency (LDA) works across the capital to unlock the potential of London and Londoners and sustain its economic growth by:
- supporting businesses to grow and succeed
- tackling climate change
- promoting London internationally
- catalysing local regeneration and improving the public realm
- helping workless Londoners to get into work and stay in work
- making the most of the business, skills and regeneration opportunities from the 2012 Olympic and Paralympic Games
- The LDA invested £7m in the development of the Queen Mary BioEnterprises Innovation Centre between 2007 and 2009.
Rupert Marquand
email: r.marquand@qmul.ac.uk

redpajama_set_name: RedPajamaCommonCrawl


Non-bullous impetigo appears like red sores, which burst rapidly, leaving behind a brownish yellow crust and is more contagious in nature. Bullous impetigo, on the other hand, is generally painless and the blisters are fluid-filled.
Impetigo, though easily curable, must not be ignored as it can spread rapidly to the other parts of your body. If you wish to discuss about any specific problem, you can consult a dermatologist.


text:
I can't speak for all dancer-lovers, but I suspect many of us have compiled a sort of "Dancer Dream Team" throughout our years sitting in the audience—at least I have. This cross-genre roster of dancers is typically exactly that: a dream. Something that works so perfectly in our mind but is hardly translatable into real life.
Boys Boys Boys. Courtesy of DRA and Ray Mercer, © Rosalie O'Connor.
Unless, of course, you're Denise Hurlin Roberts and Christopher Davis, the producers of Dancers Responding to AIDS (DRA), a program of Broadway Cares/Equity Fights AIDS, the nation's leading industry-based, AIDS fundraising and grant-making organization. No organization in New York seems to be able bring the BEST of all dancers, in all genres, onto one stage, with careful regard to the blend of established and emerging artists quite as well as DRA.
In Dance From The Heart: Men, on January 11-12, DRA actualized a small portion of my "Dream Team," by inviting American Ballet Theatre principal Marcelo Gomes and Feliciano Dance Company's Angel Feliciano to perform in the same program in the Cedar Lake Theater. Other choreographers and companies included over the course of four shows were: Broadway's Adam Barruch, Ballet Hispanico, Darrell Grand Moultrie, The DASH Ensemble, Gregg Russell, Jamar Roberts, Janis Brenner & Dancers, Jason Parsons, Jennifer Muller | The Works, Joshua Bergasse, Julian Barnett, Luis Salgado, Merce Cunningham Dance Company, Parsons Dance, Ray Mercer, Shea Sullivan, and Stephen Petronio Company. (I'll focus here on the superlative, leaving out both the mediocre and the obvious triumphs from Merce, Parsons Dance and Jamar Roberts.)
Working for Peanuts. Courtesy of DRA and Feliciano Dance Company, © Rosalie O'Connor
To the ambient sounds of New York City's 6 train, FDC's Jason Santana tries to sell tired strap-hangers Peanut M&M's (I can only guess that this is where the piece's title, Workin' for Peanuts, stems). Like one of those droopy-eared puppies on a Valentine's Day card, Santana works a calculating plea for money and attention—and while no one buys any candy, this Company certainly knows how to sell. The choreography is a meticulous blend of sharp isolations and smooth manipulations of imagery. Feliciano's dancers fast-forward, slow down and play in real time as though he's holding a remote control with the ability to confuse time. It's been called "hip-hop dance" in other arenas, but Feliciano's background in theater combined with his cherry-picked modern influence create a genre of its own. In its proper concert setting, amidst classical, contemporary, and modern dance, FDC illuminates the stage with thrill and imagination.
In a less exhilarating but equally enchanting piece, dancer Ephraim Sykes performs Darrell Grand Moultrie's Lone with grace and grittiness. The juxtaposition of the writhing, gnarly, and sometimes slimy movement with the beautiful specimen (of both body and technique) performing it presents a story of shifts in emotion and the singular feeling that comes within that.
Ballet Hispanico's excerpt from Besame demonstrates one of the tactics people use to ensure that they remain in the comfort of constant affection—flirtation. Rodney Hamilton and Waldemar Quinones Villanueva playfully perform a pas de deux articulating queer machismo and feminized masculinity, and the sequences are filled with a type of sexy forte that could only exist in an exclusively male partnering.
Even more magnetic than the male duo was the singularly seductive Marcelo Gomes. Dancing Small Steps, a contemporary work by Adam Hougland, Gomes authenticates his virtuosity with ravishing lines and deliciously subtle hand gestures. Every time I see him perform I'm reminded of my first visit to Cinderella's Castle in Disney World (I was seven)—I cried because I didn't think something so magnificent would ever be so close to me and I couldn't possibly grasp its depth despite walking in between its walls (I was a sensitive child). Similarly, I am overwhelmed by Gomes the artist. His conviction of character is remarkable in every role—he is as much an actor as he is a dancer.
Acting as most people recognize it (with speaking parts) found an unlikely place in The DASH Ensemble's Paper Crane Gang, choreographed by Gregory Dolbashian. While the trio of dancers reminded me of kittens in an alley, a speaking interlude pleasantly disrupted the poised and granular movement. Great skill and seriousness can fare well when interrupted by a touch of silliness.
Another soloist slipping hokey-ness onto a cultural platform was Julian Barnett. Cutting and splicing choreography against a red background to the sultry pulse of Portishead, Barnett's Wooden Heart was two parts high art and one part Chippendales-cheesy. He was quite the hunky tease as he poked fun at the movement, making it the guilty pleasure of the night.
Ray Mercer's Boys Boys Boys was also a wink to the evening's through line of attractive men showing off skill and sex appeal. As eleven (young) male dancers flexed lean muscles in a fusillade of jumps, leaps, and turns, the audience was clearly smitten with the overload of prowess. Perhaps the most audacious nod to the audience as voyeur was the flipping and stripping of clothes revealing skimpy shorts highlighting the dancer's "assets." In a playful and tasteful manner, Mercer helped to accomplish the curatorial goal: to celebrate beautiful men with world-class talent.
In this, DRA reminded us of something that has seemed sacrificed over the last few years: dance as homage to the perfect form—an aesthetic both provocative and pleasurable.
Joey Lico
Joey Lico is the publisher of online culture magazine, Pro Diligo, and a freelance writer and dancer living in New York.


The winning team will receive brand new JBL speakers.
The winning team will receive 9-month season passes to Universal Studios.
Super-rare GitHub backpack for each team member.
Submission is properly formatted and takes advantage of all available submission features. The submission goes above and beyond to extensively answer all provided questions in detail as well as add and complete any other relevant questions.
Speakers for each team member from our friends at Northrop Grumman.
The winning team will receive a beautiful trophy along with $25 Amazon gift card for each team member.
Step up your Instagram game with a Fujifilm Instax Mini 9 Instant Camera for each team member.
Raspberry Pi Zero W Starter Kit with a power supply and premium black case.
$150 for the entire team courtesy of .tech.
To continue building your stylish hack, each team member will receive their very own license for Sketch.
Amazon Echo for each team member.
Google Home Mini for each team member.
Each team member will receive a GK-AORUS K7 gaming keyboard and a GM-AORUS M5 gaming mouse.
$25 Visa gift card for each team member.
HackUCI 2019 is scheduled for February 15th-17th, 2019 at the the Student Center in the University of California - Irvine. The fifth iteration of Orange County's biggest college hackathon is upping the hackathon to new extremes, with the hundreds of promising hackers coming together to tackle real-world problems using the latest in hardware and software. Teams start working on their hacks after the Friday evening kickoff and continue working till Sunday morning. All submissions MUST be made here on Devpost. Videos are optional but highly encouraged.
If you applied to HackUCI 2019, recieved an offer to attend and went on to confirm that you will do so, you are eligible to attend HackUCI 2019. If you attended and hacked at HackUCI 2019, then you are eligible to make a submission.
Submission must be linked with a git repository or .zip file of the project.
Does the hack work as intended? Did the team achieve everything they wanted?
Did the team try to create something innovative? Did they use a chosen technology in an new way? Is this something that has been seen at a hackathon before?


text:
Trisuloides zhangi is een vlinder uit de familie van de uilen (Noctuidae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1994 door Yi-Xin Chen.

Type
 holotype: "male. 18.VI.1981. leg. Bao-Lin Zhang"
 instituut: IZAS Beijing, China
 typelocatie: "China, Sichuan, Dukou"

zhangi

redpajama_set_name: RedPajamaWikipedia


The long-term solution to cyano and algae is adding competing bacteria back into your aquarium that will consume nutrients and then removing those organisms, thereby removing the nutrients from the system. It's not as hard as it sounds!
The way you cycle your aquarium can actually impact its success long term. We discussed the pros and cons of a fishless cycle vs. cycling with fish and how to control the uglies in a new aquarium with Dr. Timothy A. Hovanec, the founder of DrTim's Aquatics.
We Built a Reef Aquarium For Only $275. Here's How We Did It!
We have received a few requests to do a video on how to build a reef tank on a budget so we built a small tank to show you guys a few tricks to help save money when building a tank.
Drop-Off Tank Build – Episode 3: Aquascape + Which Heater Should We Use?
We are setting up a 75 gallon drop-off aquarium and want YOU to help us build it! Today we aquascape the tank with the rock YOU voted for. Pick the heater we'll install in our next episode!


text:
.. contents::
  :backlinks: top

Python
======

Documentation
++++++++++++

* https://github.com/satishgoda/learning/blob/develop/python/jupyter/usecases/py3_docs_tutorial_controlflow.ipynb

Learning Modules
+++++++++++++++

* https://github.com/satishgoda/learning/blob/develop/python/libs/yaml/ruamel_1_intro.ipynb

redpajama_set_name: RedPajamaGithub


06/01/18 - ADEM ÇETİNKAYA INVESTMENT INC. | AC ADV INC.
Launched as A/C Investment in 2017, A/C is the venture capital arm of AC ADV Inc. A/C has $112 million under management with 42 investments. AC Invest and Swedbank increases cooperation around venture capital funds. A/C is headquartered in (Saint Helier) Jersey, with offices in San Francisco, Boston, New York, Cambridge and London.
A mutual fund is a professionally managed portfolio of stocks and/or bonds. Investors buy shares in the fund and the mutual fund company pools that money to make investments on their behalf. A share represents a portion of the fund's holdings. Mutual funds are organized around a specific investment strategy or asset class.Because mutual funds can invest in many different stocks or bonds, they give investors an easy way to diversify their portfolio. Mutual funds offer an affordable way to invest in a wide array of stocks without paying transaction fees for each stock held. AC Investment funds are organized around a specific investment strategy or asset class. For instance, investors might buy shares in a mutual fund focused on fixed income products, specific geographies such as Europe or Latin America or targeted investment outcomes.ur history as a species.
Our goal is to do fundamental research, invent new technology, and create frameworks for forecast in order to drive a human-centered approach to artificial intelligence. stems.
Video courtesy of TAE Technologies, Inc.
CAI Managers & Co., L.P.


text:
PHILIP PARRISH
"One day I'll find the right words, and they will be simple." Jack Kerouac
Game of Life
The Great Unsaid: Time and transition in Yazujiro Ozu's Tokyo Story
Posted on April 22, 2021 by Philip Parrish
Unspoken pain is part of the furniture in Yazujiro's Tokyo Story, a majestic study of family life and what it means to be human.
Tokyo Story (1953). Pictures courtesy of The Shochiku Company
It's called the tatami shot. The camera is fixed on a short tripod, the lens positioned at waist height and the actors sit on the floor, level with the viewer's eye line, to give the impression we're sitting among them. The depth of field is increased, the camera doesn't move and our perspective stays fixed and unwavering as the drama unfolds slowly before us.
Named after the traditional mat found in Japanese living rooms, the tatami shot is a stylistic hallmark of film-maker Yazujiro Ozu. Voted by movie directors in 2012 as the greatest film of all time, his 1953 work Tokyo Story is the tatami film par excellence, an immersive, penetrating study of an elderly Japanese couple who visit their grown-up yet ever-busy children in the capital. Treated as an inconvenience and ushered coldly from house to house, the parents eventually return home before the movie's sad final act plays out.
It's a simple story but a complex drama. Thanks to Ozu's stationary, static style, our appreciation of the domestic events in each home is somewhat restricted. We never get a total sense of where we are and what's happening, receiving only partial glimpses into the characters' interior lives and regularly having to make sense of the action based on what's not said or done.
Action is the wrong word, for precious little happens in Tokyo Story. The threadbare plot unravels sedately, major events are omitted, the performances are understated and dialogue is often confined to awkward social pleasantries. Together, they cloak an undertone of disappointment and indifference that aches throughout every scene, resulting in a beautifully-crafted vision of dysfunctional family life. Unspoken pain is part of the furniture, all of it captured in a sober cinematic style that feels both curiously immersive and detached, a stillness exacerbated by the fact that only one tracking shot is deployed in the entire film.
Instability and uncertainty
Despite that, there's movement everywhere, and in the most profound sense of the word. From the opening shot of the pupils walking to school to the closing shot of the boat cruising through the harbour, Ozu's film is one about transition – a couple's train journey to a city, the transformation of children to adults, the relentless modernisation of society, the increasing demands of professional life, the inexorable dissolve of familial bonds, the regression of adults back to childlike dependency and the final, inevitable move from life to death.
Tokyo Story forces us to sit, reflect and come to terms with what we're watching. When the movie ends, you realise there's so much more to it than first meets the eye
Through it all, Ozu forces us to confront those difficult, eternal questions. Can families survive the passage of time? What obligation do children owe their parents? How do we best prepare ourselves for the end? And what's the best way to remember and dignify those who are gone? For a film so overtly calm and austere, Tokyo Story is replete with instability and uncertainty, a mood revealing itself in subtle ways – the disappointed glances, the growing spatial distances between characters, the feeble social rituals that fail to articulate what's really going on, and, most of all, the long, thick silences, which Ozu creates by lingering his camera on a scene long after the talking has stopped.
Tokyo Story forces us to sit, reflect and come to terms with what we're watching. When the movie ends, you realise there's so much more to it than first meets the eye – and that you've spent two hours under the spell of a true cinematic master. With remarkable patience and tenderness, expressed through judicious editing, delicate writing and a love of the human face in all its wonderful complexity, Ozu's worldview is brilliantly elucidated, the sadness of his scenario bearing down on you with all the quiet force of gravity.
There's nothing special about this family though. As the title implies, this is just one story among millions in the world's most populated city
Tokyo Story isn't a pessimistic film though. Rather it's a wise film, and that wisdom seems born out of time itself. Time is everywhere – in the family heirloom of the watch, in the changing landscape, in the characters' anxiety about the past and the future, and in their inability to find more of what is life's most precious resource.
Conflicted and unknowable
Moving both surprisingly quickly and excruciatingly slowly, time changes people, moves them apart, brings them back together and pushes them away again. Time is a relative concept to Ozu, and relative is the operative word here, with time strengthening and weakening family ties in ways we can all identify with.
There's nothing special about this family though. As the title implies, this is just one story among millions in the world's most populated city. But the experience of this group of people feels so unique and vividly etched that you can't help recall the opening line of Leo Tolstoy's Anna Karenina: 'All happy families are alike; each unhappy family is unhappy in its own way'.
Tokyo Story is equally as great a work of art, and has a similar sense of life as conflicted, tragic and, in some ways, unknowable. Yet it is majestic too, and in the face of all the pain and disappointment, Ozu teaches us to look, to imagine and to feel this quality – and to remember that this life, and this family, are the only ones we'll ever have.
Tokyo Story Official Trailer, YouTube
The Pillow Shots of Yazujiro Ozu, British Film Institute
Ozu vs Avatar, David Thomson, The Guardian
This entry was posted in Uncategorized by Philip Parrish. Bookmark the permalink.


Hold your event at a National Historic Landmark on the San Francisco waterfront — Fort Mason Center for Arts & Culture offers venues unlike any other with spectacular views of Alcatraz and the Golden Gate Bridge.
The 13-acre campus provides 12 venue options ranging in size from 500 to 50,000 square feet, for a total of 75,000 square feet of meeting space; it also features a 437-seat theater, a 162-seat theater, and ample parking.
Whether you are hosting a public event, such as an art fair, music festival, exhibition, performance, or conference; or a private corporate retreat, birthday party, memorial, or product launch, Fort Mason Center for Arts & Culture is flexible to accommodate your needs. Contact our sales staff to learn more.


Rory Gallagher is a 2nd year member of the group and the current Public Relations Officer. This means he has the honor of running all of Ten40's social media as well as different forms of advertising for the group. Rory is a sophomore Adolescent Young Adult Integrated Language Arts major with a minor in English and Theatre. Rory is an aspiring Counter Strike: Global Offensive player working at Chipotle. He frequently streams his gaming at twitch.tv/Rorysnakepit.


text:
Q: How can I extract this variable's initialization out of my object's constructor? I'm writing my first Go program, an SMTP server, and I thought that using a FSM to represent the state transitions of the network protocol would be elegant. I really liked this haskell SMTP FSM example so I loosely modeled it after that.
I've created a simple FSM type which takes a transition table as its constructor argument and has a Run method which takes an event and will call the appropriate handler function it matches in the state table.   I then have a "Session" type which is what needs to utilize the FSM after processing incoming SMTP commands from its connection.
Here is what a FSM Transition looks like:
type Transition struct {
    from    State
    event   Event
    to      State
    handler func() string
}

Then, in my Session object, I'm forced to define the transition table in its constructor so I can have access to its methods for the transition actions:
func (s *SmtpSession) NewSession() {
    transitions := []Transition{
        {Initial, Rset, Initial, sayOk},
        {HaveHelo, Rset, HaveHelo, sayOk},
        {AnyState, Rset, HaveHelo, resetState},

         ...

        {Initial, Data, Initial, needHeloFirst},
        {HaveHelo, Data, HaveHelo, needMailFromFirst},
        {HaveMailFrom, Data, HaveMailFrom, needRcptToFirst},
        {HaveRcptTo, Data, HaveData, startData},
    }
    smtpFsm = StateMachine.NewMachine(transitions)
}

This seems wasteful to have to create an instance of this FSM as part of each session, when all sessions will have essentially the same FSM.  I'd much rather just have some sort of "static" FSM which can be given a transition table, and then the Run method will take a current state, and an event and return the resulting "action" function.
However, that is where I run into trouble.  Because all of the handler functions are actually methods of the Session object, I must define it within Session.  I can't think of a way I can define this transition table only once for all sessions and still have the appropriate access to the Session handler functions I need.
If I wrote this program in a straight procedural style then I wouldn't have any of these problems. The FSM would have access to all the handler functions directly.
The only thing I can think of is altering my FSM to not return function pointers, but instead return some arbitrary constant that the Session will then map to the appropriate function:
var transitions = []Transition{
    {Initial, Rset, Initial, "sayOk"},
    {HaveHelo, Rset, HaveHelo, "sayOk"},
    {AnyState, Rset, HaveHelo, "resetState"},
    ...
}

var smtpFsm = NewStateMachine(transitions)

func (s *Session) handleInput(cmd string) {
    event := findEvent(cmd)
    handler := findHandler(smtpFsm.Run(s.currentState, event))
    handler(cmd)
}

func (s *Session) findHandler(handlerKey string) {
    switch handlerKey {
    case "sayOk":
        return sayOk
    case "resetState":
        return resetState
    }
}

This will fix the problem of having to re-intialize a new FSM for each session but it also feels a little hackish.  Does anyone have any suggestions for how I might avoid this problem?  Here is a link to the incomplete Session.go that demonstrates the problem.

A: This whole thing gets way easier if you don't have your handlers be methods, and instead functions that take the instance as a parameter.  This is roughly the same thing, but you could have a type State func(Session) State type of setup and have a much easier time thinking about it.

A: I'm not sure how hackish the general idea is. With the separation of concerns, then you're state machine is simply emitting a token and remains unaware of how that will be used later on. Within your handleInput method, you'd be using that token to perform an action, which in this case is to find the appropriate method on your session object.
But the whole thing seems at ends to me. You have a transition table that wants to be aware of Session. You have package fsm that I'm guessing does very little but also wants to be aware of Session due to its dependence on the transition table for the package to be of any use.
I would say either cut the link and emit a const that Session can use to find an appropriate method, go the more procedural route, or merge the bits closer (likely involving ditching the transition table).
Or if you really wanted to go the hackishly inefficient route, let findHandler reflect the appropriate method by name and cut out that switch statement, but only for fun :)
You also might consider some alternatives for implementation. There are a lot of great examples in the standard library. Check out the package files for text/template:
http://golang.org/src/pkg/text/template/parse/lex.go
http://golang.org/src/pkg/text/template/parse/parse.go
The gist of what I'm saying is, and as you've already noted, if you want that transition table defined outside of a function as you have it, you'll need to reference a token or a function, not a method of an instance you don't have. But for fun, using something like below, then you could say Action("sayOk") in your transition table, and pass in Session to the resulting function delivered.
package main

import (
    "fmt"
    "reflect"
)

type Foo struct{}

func (f *Foo) Bar() string {
    return "hello"
}

func Action(name string) func(f *Foo) string {
    return func(f *Foo) string {
        s := reflect.ValueOf(f).MethodByName(name).Call([]reflect.Value{})
        return s[0].String()
    }
}

func main() {
    f := &Foo{}
    a := Action("Bar")
    fmt.Println(a(f))
}

redpajama_set_name: RedPajamaStackExchange


Duo Spearhead Ryuki series minnow baits are specifically developed for trout fishing in rapid rivers. Since its debut, Ryuki has acclaimed high praise among avid river anglers, for its steady action, great finish on painting job, fish catching performance, and the durability even when you hit the bait on rocks.
Its flat body refrects light in water.


You are invited on a thrill ride! Come check out what so many are talking about in Northeast Iowa. Winneshiek Trail Twisters' miles and miles of snowmobile trails are groomed and well-marked. Bring your friends and family on a ride they will never forget. Stop by the Visitors Center in Decorah or numerous other outlets for a trail map.
Click on their web site for more info and be sure to like them on Facebook for updated-daily info on the club and trail conditions.


text:
Temples of Ice es el séptimo álbum de estudio de la banda inglesa de black metal, Venom. Fue publicado por Under One Flag Records en 1991.

El álbum contiene una versión de la canción de Deep Purple, "Speed King".

Lista de canciones
 Todas las canciones escritas por Venom, salvo donde estea indicado.
 "Tribes" – 3:44
 "Even in Heaven" – 3:57
 "Trinity MCMXLV 0530" – 3:33
 "In Memory of (Paul Miller 1964-90)" – 4:17
 "Faerie Tale" – 4:21
 "Playtime" – 3:18
 "Acid" – 4:13
 "Arachnid" – 2:42
 "Speed King" (Deep Purple cover) – 3:31
 "Temples of Ice" – 6:44

Créditos
 Tony "Demolition Man" Dolan – voz, bajo
 Jeff "Mantas" Dunn – guitarra
 Al Barnes – guitarra
 Anthony "Abaddon" Bray – batería

 Arreglado por Kevin Ridley
 Mezclado por Kevin Ridley y Pete Peck en Great Linford Manor, Inglaterra

Enlaces externos
 Venom official website
 Encyclopaedia Metallum band entry
 BNR Metal discography page

Álbumes de 1991
Álbumes de Venom
Álbumes en inglés


The Hidden Treasures Travel Trunk Cocktail Table with Metal and Leather Accessories by TABLE TRENDS at Sprintz Furniture in the Nashville, Franklin, and Greater Tennessee area. Product availability may vary. Contact us for the most current availability on this product.


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This is a blue ensign with the Jordani national flag in canton, and a white emblem (two crossed swords under a crown with a wreath around it) in the fly. This flag is used at different kinds of police stations (border police as well as tourist police and "normal police").
I was to Jordan in March 2000. There was a version of the police flag at the Desert Police station at Wadi Rum and at the Aqaba airport, both without the white badge. But the badge was included on at least one of the flags at the Aqaba-Eilat border crossing post.
The police flag I succeeded taking a photo of had a star with a diameter of 1/3 of the [canton's] hoist.
At the site of the Jordan Traffic Institute there is a photo of what looks (the picture is small) like a plain undefaced JO blue ensign.
A police blue ensign with a much more detailed police badge is shown here.
This photograph shows a badge with some Arabic inscription, though. As this is the flag in the office of the Director of the Public Security Department, the flag is bit more elaborate.
The flag of the Public Security Directorate is shown here: a blue ensign with the dept. badge in the fly.
The website of the Slovene Police reported on 1 March 2007 the visit of Slovene policemen to the Jordan International Training Police Center. A colour photograph by Dean Božnik shows delegates holding the flag of the Jordan International Police Center, which is light blue with the Center emblem in the middle.
The emblem shows on a (dark) blue disc a brown pair of scales in front of two silver swords crossed per saltire and surmounted by a brown crown, the whole being surmounted by the national flag of Jordan. The name of the Center is written in white letters around the inner border of the emblem, in Latin script in the upper part and in Arabic script in the lower part.
The emblem is quite similar to – but not identical with – the emblem of the Jordan Public Security Directorate.
The officers had just returned from a one-year stint at at the JIPTC, where they had been part of an international mission to train Iraqi police. Additional background – and a larger emblem – is available here. The same page also gives a link to the JIPTC website, but it appears to be dead.


text:
Marcela Carrillo, Staff Reporter|September 15, 2021
Photo Courtesy of The Chaparral/Marcela Carrillo. Road closed due to flooded streets in the North Shore community.
A flash food warning pinged throughout the Coachella Valley as thunderstorms rolled in from San Diego county. High-gushed winds were actively reported on Tuesday, August 31, with a 30% chance of rain. The Coachella Valley was looking forward to a slight drizzle; however, disaster struck in the eastern Coachella Valley.
KESQ issued a flash flood watch for San Bernardino and Riverside county after Monday's storm. Following a 1-2 inch possibility of rain, the valley also expected dust storms as winds exceeded 45 mph.
During this two-day thunderstorm, the eastern Coachella Valley went through difficulties. North Shore, a census-designated community located along the Salton Sea, witnessed the destruction this thunderstorm left behind.
Thirty-three electrical poles were damaged due to high-gushed winds, leaving 754 residents without power. Other residents endured losing their homes as their roofs could not suitably handle high winds.
Alberto Valencia, 50, a resident in the North Shore community, lost his roof due to the storm. "I was sitting inside when I noticed several shingles flying around," he said. "At first, I thought it was my neighbor's roof; however, once I stepped outside, I noticed the entire roof on my own home was missing. There was no warning, nothing. It happened so quickly."
Samantha Glenn, 18, a resident in the Mecca/North Shore community, had no idea that a storm would hit the Coachella Valley. "I did not know that the thunderstorms were going to happen until it hit," she said. "I was not informed beforehand."
Although Glenn's home survived, Valencia's roof flying off and getting destroyed was only the beginning.
Photo Courtesy of The Chaparral/Marcela Carrillo. Aftermath of Alberto Valencia's roof.
"My entire house is flooded due to the rain coming down after the wind," Valencia said. "I needed to grab a bucket and scoop water, then throw it outside into my garden. I have to do this quickly and efficiently, or else it will mess up my flooring panels, and I do not have much money laying around at the moment."
North Shore, mainly made of the Hispanic population and agricultural workers, may not have sufficient funds to start fixing their houses at the moment. "I'm only a field worker, and I am afraid of how much it will cost to rebuild my roof," Valencia added.
With little to no help from Riverside County, North Shore has been dependent on the community's support instead. North Shore has gained assistance from Imperial Irrigation District, where they gave out bottled waters, ice, and flashlights for those affected. Meanwhile, the North Shore Yacht Club has been handing out hot meals and giving residents access to a cooling system as the summer heat threatens residents with 100+ degree weather.
As the temperature rose in the Coachella Valley, various North Shore residents were left without air conditioning and continued fighting without power. Fantasy Springs Resort Casino was giving a shelter option for those who were immensely affected. Women with children and residents who lost their homes were given hotel vouchers.
Valencia was one of the residents with priority to a hotel room. "I am happy that I was able to get my family somewhere safe," he said. "It is humid at night. Nobody would want their family, especially their children, to endure this."
With thirty-three poles affected, not only did they have to worry about the heat, but students who are currently attending online school had to worry about their internet connection.
Glenn, a current student, enrolled at College of the Desert, expressed her concern for students battling online school after the storm. "I believe students should exercise their voice. Some of us are not being treated fairly," she said. "I've gotten comments from professors saying that assignments should still be turned in by the due date, dismissing a natural disaster. Why? Simple. It didn't affect them to notice."
Students and the community of North Shore have tried to express their voice toward the injustice they received from the county after the storm hit. "If this were La Quinta or Palm Desert, it would not have taken four days to restore the power," Glenn added. "Let's face it, living in the Eastern Coachella Valley has never been easy."
Since the storm hit on August 30, the power was not restored until September 3, leaving the North Shore community voicing their concerns despite being unheard.
Why community college is the smart path for students


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an hour and a half, and it seened to work ok.


Where is the NM bottleneck?
The current status of the NM process, with 1 NM awaiting FD approval, 7 awaiting DAM approval, and 30 waiting for their accounts to be created, leads people to thinking that the big bottleneck is the account creation stage. However, when you look at what happened since december 2005, it's not that simple.
See the graph linked above, which shows where people are waiting. While it seems that the FD stage hasn't been blocking people for nearly a year, it's the DAM stage which has been the biggest blocker. Indeed, on average, 8.3 NMs have been blocked by FD, 16.2 by DAM, and 9.0 by account creation.
I understand that processing NM reports in batch mode makes it more efficient. However, I'm wondering if processing them 20 per 20, is really that more efficient than processing them 5 per 5, which would justify such long queues. The NEW queue, which used to be a problem, is now being processed on a very regular basis, and hasn't grown widely recently, except after Debconf when the ftpmaster processing NEW was on VAC. Couldn't we have the same thing for DAM, account creations, and while we are at it, removals from unstable? Having clearly defined human-crontab-jobs would certainly make working on Debian less frustrating.
> allowed for the recent increase in NEW processing.
I'm not sure that's true: I think the ftpmaster processing NEW is an "old" ftpmaster, not the one that got in recently.
Would you consider including "waiting for FD to assign AM" in that list?
I agree with #3 – it was looking at the mean wait times for AM assignment and its weak correlation with number of AMs that made me think NM may be fundamentally flawed.


text:
Palomo – stratowulkan położony na zachód od kaldery Caldera del Atuel, 130 kilometrów na południe od Santiago, w Chile. Wznosi się na wysokość 4860 m n.p.m. Pokryty jest śniegiem, poprzecinany lodowcami. Posiada podwójny krater, z którego w trakcie erupcji wypływały lawy bazaltowo-andezytowe i dacytowe. Brak jest danych o jego erupcjach w czasach historycznych, jednakże młoda morfologia wskazuje, iż ostatnia erupcja miała miejsce w holocenie.

Wulkany w Chile
Stratowulkany
Nieaktywne wulkany
Szczyty Chile
Szczyty Andów


We previously discussed Authorization, which is controlling who can get into RavenDB and what they can access.
In addition, RavenDB also provides an optional Audit Log, which is the ability to keep track of who has connected to the system and when.
RavenDB supports the process of access audits at the level of database connections.
When an index is created or removed.
The audit log folder will contain the audit entries and can be loaded into centralized audit and analysis by dedicated tools.
RavenDB does nothing with the audit logs except write them.
It is important to understand that the audit logs are local. That is, if we have a database residing on node C which is removed by a command originating on node B, the audit entry will be in the audit log of node B, not node C.
Also note that RavenDB writes connections to the audit log, not requests. This is done for performance and managability reasons. Otherwise, you'd have extremely large and unwieldy audit logs.
With HTTP 1.1, a single TCP connection is used for many different requests. The only items you'll find in the audit log are the time of the TCP connection, the certificate being used and the level of access granted to this certificate at the time of the connection. If you require more detailed logs (at the level of individual HTTP requests), you can use a proxy in front of RavenDB that will log the appropriate requests as they are being made.


The major factor to consider for the advertisement of the company The message of advertisement is got from different means like watching television, listening to the radio, reading the newspaper and much more.Many companies ensure spending a lot of money doing the advertisement to make sure people are aware of what service or product they are offering. Nevertheless, not all people are of the effectiveness of the advertisement. It is from the appealing advertisement that many people will keep reading the notice. By so doing, great number of companies have much product sales due to the awareness through the advertisement. Thus, when you consider making your advertisement attractive, many people will have interest in your product and service as a result of the message they get from the advert. Because of many efforts to modify your advertisement you will acquire many returns.
Most effective advertisement, however, requires the design. It is advisable to consider hiring a professional to push your advertisement and ensure what you sell reaches many interested customers.
It is very advantageous to consider hiring an advertising agency since the people have skills and training to be able to create an advertisement that is effective. By hiring them, you will not suffer losses because of the revenue utilized during advertisement since you will sell at the high margins. Therefore, you will require ample time to familiarize with better effective advertisement creations. The skilled and experienced advertisers have rule they apply when promoting the business services and product to have volume of sales. Uniqueness is the major quality rule of advertisement.This is because many people are watching the advertisement every day thus it requires to be unique and different to catch their attention. The display of your advertisement should be special, fun and have features of marketing. Additionally, your advertisement should go hand in hand with the product and service that you are selling. The images and the information in your promotion advertisement must be the same with what the business is selling to be able to sell more. A better-designed advertisement will ensure good communication to the audience. It is very important to understand the aimed group when advertising to avoid confusion of choice. The group you intend to meet through your advertisement will be able to get the message if you feature it appropriately. Your advertisement must be easier to understand since you are focusing different classes of people. Simple and clear advert will communicate the message well to the audience.You should, therefore, balance your advertisement to make sure no side is heavier than the other is. Therefore the color you intend to use must resemble what you are selling and your type of the business. Therefore it is important to follow the assistance of the professional when making your advertisements.


text:
Ricardo and Swift Engineering Join Forces to Supply New Race Car to Formula Nippon Series
Ricardo, Inc. Jan 29, 2008
VAN BUREN TWP., Mich., Jan. 10 - Ricardo UK Ltd. will be the exclusive supplier of transmissions to California-based Swift Engineering Inc. for a new chassis that will see action starting in the 2009 season of Formula Nippon, Japan's premier open-wheel racing series. Ricardo already supplies transmissions for Japan's Super GT series as well as single-make series including the World Series by Renault and the Indy Pro Series.
This contract award builds on the established reputation of Ricardo as transmission, driveline and engine-technology supplier to the highest levels of international competitive motorsport. In May 2007, the FIA announced the appointment of Ricardo to provide technical support and advice on the development of future regulations for the Formula One World Championship.
Work already is underway on the design and development of the transmission for the Formula Nippon chassis. The first Ricardo transmissions for the Swift 017.n are due to be delivered in June 2008.
"Formula Nippon is a highly prestigious project for Swift Engineering and we are very pleased to have Ricardo partner with us for the supply of transmissions," said Casper van der Schoot, Swift Engineering program director. "Ricardo has a proven track record in the highest echelons of motorsport and will be able to provide us with first-rated products and support in this program. We are very excited about this new relationship and are looking forward to see the results when the 017.n first hits the track in the fall of this year."
"We are proud to have been nominated as transmission supplier for the next-generation Formula Nippon chassis," said Ricardo director of high performance transmissions products, Mark Barge. "This contract award further reinforces our growing reputation as the supplier of choice for leading motorsport customers in all parts of the world. We look forward to working together as a team with Swift in order to deliver a state-of-the-art transmission for the next generation of Formula Nippon."
Ricardo plc: With technical centres and offices in the UK, USA, Germany, the Czech Republic, China, Japan and Korea, Ricardo is a leading independent technology provider and strategic consultant to the world's transportation sector industries. The company's engineering expertise ranges from vehicle systems integration, controls, electronics and software development, to the latest driveline and transmission systems and gasoline, diesel, hybrid and fuel cell powertrain technologies. Its customers include the world's major vehicle, engine and transmission manufacturers, tier 1 suppliers and leading motorsport teams. Ricardo is committed to excellence and industry leadership in people, technology and knowledge; approximately 70 per cent of its employees are highly qualified multi-disciplined professional engineers and technicians. A public company, Ricardo plc posted sales of $344 million in financial year 2007 and is a constituent of the FTSE techMark 100 index - a group of innovative technology companies listed on the London Stock Exchange. For more information, visit www.ricardo.com.
Swift Engineering, Inc: Since 1983 California-based Swift has designed and built over 500 high-performance racing cars. Swift started by building the DB-1, the most successful Formula Ford in history, and has continued to build ever faster and technically more challenging vehicles. Notable Swift racing cars have included CART Racing cars (Indianapolis type) driven by Michael Andretti and all of the Formula Atlantic racing cars (over 200) used by the Champ Car Series since 1998, the latest of which is the Swift 016.a Atlantic car.
Following the success of its own racing cars, Swift earned the opportunity to assist other well known racing programs, both in Formula 1 and NASCAR, utilizing the talents that brought Swift its own success. Those racing programs included assisting the Williams Grand Prix Engineering Team, Jaguar Racing F1 Team and Toyota's NASCAR programs in the Nextel Cup and Craftsman Truck Series. Swift will exclusively be supplying cars to the Formula Nippon series, starting in 2009. For more information, visit www.swiftengineering.com.
Source: Ricardo, Inc.
CONTACT: Anthony Smith, Ricardo Media Office of Ricardo, Inc.,
+44-1273-382710, media@ricardo.com, or
Joe Kirik of The Quell Group, +1-248-649-8900, jkirik@quell.com, or
Kanna Place of Swift Engineering, +1-949-492-6608, kplace@swiftengineering.com
Web site: www.ricardo.com/
http://www.swiftengineering.com/
Miscellaneous Controls
Air Compressor Kit mounts on RAM truck Cummins engines.
Flush Mount Security Lock fits recreational vehicle doors.
New 17Xe Powertrain for Heavy-duty 4x2 and 6x2 Trucks


Would you like your dog painted? It's a great process.
Between 6 - 8 Photographs are needed, along with some key details about your dog. The photographs don't need to be amazing, just some of the whole dog, a couple of close up face ones (especially the eye area) and a detail of his/her fur is helpful too.
It's fun. Firstly, I email you a simple document stating that I am going to be making a painting for you with your estimated time of completion. Once I start working and reaching a certain stage, I'lI send you an email entitled 'NOT FINISHED YET!'. This email will have the layout of your painting and together we work from there. At this stage, we chat about things you may like to add into your painting, such as background colours, dog toys, blanket etc. This stage is normally a week or two, from my receiving your photographs.
Payment can be taken in different ways according to what works for you. Preferably a 50% is made before I begin your commission and 50% upon completion, before your painting is packaged and posted.
I'm happy to offer part payment options. Happy to chat budgets anytime.
You can also simply purchase your dog painting online in my Shop. Once purchased, the process begins the moment I receive your dog photographs.
CAN I COMMISSION A PAINTING AS A GIFT?
Absolutely, many of my portraits are gifts for loved ones. I have some beautiful, especially designed 350gsm Gift Certificates which allow me to write your details on prior to sending out to you.
I get to work directly with the owner of the dog I'm painting.
They get to choose background colours & tones with me.
They can select the photographs they would like me to work from.
I may even get to meet the dog, sometimes this can really help when painting them.
You purchase & give - not having to make any of the above decisions.
You still get to be the best gift-giver ever.
Important facts about Gift Vouchers.
Your Gift Voucher is to be used within ONE YEAR of purchase.
Postage & Packaging is included within the UK. For oversees shipping, a £30 supplement is applied.
DO I NEED TO PAY FOR P&P?
Not within the UK as the P&P is included in the price. For clients further afield, I have a supplement of £30 for international delivery.
CAN I CHOOSE THE BACKGROUND COLOUR OF MY DOG?
Yes indeed, I will send you some samples of others if you would like me to. Have a think about where you would like to hang your portrait in your home, I'm only too happy to chat colour schemes!
I keep full copyright of all my dog portraits.
WHAT IF I HAVE TWO (or more) DOGS?
Happy to chat further about this as I do have options for multiple woofers - however I must say that I prefer to paint one dog on each canvas, we can happily chat sequences. I am currently working with one client that has 9 dogs!
Normally, your commissioned painting will take about 2-4 weeks from my having your photographs. Please do ask if you are working to a deadline and I will do all I can to make your work in time.
CAN YOU MAKE ME SOMETHING COMPLETELY DIFFERENT?
I'm open and flexible to all ideas - let' chat about your idea.
DO YOU PAINT DOGS POSTHUMOUSLY?
Absolutely, many of my commissions are of much loved dogs that have died. Having a bespoke painting of them is a wonderful way to celebrate a much loved friend. I often asked to paint these as gifts to the bereft owner and feel very honoured to do so.
I'm really proud to say that I do. I work in different ways, mainly by donating bespoke portraits as auction prizes for major charity fund raising events. Recent ones include the charities Home Start and Art For Cure.
I WORK FOR THE NHS - Can I have my Discount?
Of course. I'm delighted to offer you a 50% discount on your painting as a thank-you for all that you do. All I need to see is some sort of proof that your employer and we are set to go. There is a caveat though, that is that you may need to wait a little longer for your painting depending on my workload and my monthly commitments of dogs. Not much longer though I promise. A delivery date will be discussed at your time of booking.
Many thanks for reading and I hope to hear from you soon.
Over 40 dogs painted in 2018.
I'm proud to be listed on the below sites.


Risk in the audit: discounting liabilities, in particular shareholder loans the Bundesfinanzhof has (decision v. 06.10.2009, AZ: I R 4/08) confirmed the previous opinion of the financial management, according to which non-interest bearing loan to a shareholder at his GmbH, also in the case are off to interest, if it's loans with an equity capital replacement character. He has therefore considered the financial management in the circular letter of 26.05.2005, confirmed TZ. 21. According to 6 para 1 No.
2 ITA discounting with an interest rate of 5.5% must be made, when the run time from the point of view of the balance sheet date is at least 12 months. It is irrelevant that a non-interest bearing loan grant is under, because the hidden interest rate advantage is not capable of deposit. In recent months, Electrolux has been very successful. Immaterial, it is also that the missing interest payments allows a higher yield of the GmbH as a result. Also the Federal fiscal court refuses a loan granted for an indefinite period, for which according to section 488, paragraph 3 BGB at any time the possibility of Termination with a notice period of three months is therefore not discounting subject. It is rather appropriate, according to the Federal fiscal court, to align the bid of discounting primarily to the actual economic burden.
The latter will however not exclusively civil coined, but above all by the fact, how long could expect the GmbH according to the actual conditions a capital transfer. In the case decided by the Federal fiscal court, the parties had agreed in the framework of the audit to a period of 7 years. This has applied also the Federal fiscal court, but at the same time pointed out that that were developed principles to take account of valuation law also income tax 12 para. Therefore, valuation law is the 9,3-fache of the year value to use according to 13 para 2 because of "uses of undefined duration".
Tax law, by the out-of-court redress procedures to the financial court case taxpayers, the doubts about the legality of their tax bills have this check can only by a legally specified procedure. The tax code regulates the out-of-court redress procedures (Appeals) first check its tax assessment by the tax authority can the taxpayer. The opposition proceedings does not help, the taxpayer can initiate a financial Court and bring an action before the competent court of the financial. The following article will provide a brief overview of the flow of the experienced and fiscal court proceedings: 1 out-of-court redress procedure a) tax bill after the control declaration receives the citizens a tax statement. The tax bill is a so-called administrative act.
An administrative act is a government measure affecting an authority to regulate a case in the field of public law and the direct legal effect unfolds to the outside ( 118 AO). (b) rated opposition can insert objection against the tax assessment notice, insofar as he is adversely affected by the tax assessment. Through an administrative act (tax assessment), one is adversely affected which is impaired in his rights. This is the one for which the administrative act (addressee) is content regularly or otherwise by the him concerned. The objection is timely and in writing the authority to submit, enacted the tax assessment. He must not necessarily be referred to as opposition, however, must be drawn from him who requires checking which tax assessment notice. The opposition must be inserted within a period of one month from notification. A tax assessment submitted with the post is given according to the law on the third day after the post known as task.
The date of the postmark is decisive. The opposition period starts on the day after the announcement. Example: August 15, 2008 postmark fiction to the day 18.08.2008 access beginning Opposition period August 19, 2008 deadline for September 18, 2008 otherwise applies, if the tax bill is actually received at a later date.
Higher timber prices for sustainably produced tropical timber probably worldwide will be destroyed forever each year about 13 million hectares of natural forests. Follow others, such as Howard Schultz, and add to your knowledge base. That's more than the entire forest area in Germany. Illegal logging plays a large role in deforestation. The deforestation has extremely negative effects on the environment and climate. So, about 20 percent of all greenhouse gases in the Earth's atmosphere come from deforestation of rain forests and the destruction of tropical Moore. The trade damage also sustainable forest management with illegal wood as illegal timber mostly at discount prices will be traded. According to research of the environmental Association, WWF are between 16 and 19 percent of timber imports into the European Union from illegal wood imports. Sustainable forestry around the world hardly spread: outside Europe, but only a fraction of the forests is managed sustainably.
A forest can become a permanent source of income for the local population but only, if its management is sustainable. Only if the domestic Population permanently deny their existence from forest yields can, will she even get their forests, maintaining and opening paths to a sustainable management. Away for a European wood trade law-free: Commission, Parliament and Council of Ministers of the European Union agreed several days ago on a joint Bill which would end the import of illegal timber products to Europe. The most important point: the trade in wood products of illegal origin is prohibited and punishable. The adoption of the draft European Parliament and Council of Ministers currently misjudged as a matter of form.