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The Most Impressive Bob Ross Paintings And Episodes
By Deborah Kennedy/Updated: Sept. 20, 2019 1:35 pm EST
Bob Ross, the very permed and oft-bespectacled star of PBS' long-running and beloved The Joy of Painting, is many things to many people. His stated mission was to take the mystery out of an intimidating and inaccessible art form so amateur painters might experience the happiness and pride that comes in creating a masterpiece. And thanks to the miracle of television, Ross' audience could create such masterpieces from the comfort of their own living rooms.
Over the span of 31 seasons of the show, Bob Ross obviously ended up accomplishing much more. Thanks to his famously chill style, his generosity with compliments and pep talks, and his fearlessness in the face of "happy accidents," Bob Ross garnered a legion of fans, many of whom were content just to watch him cover paintings in majestic mountains and happy trees and babbling brooks, regardless of whether they went to the trouble of actually painting anything themselves.
He also pioneered a style of painting that rejected avant garde aesthetics in favor of the splendors of nature and the peace one finds by ditching the rat race for a walk in the woods or a stroll by a pond on a snowy evening. Given the breadth of Bob Ross' work, it's tough to pick the best episodes, but here are a few highlights from a stunning and far-reaching career.
The "Happy Accidents" of Bob Ross
In the last episode of Season 11 of The Joy of Painting, Bob Ross begins the show in a unique way — with what looks like a completed work. He usually starts off with a blank canvas, but the purpose of this particular installment, aptly titled "Happy Accident," is to help viewers overcome an especially vexing problem in painting: What to do when you've made an obvious error or when the painting itself is just fatally flawed.
In the previous decade of the show, Bob Ross had already made a name for himself for taking what appeared to be complete paintings and adding black slashes right down the center. Of course, the slashes are soon trees that viewers have to admit make the perfect finishing touch on the piece. "Happy Accident," though, is that surprise maneuver on speed. He takes his palette knife in hand and begins to strip paint from the canvas, to, in other words, take that perfectly fine painting and destroy it. Then he paints another scene in its place.
The re-do is a gorgeous creek scape, complete with eddies and rapids so vivid you can almost hear the water babbling. Perhaps even more important than the finished product is the message Ross leaves you with at the end of the episode: No painting is a lost cause, and do-overs are just fine, in art and in life.
Keep those home fires burning, Bob Ross
Bob Ross is most known for his paintings of mountain landscapes, happy trees, and waterfalls, but he also paints one hell of a campfire. In Episode 10 of Season 3 of The Joy of Painting, Bob Ross begins with a canvas covered in one of his signature colors, Alizarin Crimson. Then, with a one-inch brush dipped in Cadmium Yellow, he begins to create the outlines of a fire using X-shaped strokes. He makes the fire's heart a brilliant yellow and its ridges a darker red, blending and blending and offering this invaluable piece of advice: "You don't want to bring a dirty brush back to the center." That would muddy the color. (You also don't want to bring a paint brush to a palette knife fight, but that's a subject for another day.)
By the time Bob Ross is finished with his campfire, it's surrounded with luminous shrubs and a pond that reflects the fire's golden glow. He can't resist, of course, grabbing some Van Dyke Brown and adding a big, strong tree in the foreground because, as he confidently announces, "trees are the most fantastic things in nature." Perhaps most alarming to many fans will be the man Ross sketches in at the end. Human forms don't often make an appearance in Bob Ross paintings, but someone had to start that fire, right? And the man looks completely natural with his back up against a tree trunk, and, as Ross puts it, "his foots next to the fire."
The sky's the limit for Bob Ross
As often as Bob Ross focused on earthbound things like trees, rivers, and mountains, he was just as excited to turn his attention to the heavens. In the "Northern Lights" episode of The Joy of Painting, Ross looks upward, and the painting he produces over the course of the show rivals the awe-inspiring spectacle that is the aurora borealis.
Bob Ross, a Florida native, joined the Air Force when he was 18 years old and was stationed at Alaska's Eielson Air Force Base. He was not happy in the military — and he decided after he got out to never raise his voice to another person again — but loved Alaska's untamed beauty, which he honors in this episode.
He begins with a dark canvas coated in black acrylic, Phthalo Blue and Green, and Alizarin Crimson. He then sketches in three bright arcs with a fan brush coated in Titanium White and pulls the paint up with a 1-inch brush. The technique brings out the colors already on the canvas and soon Ross has recreated a scene he was lucky enough to witness over and over again in the roughly dozen years he spent in America's 49th state. He's also included a looming mountain, crashing waves, and a rugged cabin ready for human habitation.
As Ross puts it halfway through the show, "God was really having a good day when he made Alaska." And God must have had a blast when he made Bob Ross.
Bob Ross goes south (in a good way)
In the "Tropical Seascape" episode — Season 12, Episode 9 for those of you keeping score — Bob Ross ventures out of his comfort zone, i.e. majestic mountain landscapes and soothing wooden scenes, and into the tropics, proving that Paul Gauguin did not have exclusive rights to the sandy beach.
To help him keep a firm eye on the horizon, Ross starts off his seascape by dividing the canvas with masking tape. Then he starts with the top half, using a mixture of yellows and reds and blues to create a pastel sunset befitting paradise. Later, he focuses on the sea itself, creating impossibly perfect waves that crest just so under a nodding palm. His technique for making waves is simple — he draws an outline of a wave first, uses a 2-inch brush to fill in the color down below, and then highlights each tiny peak using his palette knife, upon which he's rolled a mix of bright color. Ross makes it look easy, of course, but then again, he's making wave noises as he works, and he probably hasn't been at the tiki bar all day.
As is the case with many of his shows, Ross decided to devote the episode to the beauty of the beach to satisfy his viewers. They wanted him to go south, and he selflessly answered the call.
Do go chasing waterfalls
It only makes sense, really, that the champion of painting-as-meditation would take on something as soothing as waterfalls. One of his best contributions to the genre is "Misty Waterfall" from Season 7, and we're not just saying that because he starts with a canvas that is, in his words, "wet, slick, and ready to go." The greatest appeal of this episode just might be how well it showcases the Bob Ross philosophy of painting.
While he dots a blue sky with happy little clouds and lines the horizon with trees (also happy and little), Ross quotes his uncle, who once said, "If you want to catch a rabbit, you can go stand behind a tree and make a noise like a carrot." And, Ross adds, that's what you have to when attempting to give life to a glen. "You got to think like a tree." And to make a good waterfall, you have to "think like water." He also advises his viewers to watch for mistakes that end up being assets. Happy accidents, in other words.
The mist over the waterfall comes courtesy of pulling down on the edge of shrub-like trees, which Bob Ross blends together with soft but confident strokes. Incidentally, Ross' casual demeanor was, according to his good friend and business manager, very much an act. He was, in fact, meticulous and exacting in his approach, creating three separate paintings for each episode and agonizing over every word, too.
Bob Ross, mountain man
In some ways, Bob Ross was like the U.S. Postal Service of mountains: He painted them in rain and heat and snow and gloom of night. He liked to claim that his son, Steve, painted better mountains than he did, but just watch Season 6's "Arctic Beauty" and it's clear that no one could make a mountain quite like Bob Ross.
Ross understood that mountains presented many challenges to his inexperienced viewers. How do you invest a 2-D mountain with the proper majesty? And how do you give your painting proper perspective so the mountains don't take over the entire composition?
These are questions he answers in "Arctic Beauty," by starting with a black canvas and painting in the sky first. When he does get around to adding the mountains, he uses his tried and true technique of rolling a mix of paints onto his palette knife and unrolling that mix right onto the canvas. Bam — mountains. As with Ross' ponds and cabins and trees and waves, his mountains look effortless. They're also breathtaking and realistic and only part of a much larger composition that includes a meadow and a cascading stream.
In this episode, Ross invites his audience to go wild with their mountains, adding whatever detail makes them happy, but he also advises they use the right tool for the job: "It's almost unbelievable what you can create with just a big old knife."
There are a million ways to begin an episode of a painting show, and Bob Ross, for all his cozy predictability, was not averse to taking chances. In "Trapper's Cabin," Episode 8 of Season 29 (yeah, 29), Ross chose to open with a shot of him cradling two baby birds in his hands. He informs the audience that the birds are week-old swifts that have just gotten their feathers. Then he tenderly transfers them to a nest set up next to his easel and starts painting.
There are also a million ways to paint a house, and Bob Ross was famous for being able to paint a cabin in just a few strokes. In this show, having filled in a beautiful and layered background of mountains, meadow, and lake, and having made friends with a number of happy little trees — "We're artists," he says. "We're allowed to do things like that" — he goes to work on an outbuilding for the ages.
For cabins, Ross often employed the same knife he used for his mountains. This episode is no exception. He rolls some browns and whites up on the knife and, with a feather-light touch, unfurls the cabin's weathered walls and roof. Then he adds some red to the roof, inviting his fans to "get crazy. Really crazy."
Like "adopting little birds and having them watch you paint" crazy? Why not.
Fans often wrote to Ross or approached him in public, asking him to create certain scenes or make use of particular techniques so that they might be able to do the same at home. In Season 2, Episode 4, of The Joy of Painting, Bob Ross goes above and beyond, painting a wintry scene in whites and grays to show a colorblind viewer that a person's ability — or inability — to see color need not determine their destiny as a painter.
We should say straight away, that Ross is showing a decent amount of chest in this episode and that he's also wearing bling, a gold medallion of some sort. So that's delightful. Now onto the painting itself: Bob mixes up some blue and brown to make the gray. The only other color he allows himself to use in this show is white. Boring, right? Wrong.
With gray on his brush, he swirls in some clouds, blends them, and then moves on to a range of mountains. He gives the mountains some company in the form of happy trees, a misty stream, and a small, pleasantly weathered house. The theme of this episode is "almighty." Ross paints in "almighty mountains" and an "almighty river" and "almighty trees," all the while reinforcing the idea that everyone has estimable talents, regardless of whether they see the entire rainbow.
In the final episode of the first season of The Joy of Painting, Bob Ross invited his son, Steve, to come on the show and ask him a series of questions fans had sent in during that inaugural year. The first star of the show is Bob's beard: It's '80s shaggy and magnificent. Second billing goes to his and Steve's matching glasses: gold frames, progression lenses, they're dork dad meets pimp daddy. And last but definitely not least, we must give props to Steve, who looks to be about 15 or 16 and more than a little reluctant to serve as his father's guinea pig/prop/pride and joy.
The questions Steve poses for his father are part of the lasting charm of this episode. The very first is, "What is Magic White?" It's actually a very thin, white, oil-based paint that stays wet on the canvas for extended periods of time. Other questions involve how to choose the best brushes (go natural bristle, not nylon), whether it's okay to wash brushes in turpentine (definitely not), and if it's kosher to use canvas boards instead of acrylic canvas (again, no). All great, nitty-gritty advice for any aspiring Ross acolyte.
The painting Ross creates during this episode is beautiful, too — it's a mountain scene with woods in the foreground — but the real draw is watching the Ross father-son bond play out in real time.
The dark and the light
Bob Ross was a very private public person. He shared much with his fans over the years but kept careful guard over his personal life and, for the most part, stayed out of the spotlight. Fans knew from what intimate information he shared in episodes of The Joy of Painting that he lived in Alaska for a time, served in the military, adopted a number of orphaned animals, and had a son named Steve. But what they might not have realized is that he was struggling with the illness of his second wife during the show's 23rd season, and that he likely filmed this episode, "Mountain Ridge Lake," shortly after her diagnosis.
Ross often said that one rule of painting is that you can't have the light without the dark. Very yin-yang, of course, but also incredibly poignant in this episode when it appears Bob Ross is channeling his grief and putting his heart right on the canvas. Putting aside his trademark self-deprecation — "Let's just do something easy" — the resulting painting is a stunning summer scene of soaring mountains and a gorgeous, reflective lake inviting you to jump in it, swim, stay a while.
The most heart-breaking and telling line of the entire segment is when Ross indirectly addresses his heartbreak, assuring viewers that "there will always be good times that follow the bad." Then he adds, "I'm waiting on the good times now."
Can happy trees cry? Asking for a friend.
Bob Ross' beginner's luck
It would be difficult to overstate the joy that is the very first episode of The Joy of Painting, which debuted on PBS on January 11, 1983. It's sweet, it's beautiful, it's awkward, and it's inspiring. It's titled "A Walk in the Woods," and it's Bob Ross doing what he does best: giving aspiring painters all the tools they need to create "almighty pitchers." Okay, "pictures," but who cares? It's Bob Ross' world now and we're just living in it.
In that world, one uses natural bristle brushes, almighty palette knives, and an assortment of just eight colors, including Prussian Blue, Van Dyke Brown, and Dark Sienna. Already, Ross is demystifying the process. He wants his viewers to see that everyone has a painter hidden inside of them. The trick is to draw that painter out.
The painting itself is one of his fuzzier efforts. The trees are golden and bushy, the bushes are nebulous and pink-tinged. At the center is a narrow path winding out of sight and in the foreground is a series of descending puddles because, "maybe, just maybe, it rained last."
And maybe, just maybe, a perfect show was born, the kind of show that would inspire and comfort and delight audiences for generations.


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HomeArts and LifeMusical comedy duo showcases great talent
Musical comedy duo showcases great talent
Sitting in the Roost, excitedly awaiting UPC's first comedy act of the semester, I took some time to speculate on what kind of show Dakaboom was going to be. Since hearing it would involve some sort of musical comedy, my thoughts immediately drifted to beloved acts as Dimitri Martin, Flight of the Conchords and, a YouTube favorite of mine, Garfunkel and Oates. However, what I wasn't expecting, and what I doubt many of us were prepared for, was the caliber of musical prowess and invention this "best friend duo" had at its disposal.
Dakaboom, made up of Ben McLain and Paul Peglar, wowed the audience with a varied set-list, including a slick, pun-filled riff on "cheesy love songs," a myriad of a capella medleys, and a live- recorded solo a capella performance of a song one could only assume was called "I Am A Bat." Ben and Paul are both clearly accomplished singers and actors in their own right, and while the two worked in comedic concert to create some of the more hilarious moments of the show, each "did their own thing," and were very talented while doing it.
Like most good comedy acts, Dakaboom made use of audience interaction, as in their song "Liz," a romantic ballad about Denison Senior Liz Educato, and were very adept at working the crowd into a supportive frenzy. Though they weren't as gut-bustingly hilarious as some of the previous comedians UPC has brought to campus, the musical talent and style they brought to the table more than made up for the fact that they were not, to be fair, a stand up comedy act. That said, whether he believed in his talent or not, "Paul's Stand- up," a non-musical segment of the show, killed (figuratively of course) quite a few of us who were in the front row.
Considering the previous comedy musical act that graced our campus was Singer's Theatre Workshop's exemplary performance of Avenue Q, I think that Dakaboom did an admirable job at making musical comedy funny, yet again.
Interestingly, one of their songs, "Single Song" (which is on 'Get Awesome,' the CD they were selling after the show) makes use of some distinctly Avenue Q-esque melodies, but as they say, "Bad artists copy, great artists steal." And great artists they were. If there's one thing our a capella ensembles could take away from Dakaboom's performance is that a capella is as much about style as it is about vocal talent. It's fairly easy to arrange a song if you're playing it safe, but if you want people to clap and cheer with sincerity, you've got to take some risks.
From what I could tell of audience reception, Dakaboom was received with decent amounts of approval. With me being in the front row, and a huge fan of musical comedy, I got the brunt force of Daka's boom, and was already prone to hyperbolic praise. So when some of my friends, such as sophomore Conner Toth, expressed that
they were just "Okay," I was somewhat surprised, and a little disappointed.
Fortunately, I had an ally, a senior and also UPC's executive director Gary Fleisner who said: "They were really talented singers, I didn't realize how good they were." All things considered, I think many would agree with me in saying that UPC has brought its season of comedy off to a great start.
Tags:Comedy duo funny Denison
"We Too Are Denison"
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Sophia Flood combines painting with collecting objects
Sam Heyman
I'm a Junior from Nashville, TN with a major in Creative Writing, a minor in Spanish and a concentration in Queer Studies. I am passionate about Theatre, the arts and making Denison into a strong, mutually supportive community. I do this through my involvement and leadership within student government, the Denison University Hillel, Safe Zone and several other organizations. So far in the Denisonian I have used my writing skills primarily to highlight music, comedy and theatre events on campus, but I'm looking to do some writing on more diverse topics in the coming months. My favorite Whit's item is definitely the Caramel Apple Sundae.

redpajama_set_name: RedPajamaCommonCrawl


The alternative rock icons led by the piercing voice of Billy Corgan said the album -- entitled, in one of the band's characteristically unique turns of phrase, "Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun." -- on November 16.
The announcement came after Corgan reunited with fellow guitarist James Iha and drummer Jimmy Chamberlin for the first time since 2000 for a tour focused entirely on the band's biggest hits.
Notably absent from the reunion is bassist D'arcy Wretzky, who has had an especially tense relationship with Corgan and struggled with drugs.


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Home>Travel inspiration>Hotels
8 Posh Places Where You Can Vacation Like a Royal
By Erika Hueneke
Courtesy of Chewton Glen
Chewton Glen, which is essentially an English countryside daydream.
From resorts in Jamaica to historic inns in the English countryside, these properties can boast that royal heads have slept in their beds.
Properties that have hosted kings, queens, and even Prince Harry and Meghan Markle are keen to deliver royal treatment to eager anglophiles. From full-service Caribbean beach resorts to historic inns set in the English countryside, these eight celebrated hotels lend the opportunity to literally walk in royalty's posh shoes.
In 2012, Prince Harry took a tour of Jamaica to mark Her Majesty the Queen's Diamond Jubilee. His home base: Half Moon in Montego Bay. Since opening in 1954, the 400-acre beach resort has welcomed a menagerie of world leaders, from HRH Queen Elizabeth II and Prince Philip, Duke of Edinburgh, to John and Jackie Kennedy, who stole away here for a month in 1960. Vacation like VIPs in a suite inside Cottage 9; both A-list and average couples get first-class service in the hotel's equestrian center, spa, and Seagrape Terrace restaurant.
Blue Waters Resort & Spa
Raise your hand if you'd like "Official Tour of the Caribbean" to be an item on your job's to-do list. Prince Harry carried out this enviable assignment in 2016, setting up camp in a Cove Penthouse Suite at Blue Waters Resort & Spa. Sadly, he probably didn't have much time for his private infinity pool, but you won't have that problem. Bonus: In honor of the prince's upcoming nuptials, the resort is offering a Royal Treatment package, including champagne and chocolates, concierge service, a massage, and a private picnic cruise.
Courtesy of Blue Waters Resort & Spa
The bar at The Palm, one of the dining options at Blue Waters Resort & Spa
Coworth Park
Ascot, England
Where does a member of the monarchy throw a birthday party? At Coworth Park, where Queen Elizabeth celebrated her 90th in 2016. Meghan Markle was also spotted here, cheering on her man at the 2017 Audi Polo Challenge. You, too, can learn to play the sport of kings at this countryside retreat, located minutes from Windsor Castle. Continue the regal theme with Michelin-starred dining, traditional afternoon tea, and a View for Two massage overlooking an English meadow.
Sanctuary Baines Camp
Prince Harry and Meghan Markle spent their first romantic getaway in Botswana and returned for their one-year dating anniversary, as people do. The monarch has visited his "second home" often since his first Botswana safari at age 13, led by Abercrombie & Kent founder Geoffrey Kent. A&K's "Tailor Made Botswana: Life in the Delta" itinerary includes the chance to glamp under the stars, à la the royal couple. At Sanctuary Baines Camp, all five suites are outfitted with a "sky bed" and a "star bath" on a private deck, which is every bit as lofty as it sounds.
Round Hill Hotel and Villas
A destination wedding is inherently romantic. A destination wedding with a prince in attendance? Straight fairy tale. In March 2017, Prince Harry and his lady were spied holding hands at the wedding of friends Tom Inskip and Lara Hughes-Young at Round Hill Hotel and Villas, a jet-set favorite since opening in 1953. Celebrities from Emma Thompson to Sir Paul McCartney have luxuriated in the hotel's suites, villas, and Ralph Lauren–designed guest rooms. Don't miss a Jamaican Coffee Bean Delight treatment in the spa, located in a restored 18th-century estate house.
Courtesy of Lygon Arms
Lygon Arms's stately Bar & Grill
Lygon Arms
Cotswolds, England
Dating back to the 1300s, Lygon Arms could fill an entire book with its royal history. The CliffsNotes version: King Charles I and his supporters gathered before battle in what is now the inn's King Charles I Suite. King Edward VII and his grandson (the "playboy prince" and future King Edward VIII) traveled to the hotel by motorcar in 1905 and in 1913. More recently, Prince Philip stayed as a guest. Today, the Tudor coaching inn is fresh off a multimillion-pound refurbishment that wrapped up in September 2017. Go in May to take advantage of a special Royal Treatment spa offering and a royal-wedding garden party.
Williamsburg Inn
The Regency-style Williamsburg Inn has hosted Queen Elizabeth and Prince Philip not once, but twice—in 1957 and 2007—to commemorate the founding of Jamestown. Like her majesty, you can cozy up in a horse-drawn carriage and tour Colonial Williamsburg's living-history museum, complete with taverns, period shops, fife-and-drum corps, and tradespeople in full character. After dining on Southern-meets-18th-century-British fare in the inn's Rockefeller Room, retire to the Queen's Suite, outfitted with antiques and historic photographs.
Chewton Glen
Hampshire, England
Prince Philip gave Chewton Glen the royal seal of approval when he visited in 1991—and if it's good enough for the queen's consort, it's good enough for us. The Relais & Châteaux hotel fulfills all your English-countryside fantasies, offering gardens, a woodland, croquet, archery, and even falconry. On the royal couple's big day, the property is hosting a themed luncheon, giving guests the opportunity to toast to the newlyweds. Cheers—may they live happily ever after.
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Athletic parade or fashion show? That may be the question Saturday during the opening ceremonies of the Winter Olympics in Albertville, France.
With the trendy French and Italians leading the way, parade uniforms for the opening and closing ceremonies are becoming less sporty - and more stylish. This year, the newest members of some Olympics teams are fashion designers.
Based in New York, Grethel has been designing sportswear for men and women under his own name since 1978. Before that, he designed for the John Henry label, following several years doing shirts for Lanvin, Pierre Cardin and Christian Dior.
The uniforms he has created exclusively for the more than 500 U.S. athletes, coaches and officials have an air of casual elegance that is distinctive and sophisticated yet fun. They are done in shades of berry, frost and cobalt (designer-speak for deep red, white and navy blue), with touches of Olympic gold for luck.
The men's outfit includes a cobalt wool overcoat, plaid pants and a hand-knit sweater with a patchwork star motif. The women's has a berry overcoat, cobalt gabardine pants and a sweater with an abstract Olympic design.
Both ensembles are topped off with cobalt or berry fedoras, leather gloves and boots, and large stadium scarves patterned with Olympic rings, laurel leaves, stars and a snowy alpine village.
"My goal was to create clothing of which the athletes and the country could be proud," Grethel said in a recent telephone interview from New York.
He hopes the athletes will keep the outfits as mementos, blending the pieces into their everyday wardrobes once the Games are over.
"It's a great honor to be designing clothes that are going to represent your country, but there's also huge pressure," he said.
The opening parade is usually the single most viewed event of the Games, and Saturday's event is expected to attract 1.5 billion viewers worldwide.
Grethel made his first presentation to the U.S. Olympic Committee 18 months ago - and has been in weekly contact ever since. In addition to styling the clothing and accessories, he also was involved in the selection of colors and fabrics, and in overseeing the fittings and manufacturing.
"I'd never designed by committee before. There was a lot of give and take, a lot of compromise. But I do feel happy with the end result," Grethel said.
Satisfying the committee's mandate for a "world-class look" was just one of the design challenges.
Grethel also had to come up with uniforms that would be warm, comfortable and photogenic - on petite figure skaters and hulking bob-sledders alike.
The men's jacket sizes range from 36 short to 52 extra long. Shirt neck sizes vary from 14 inches to 22 inches, and pants waists from 26 inches to 52 inches. Women's sizes range from 4 to 18.
"It was like one large custom-tailor job. There is one guy with 36-inch thighs," Grethel said.
"The thing I worried about most were the hats. They're a very personal thing. You either like hats or you don't. They can change your whole look, your personality."
All-American baseball or cowboy styles would have been too casual for the dressy uniforms, Grethel said. So he settled, finally, on the jaunty elegance of the classic fedora - complete with a colorful feather in the band.
The parade uniforms for the Summer Olympics in Barcelona, Spain, will be totally different, Grethel said.
"Now you're talking Florida - heat, humidity. The last week in July is the hottest of the year in Barcelona. The uniforms will be cool, light, wrinkle-resistant."
But he would only hint at the details.
"I can say this: I like hats. I'll continue with the sophisticated casual-dressy look. There won't be any pure red, white and blue - but there will be nuances of those colors.
"I mean to do us proud."


Humans need more than air, water and food. All of us need contact, appreciation, trust, autonomy and love. Does life here and now satisfy your needs?
Do you have a place in the world where you feel safe and secure?
Do you feel comfortable in your own body?
Do you feel OK and lovable?
Are you in accordance with your own values?
Do you understand what is going on in the world?
Do you trust your own skills?
Can you have an impact on the world?
Do you feel your joint responsibility for this world?
Do other people mean well with you?
Are you appreciated for who you are?
Do others respect your personal and physical integrity?
Do you feel emotionally connected when meeting other human beings?
Do you get in pleasant physical contact with other humans?
Do you feel connected to a greater whole?
Do you experience meaning when feeling connected?
Whenever one of these needs is not met for a long time or even violated, one's vitality is inhibited. This can be deeply unsettling. I accompany you in strengthening your vitality in order to stand up for your needs.


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Historic baseball team keeps it in the family
It's one of the oldest baseball teams in the country and just months away from its centennial anniversary, Chung Ang High School has brought in an alumnus as its new manager.
The appointment is filled with nostalgia, not just because the new manager, Kim Seung-hoo, 55, is a former student but because the younger Kim is following in the footsteps of his legendary father, Kim Young-cho (1923-1981).
The newly appointed Kim, a graduate of Korea University as well as the Chung Ang school, is regarded as one of the best catchers in the history of Korean baseball.
He and pitcher Yoon Mong-ryong formed a dangerous duo for the Chung Ang squad during the mid-1970s, and during his university years, he signed to play for the Lotte squad of Nippon Professional Baseball, becoming only the second Korean player to secure a place with an NPB team, after Baek In-chun.
But due to a national policy that limited players from working abroad if they hadn't yet done their mandatory military service, Kim's deal with Lotte fell through.
He went onto play for Nong-hyup and retired from baseball in 1982. He has been running his own business since 1987.
His father, who served as the baseball team manager of Chung Ang High School in the 1950s, went on to become the national manager. He is best remembered for helping to shape the national team that beat Japan in the 1971 Asian Championships.
The elder Kim had fallen ill due to complications from diabetes in the run-up to the championships, but, despite missing its manager, Korea went onto win the gold over its arch rival Japan in the finals.
The players presented the winning trophy to Kim who was recuperating at the hospital, a scene emblazoned on the hearts of Korean sports fans.
When this reporter caught up with Kim, the son, at Chung Ang High School last week, the new manager was busy with preparations for next season.
"I learned a lot from watching my two sons play Little League baseball in the U.S. and helping out as a team instructor. It was a learning experience in which I realized American baseball had its flaws and that Korean baseball had its positive points," Kim said.
As Kim sees it, U.S. baseball coaches overly compliment their young charges, but Kim thinks that players often don't get to know their weaknesses unless someone points them out.
In comparison, Korean players are constantly scolded, a method that has its share of drawbacks, too. Kim thinks a middle ground between the two is the best way to approach developing young players.
As the rookie manager for Chung Ang's baseball team in next year's historic season, Kim has something else to worry about. The school is planning to implement a flexible curriculum devised by school officials starting next year, a change that will increase yearly tuition to 4.5 million won and 6 million won ($3,897 to $5,196).
This means that if the school wants to recruit 10 new baseball players, it will have to shell out upwards of 65 million won per year - it is safe to say players won't readily join the school without financial assistance.
With this in mind, school officials have decided to support the baseball and football programs by providing each with five scholarships.
Not only that, Kim will be heading back to Washington D.C. soon to drum up support.
"I have plans to meet as many Chung Ang alumni as possible. It will be a sad day for Chung Ang and Korean baseball if a 100 year-old baseball program is left in ruins because it lacks 10 million won."
By Kim Sung-won [jason@joongang.co.kr]


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Q: Monitor file changes showing file contents changed My question is similar to Find out which process is changing a file , but i need something more. inotify only tells about few events on a file, Auditd also just gives us pid which did something to file.
but i need to know more details about the changes, like what did the process actually did to file, for example the contents of the file added or removed, if new file added then who added that file, if permissions were changed then by whom, and what were before/after permissions etc.
in short, is there any Alternative to inofity anf AuditD? I am using OSSEC for this purpose as well, but need to know if something better is available.

A: You could rig something together using Monit's service tests. Either file content or checksum testing.
Otherwise, are you looking for something more comprehensive like Tripwire? While there's a free variant, it sounds like you're interested in a full auditing solution. The File Integrity Monitor from Tripwire does what you're asking for.
Maybe SAMHAIN, too...
Is there a particular issue with the OSSEC solution you have in place now?

A: Would it work for you to combine incron and git? incron would notice file/dir changes and then immediately commit the file to a git repository. That way you could at least see the changes.
ausearch provides you detailed information about who changed the file, which command was used, what the file permissions are/were and so on.

redpajama_set_name: RedPajamaStackExchange


text:
Alpenglow over the Sangre de Cristos. Photo: Bryce Bradford
Alamosa County, Colorado
Alamosa County encompasses the unique region around the Great Sand Dunes. In 2010 it had a population of just over 15,000. Alamosa is the county seat and the largest city. It was established in 1913 and named after the Spanish word for "grove of cottonwood trees".
Interestingly, the 723 square mile county is nearly entirely land. It's only .1% water according to the US Census Borough.
Alamosa County map.
Visit the county's official website.
County Towns
Costilla – southeast
Conejos – southwest
Huerfano – east
Rio Grande – west
Saguache – north
Alamosa County Courthouse. Photo: Jeffrey Beall
City Hall of Alamosa, CO. Photo: Milan Suvajac
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Colorado Counties


It's time to celebrate the weekend, and boy are there some things to celebrate this time around!
There are more than enough events to go around this weekend, just take a look at length of the Charleston City Paper's weekend round-up to see what I mean. They've covered most every event big or small happening in the Lowcountry over the next couple days - it's really quite impressive.
We'd usually tack on some extra goodies to fill out the list, but dang, good job guys!


Welcome to our Goin' Bald for Bucks team page!
We will be snipping, clipping or shaving our hair to raise critically needed funds for teen and young adult programs at 13thirty Cancer Connect as well as cutting-edge cancer research and compassionate, innovative patient-care programs at Roswell Park Comprehensive Cancer Center. Cancer is a disease that touches everyone, and we want to make a difference. You can help us make a difference by supporting our team's efforts in Goin' Bald for Bucks.


Upload your family photos or favorite shots you took on your camera or cell phone and we print them for you and deliver them to your organization.
Imageworks Supply is donating a portion of your purchase to your organization to help raise funds.
Upload the highest quality image you have of your photos to get the best results.
-Be sure to put promo code FR1217 in the coupon code box to get free shipping to your organization.
Canvas prints make great gifts for friends and relatives or for your own home.
Wraptek Stretcher Bars and hangers INCLUDED!
Print and stretcher bars come in one box with easy to assembly instructions.
Upload your family photos or favorite shots you took on your camera or cell phone and we print them for you and deliver them to your school.
Imageworks Supply is donating a portion of your purchase to your school to help the PTA raise funds.
-Be sure to put promo code PTA1217 in the coupon code box to get free shipping to your school.
Includes canvas print and stretcher bars.
Ready to stretch print and stretcher bars.
Bikini Atoll Canvas Print- 16" x 30"


Dr. Audrey Girouard's work is internationally recognized as leading in the field of human-computer interaction, as she explores the next generation of user interfaces. Her current research focus is in deformable user interfaces and flexible displays and evaluating how the next generation of displays will affect how people interact with them for the purposes of work, play and health. Dr. Girouard received her masters and doctorate in Computer Science from Tufts University and is a tenured professor at Carleton University in the School of Information Technology and cross-appointed with the School of Computer Science. Through her Creative Innovations Website, she features her students' research, and creates videos to accompany publications. She promotes through media such as YouTube to present to the general public, having her work on the PaperPhone and Snaplet viewed over two million times and 160,000 times respectively. As the first female member of the Carleton School of Information Technology (CSIT), she has been a strong voice to encourage women in a predominately male-dominated field. Finally, Dr. Girouard actively involves herself in hands-on youth outreach, twice acting as mentor for the Virtual Ventures summer camp and encouraging through feedback on the projects the youth create.
Professor Wilkinson received his BASc in Chemical Engineering from the University of British Columbia and his PhD in Chemistry from the University of Ottawa. He is an internationally recognized Canadian researcher who has made distinctive and outstanding contributions in the fields of electrochemistry, electrochemical engineering, and clean energy technology covering a wide range of research from fundamental material science and catalysis, to engineering design and operation. He has been recognized as one of the most highly cited global researchers in their subject field and is a leading innovator with over 75 issued US patents. Prior to joining UBC as a Tier 1 Canada Research Chair Professor Wilkinson held major leadership roles in the commercialization of the world's first rechargeable lithium AA battery at Moli Energy, the first commercialization of the Proton Exchange Membrane Fuel Cell (PEMFC) at Ballard Power Systems, and in helping to establish Canada as a world leader in fuel cell technology. He has received a number of national and international awards, and fellowships for his contributions.
Dr. Clément Gosselin's research work on parallel manipulators, robot hands and human-friendly robots has been the subject of numerous invited lectures and outreach presentations. Currently in the role of Professor and Canada Research Chair in Robotics and Mechatronics at Université Laval, his work is largely recognized in the international community. He has developed many prototypes of advanced robotic systems that have set new standards, some of which have been transferred to industry. He received several prestigious awards including the ASME Mechanisms and Robotics Award and the ASME Machine Design Award. He was appointed Officer of the Order of Canada for the impact of his research and he is a Fellow of the ASME and of the IEEE.
Alex Ferworn, Professor at Ryerson University and recipient of the Technology Ambassador Award. Alex Ferworn has a broad range of research interests related to Computational Public Safety that inevitably have something to do with dogs and/or robots working in rubble. Working extensively with Urban Search and Rescue (USAR) teams in Canada and the United States he seeks to address the needs of emergency First Responders working in difficult environments. He is also recognized for his exceptional ability to communicate complex ideas to a general audience in compelling ways.
Ron Deibert (PhD, University of British Columbia) is a Professor at the Munk School of Global Affairs and in the Department of Political Science, and Director of the Citizen Lab at the Munk School of Global Affairs, University of Toronto. The Citizen Lab is an interdisciplinary research and development hothouse working at the intersection of the Internet, global security, and human rights. He is a co-founder and a principal investigator of the OpenNet Initiative andInformation Warfare Monitor (2003-2012) projects. Deibert was one of the founders and (former) VP of global policy and outreach for Psiphon Inc.


Sam Jamz is one of Nigeria's foremost Gospel Hip Hop Rapper, popularly known for his street savvy song Baba Agbalagba and TV show Gospel Rave (Kingdom Africa).
Collaborating with international worship leader and multiple award winning artiste T-Sharp, this time He brings you one of the world's biggest Rap and Worship songs. Holy Holy.
Produced by JTreash with additional vocals from VeeVyN, this song would get your hands up in the air in praise and worship to God before you even realize.
Sam Jamz also floats his official website www.mrsamjamz.com where fans and corporate organisations can interact and get personal with him through message boards and exclusive content.


text:
package org.apache.ode.jbi;

import javax.jbi.servicedesc.ServiceEndpoint;
import javax.xml.namespace.QName;

import org.apache.commons.logging.Log;
import org.apache.commons.logging.LogFactory;
import org.apache.ode.bpel.iapi.EndpointReference;
import org.apache.ode.bpel.iapi.EndpointReferenceContext;
import org.apache.ode.bpel.epr.MutableEndpoint;
import org.apache.ode.utils.DOMUtils;
import org.w3c.dom.Document;
import org.w3c.dom.DocumentFragment;
import org.w3c.dom.Element;
import org.w3c.dom.NodeList;

import java.util.Map;
import java.util.HashMap;

/**
 * Implementation of the ODE {@link org.apache.ode.bpel.iapi.EndpointReferenceContext}
 * interface used by the BPEL engine to convert XML descriptions of endpoint
 * references (EPRs) into Java object representations. In the JBI context all
 * endpoint references are considered to be JBI
 * {@link javax.jbi.servicedesc.ServiceEndpoint}s are resolved by using the
 * {@link javax.jbi.component.ComponentContext#resolveEndpointReference(org.w3c.dom.DocumentFragment)}
 * method. Note that is is possible to resolve both "internal" and "external"
 * endpoint in this manner.  The schema to the internal end-point representation
 * is described on page 50 of the JBI specification 1.0.
 *
 */
public class EndpointReferenceContextImpl implements EndpointReferenceContext {
  private static final Log __log = LogFactory.getLog(EndpointReferenceContextImpl.class);

  private final OdeContext _ode;

  static final QName JBI_EPR = new QName("http://java.sun.com/jbi/end-point-reference", "end-point-reference");

  public EndpointReferenceContextImpl(OdeContext ode) {
    _ode = ode;
  }

  public EndpointReference resolveEndpointReference(Element epr) {
    QName elname = new QName(epr.getNamespaceURI(),epr.getLocalName());

    if (__log.isDebugEnabled()) {
      __log.debug( "resolveEndpointReference:\n" + prettyPrint( epr ) );
    }
    if (!elname.equals(EndpointReference.SERVICE_REF_QNAME))
      throw new IllegalArgumentException("EPR root element "
          + elname + " should be " + EndpointReference.SERVICE_REF_QNAME);

    Document doc = DOMUtils.newDocument();
    DocumentFragment fragment = doc.createDocumentFragment();
    NodeList children = epr.getChildNodes();
    for (int i = 0 ; i < children.getLength(); ++i)
        if (children.item(i) instanceof Element)
            fragment.appendChild(doc.importNode(children.item(i), true));
    ServiceEndpoint se = _ode.getContext().resolveEndpointReference(fragment);
    if (se == null)
      return null;
    return new JbiEndpointReference(se);
  }

  public EndpointReference convertEndpoint(QName eprType, Element epr) {
      Document doc = DOMUtils.newDocument();
      DocumentFragment fragment = doc.createDocumentFragment();
      NodeList children = epr.getChildNodes();
      for (int i = 0 ; i < children.getLength(); ++i)
        fragment.appendChild(doc.importNode(children.item(i), true));
      ServiceEndpoint se = _ode.getContext().resolveEndpointReference(fragment);
      if (se == null)
          return null;

      return new JbiEndpointReference(se, eprType);

  }

  public static QName convertClarkQName(String name) {
    int pos = name.indexOf('}');
    if ( name.startsWith("{") && pos > 0 ) {
      String ns = name.substring(1,pos);
      String lname = name.substring(pos+1, name.length());
      return new QName( ns, lname );
    }
    return new QName( name );
  }

  private String prettyPrint( Element el ) {
      try {
          return DOMUtils.prettyPrint( el );
      } catch ( java.io.IOException ioe ) {
          return ioe.getMessage();
      }
  }

    public Map getConfigLookup(EndpointReference epr) {
        Map m = new HashMap();
        m.put("service", ((JbiEndpointReference)epr).getServiceEndpoint().getServiceName());
        return m;
    }
}

redpajama_set_name: RedPajamaGithub


🥙 Stuffed Flatbread Emoji was approved as part of Unicode 9.0 standard in 2016 with a U+1F959 codepoint, and currently is listed in 🎂 Food & Drink category. You may click images above to enlarge them and better understand Stuffed Flatbread Emoji meaning. Sometimes these pictures are ambiguous and you can see something else on them ;-). Use symbol 🥙 to copy and paste Stuffed Flatbread Emoji or 🥙 code for HTML. This emoji is mature enough and should work on all devices. You can get similar and related emoji at the bottom of this page.


Our Confined Spaces courses promote safe working within a confined space. Working in a confined space is dangerous because of the risks from noxious fumes, reduced oxygen levels, or a risk of fire. A confined space is one which is either enclosed, or largely enclosed, and which also has a reasonably foreseeable risk to workers of fire, explosion, and loss of consciousness, asphyxiation or drowning. It may be small and restrictive area for the worker. Other dangers may include flooding/drowning or asphyxiation from some other source such as dust, grain or other contaminant. This course is offered through either one of our nationwide training centres or at your place of work (subject to site criteria). We can be extremely flexible in the delivery with regards to start time, weekend and night training.


text:
Henri Milan - Le Papillon Rose Brut Nature - 2019
Tasting: Fruit forward with supreme drinkability, light and dry sparkling rose
Grape: Grenache, Syrah, Alicante
Region: St. Remy de Provence, France
Farming: Organic
Vinification: Grapes are 100% hand harvested from 18 year old vines. Wine undergoes traditional method fermentation, whereby wine sees it's second fermentation in the bottle (same process as Champagne). Zero dosage, indigenous yeasts, no sulfur added.
About the Winemaker: From the moment Henri Milan planted his first vine at just 8 years old, he knew viticulture would be his life's passion. In 1986, he took over the family property in the foothills of Provence's Alpilles mountain range with the grand intention of growing the best, most characterful fruit the diverse soils there could yield and bottling as a domaine instead of selling to the local co-op as his parents had done. Milan began working organically as early as 1988, but many of the vines weren't hardy enough to survive the conversion from conventional farming. With the help of famous microbiologist Claude Bourgignon, he created a soil map to serve as a guide for how to replant. The duo identified zones of blue marl laced with limestone and other zones characterized by Quaternary-based gravel and yellow sandstone. Focusing on grape varieties best adapted to the individual soil types and producing site-specific wines, they felt, was the way forward. The best suited varieties, however, were not necessarily those prescribed by the Baux de Provence AOP, so Milan withdrew from the appellation system in 2007, declassifying his wines to Vin de France and cementing his reputation as the region's rebel.
In 2011 Henri's son Theophile began working the domaine with his father. Today he is responsible for all operations and handles vinification for the wines. In 2014, while on a trip to New York - Theo met Natalie, a Jacksonville native. Natalie grew up in Jax and cut her teeth in the food and beverage industry at some of the best restaurants Jacksonville has to offer including Orsay and Chew. During that time she developed a passion for wine and moved to New York City to continue her learning. She eventually landed a position as Sommelier at Michelin star restaurant, The Modern. While on a trip to promote his family's domaine among the restaurant scene in New York, Theo was introduced to Natalie and as they say, the rest is history. They were married in 2018 and have two beautiful children. Natalie is heavily involved in all parts of the family domaine, working in the vineyard, cellar, marketing, tasting room, entertaining clients and more.
Winemaker Website


Diagrams are listed alphabetically by brand, with slotted before slotless.
Look through the list of wiring diagram descriptions below to see if you can find the diagram you need to wire your layout.
Since the mid-seventies all slot car sets were produced with plug in contollers and transformers, wiring diagrams are not provided for plug in style terminal tracks.
If you still are unable to find an exact match to the controls and tracks you are using click Wiring Principles for directions on wiring layouts in general.
These directions apply to only the standard controllers connected to a single transformer. Shared Lanes, Team racing and other non standard wiring techniques are not covered here.
It is important to note that Common Ground Terminal tracks do NOT allow Reversing Controllers to be used on the layout.
So the first question is does your layout have a Common Ground or an Isolated Ground Terminal track.
To determine if your Terminal track has a Common Ground or an Isolated Ground, you can count the number of screws or look at the bottom of the terminal track. If the track has three screws or two of the rails share a terminal connection it is a Common Ground Terminal track. If there are four screws you still need to check the bottom of the track to see if two of the rails share a terminal connection. If the track has four screws and each screw connects to a different rail then it is an Isolated Ground Terminal track.
If your layout has a Common Ground Terminal track then the screw that connects to two rails is wired directly to the transformer. One wire from each controller conects to the other screw on the transformer. The remaining wire from each controller connects to each of the remaining screws on the terminal track.
You can change the direction of travel for both cars by swapping the wires attached to the transformer.
Do NOT change the wires on the terminal track.
If your layout has an Isolated Ground Terminal track then two of the Terminal track screws are used for each lane. If unsure which two are for each lane look at the bottom of the track and find which pair of screws are used for each lane.
If you are using non-reversing controllers then one terminal track screw is wired directly to the transformer, the other terminal track screw connects one wire from a controller, the other wire from the controller connects to the other screw on the transformer.
You can change the direction of travel for ONE cars by swapping the wires for one lane attached to the transformer or swapping the wires for one lane on the terminal track. Driving in opposite directions can be very dangerous for cars that fishtail on curves. Meeting on a squeeze track or lane change track causes a head-on collision.
If you are using reversing controllers there are four wires per controller, Two input, and Two output. The Two Inputs from both controllers connect to the transformer and the Two Outputs wires from one controller are connected to two of the screws on the terminal track that connect to the same lane rails. The other controller is connected to the remaining two screws on the terminal track.


text:
Home Metro News Nigeria Now Ebola Free, Jonathan Declares To The World
Nigeria Now Ebola Free, Jonathan Declares To The World
niyi
President Goodluck Jonathan has declared to the United Nations that Nigeria is now free of Ebola.
Jonathan gave this assurance at the United Nations General Assembly in New York, while commenting on the outbreak of the deadly Ebola Virus disease (EVD) in West Africa. He however called on the global community to act collectively in ensuring that the disease does not become a global disaster.
"While Nigeria was able to respond effectively to control the spread of the disease, the situation in Liberia and Sierra Leone requires sustainable, collective global action to contain," said Jonathan.
The president noted that Nigeria was able to contain the EVD through the concerted efforts of its healthcare professionals, the World Health Organisation and the country's international partners.
"…we can confidently say that Nigeria is today, Ebola-free."
"We have however continued to support efforts at containing the spread of the disease in Sierra Leone, Liberia and Guinea. It is pertinent to stress the need for the international community to properly appreciate the enormity of the EVD challenge.
"Indulging in isolationist and discriminatory tendencies will only worsen an already critical situation. To prevent the disease from becoming a global catastrophe, the UN must accord it the concerted effort it deserves," the President said.
Ebola outbreak in West Africa
Previous articleWe Have Not Relented On Bringing Back The Abducted Chibok Girls, Ending Terrorism – Jonathan
Next articleSick Chibok Girl Abandoned By Boko Haram Found
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The ultimate Minnie style dress right here! Make the iconic queen proud in this polka dot printed chiffon short dress featuring self-tie sleeves, surplice neckline and a tulip hem. Honorable mention- this is the prettiest shade of red!


text:
SeaWorld publishes decades of orca data to help wild whales
The theme-park company SeaWorld has published new data from its captive killer whales _ information that scientists say could help inform how they go about trying to save sick or stranded orcas in the Pacific Northwest and elsewhere
SEATTLE — The endangered killer whales of the Pacific Northwest live very different lives from orcas in captivity.
They swim up to 100 miles (161 kilometers) a day in pursuit of salmon, instead of being fed a steady diet of baitfish and multivitamins. Their playful splashing awes and entertains kayakers and passengers on Washington state ferries instead of paying theme park customers.
But the captive whales are nevertheless providing a boon to researchers urgently trying to save wild whales in the Northwest.
SeaWorld, which displays orcas at its parks in California, Texas and Florida, has recently published data from thousands of routine blood tests of its killer whales over two decades, revealing the most comprehensive picture yet of what a healthy whale looks like. The information could guide how and whether scientists intervene to help sick or stranded whales in the wild.
"For us, collecting blood from free-ranging killer whales is exceedingly difficult, so it's something we would rarely ever do," said Deborah Fauquier, a veterinary medical officer at the National Marine Fisheries Service. "Having partners that are in the managed-care community that can provide us with blood values from those animals is very useful. It's giving us a very robust baseline data set that we haven't had previously for these whales."
The round-up of killer whales for theme-park display in the 1960s and '70s was devastating for the Pacific Northwest's resident orcas: At least 13 were killed and 45 kept to awe and entertain paying crowds around the world, according to the Center for Whale Research on Washington's San Juan Island. Only one of those orcas survives: Lolita, at the Miami Seaquarium.
Washington state eventually sued SeaWorld to stop the hunts. Today, 17 of SeaWorld's 20 whales were born in captivity, including some descended from orcas captured near Iceland; the company hasn't collected a wild orca in more than 40 years. Under public pressure, it ended its captive breeding program and is replacing trained orca shows with what it describes as "more educational experiences where guests can still enjoy and marvel at the majesty and power of the whales."
It took decades for the so-called southern resident killer whales, which spend several months every summer and fall in the marine waters between Washington state and Canada, to recover from the hunts. By the mid-1990s, their population reached 98.
Half a century later, the orcas are struggling against different threats: pollution, vessel noise and, most seriously, starvation from a dearth of Chinook salmon, their preferred prey. There are just 75 left, and researchers say they're on the verge of extinction.
Gov. Jay Inslee has proposed $1.1 billion in spending to help the whales, with much of the money going toward protecting and restoring salmon habitat. The National Marine Fisheries Service, also known as NOAA Fisheries, is planning to propose expanded habitat protections this year for the whales' foraging areas off the Washington, Oregon and California coasts.
SeaWorld has also boosted its efforts to help the southern resident orcas, pledging $10 million to the National Fish and Wildlife Foundation's Killer Whale Research and Conservation Program.
"Our stance is to do research with our animals to try to help this population now, and that's what we're doing," said Todd Robeck, SeaWorld's vice president of conservation research. "That's why I got into what I do — to try to help animals in the wild."
Robeck is one of the lead authors on the review of SeaWorld's data, which included results of more than 2,800 blood tests on 32 whales from 1993 to 2013. Data from sick and pregnant whales were excluded to obtain a standard range for blood values, including cholesterol, platelet count, triglycerides and many other metrics. The whales were trained to present the underside of their tails for the blood draws, which were taken once or twice a month.
The results show that most of the values don't differ much between male and female whales, but they do differ considerably with age and season, Robeck said. The study suggests that orcas lose some immune function as they age.
While there will be some difference between the values for captive and wild whales due to differences in climate, diet and other factors, the research provides a template for understanding the whales, Robeck said. Further, the values may be compared to data from blow samples or fecal samples to provide even greater insight, he said. Among the ongoing research projects at SeaWorld is studying the extent to which toxins that build up in the whales due to pollution are transferred to calves from their mothers.
"It's something that could only be done with our animals," Robeck said. "It's an example of how we are dedicated to participating in the wellbeing of killer whales in the Pacific Northwest and around the world, and how research with our animals is vital in answering some of these questions about how to address the needs of the animals in the wild."
Follow Gene Johnson at https://twitter.com/GeneAPseattle
Slain runner from NYC laid to rest in Massachusetts
A New York City woman killed while out running near her mother's Massachusetts home was remembered at her funeral Tuesday for the light she brought to the lives of everyone she touched
'American Horror Story' coming to Halloween Horror Nights
The ghosts, vampires and other freaky misfits from "American Horror Story" are coming to Universal Studios
Casino mogul Wynn readies lavish new Macau resort
Steve Wynn's Macau resort brims with auspicious Chinese symbolism, and the U.S. casino mogul will need luck on his side as launches his $4.2 billion Wynn Palace project in the gambling hub as growth downshifts
Casino mogul Wynn to launch lavish new $4.2B Macau resort
Explorers find 2nd-oldest confirmed shipwreck in Great Lakes
A team of underwater explorers says it has found the second-oldest confirmed shipwreck in the Great Lakes
No oil leaks into Lake Tahoe from boat fire, officials say
The U.S. Coast Guard says firefighters protected Lake Tahoe's famously clear water as they quickly snuffed out flames shooting out of a docked tourist cruise boat


text:
United States v. Lopez
PETITIONER:United States
RESPONDENT:Lopez
LOCATION:Edison High School
DOCKET NO.: 93-1260
DECIDED BY: Rehnquist Court (1986-2005)
LOWER COURT: United States Court of Appeals for the Fifth Circuit
CITATION: 514 US 549 (1995)
ARGUED: Nov 08, 1994
DECIDED: Apr 26, 1995
Drew S. Days, III – Argued the cause for the petitioner
John R. Carter – Argued the cause for the respondent
Media for United States v. Lopez
Audio Transcription for Opinion Announcement – April 26, 1995 in United States v. Lopez
Alfonzo Lopez, a 12th grade high school student, carried a concealed weapon into his San Antonio, Texas high school. He was charged under Texas law with firearm possession on school premises. The next day, the state charges were dismissed after federal agents charged Lopez with violating a federal criminal statute, the Gun-Free School Zones Act of 1990. The act forbids "any individual knowingly to possess a firearm at a place that [he] knows…is a school zone." Lopez was found guilty following a bench trial and sentenced to six months' imprisonment and two years' supervised release.
Is the 1990 Gun-Free School Zones Act, forbidding individuals from knowingly carrying a gun in a school zone, unconstitutional because it exceeds the power of Congress to legislate under the Commerce Clause?
Opinion Announcement – April 26, 1995
Oral Argument – November 08, 1994
Audio Transcription for Oral Argument – November 08, 1994 in United States v. Lopez
William H. Rehnquist:
I have the opinion of the Court to announce the number 93-1260, United States versus Lopez.
This case comes to us on writ of certiorari to the Court of the Appeals for the Fifth Circuit.
After respondent, then a 12th-grade student carried a concealed handgun into his high school.
He was charged with violating the Gun-Free School Zones Act of 1990, which makes it a federal offense for any individual to knowingly posses a firearm within a thousand feet of a public or private school.
Respondent was convicted but the Court of Appeals reversed that conviction because it concluded that the Gun-Free School Zones Act was invalid as beyond Congress' power under the Interstate Commerce Clause.
In an opinion filed with the clerk today, we affirmed the judgment of the Court of Appeals.
The constitution creates a federal government of enumerated powers and delegates to Congress the power to regulate commerce among the several states.
Our cases have long upheld federal regulation of a wide variety of commercial activities that substantially affect interstate commerce.
The Guns-Free School Zones Act however goes further.
It neither regulates a commercial activity, nor contains a requirement of the possession of the firearm be connected in anyway to interstate commerce.
To uphold the act we would have to pile inference upon the inference in a manner that would bid fair to convert Congressional Authority under the Commerce Clause to a general police power of the sort retained by the State.
To do so, it would require us to obliterate the distinction between what is truly national and what is truly local.
So, this is something we are unwilling to do.
We hold that Congress in enacting the Gun-Free School Zones Act exceeded its authority under the Commerce Clause.
Justice Kennedy has filed a concurring opinion and joined by Justice O'Connor.
Justice Thomas has filed a concurring opinion.
Justice Stevens has filed a dissenting opinion.
Justice Souter has filed a dissenting opinion.
In addition, Justice Stevens, Justice Souter, Justice Ginsburg and I have filed a dissent.
In our view, the statute falls well within the scope of the constitution's commerce power.
In reaching this conclusion, we apply three well-established legal principles.
First, Congress can regulate acts within a single state but significantly affect commerce among the states.
Second, in deciding whether that is so, the court must consider not a single instance; say if the single gun in a school, but the cumulative effects of many similar instances of all guns that are in or near schools.
Third, the court must also give Congress considerable leeway that is to say, the court must ask not whether there is in fact a significant Commerce Clause connection but only whether Congress could rationally believe so.
Applying these standards, it seems clear to us that Congress could believe that guns in schools are now to a commercial as well as a human problem.
A host of government reports, hearings and studies set forth facts that show; one, that guns in schools is a serious problem.
One study for example says that 6% of intercity children carry guns to school, the 12% have been shot out and up to 20% have been threatened.
Two, that school violence significantly impairs learning.
Three, that learning, reading, writing, arithmetic has long accounted for much of our nation's economic growth, and today and in the future in a world of high technology and global economic competition, the differences between classrooms that teach and those that do no, may well spell the difference between high paying jobs and unemployment between firms locating in a community or staying away in a word between prosperity and poverty.
At the least, Congress could have a come to such a conclusion.
It could have found guns in schools, antithetical to a well-educated workforce and it could reasonably have believed that an educated workforce in today's world gives a community the kind of advantage comparable to that, given by location near a railhead or harbor in the past.
This court has long recognized to 'Justice Holmes', that commerce is a practical not a technical legal conception.
It also has long proved willing to apply preexisting Commerce Clause Law to changing economic circumstance.
That being so, the reasonableness of Congress' factual beliefs should have proved sufficient bases for finding the connection with interstate commerce that the constitution requires and holding he Gun-Free School Zones Act constitutional.
Such a holding would be consistent with if not dictated by this court's prior President.
For these and other reasons we dissent.
Sez in China
United States v. Morrison – Oral Argument – January 11, 2000
Swann v. Charlotte-Mecklenburg Board of Education
City of Riverside v. Rivera
Case Briefs - 1994


Handikart brings you a pure she sham made beautifully designed wooden box. Perfectly polished and hand crafted by skilled artisans to perfection with durable solid wood and latches. Made up of rich wood with unique design add it to your wardrobe or gift it at any occasion.


There were once four happy little children living here, as well as their joyful mother and a somewhat eccentric father. The only thing that has changed is that everyone is just older and the Internet exists.
I have been creating fine jewellery for the past thirty-five years, both for the jewellery industry and commissioned pieces. I work from my very small workshop where I hand make from scratch, diamond engagement rings, wedding bands and any piece of jewellery that can be imagined.
To work solely on commissioned pieces of jewellery and one day see a children's book that has my name as the illustrator.
I've had very little formal training in art apart from a short course at college in jewellery design drawing, and another short course in Byzantine Iconography. I was inspired to draw by seeing my older brother's art works. As a result the pencil has been my friend for most of my life and drawing has been just for the fun of it.
I discovered the Rotring pen at college and so I started to create elaborate doodles, which became a visual time capsule of a teenager trying to make sense of life.
I discovered pastels when I ran into an artist at a mall drawing character sketches, so I tried them for myself and enjoyed capturing friends faces on the new textured pastel paper.
I have done very little painting but pretty pleased with the results I could achieve with acrylic and gouache.
I love how the challenge is so interactive and full of energy. With so many artists of varying skills levels posting constantly, it feels like a living stream of creativity! It's great how the art is presented (cropped etc.) makes the whole site look really cool and consistent.
I am an S.F.B addict…Scotch Finger Biscuit. Yes, I dip them as well!
I also create sand sculptures.
What a luscious week to be doing the picks, they all left me wanting more of your sugary SWEETS.
Here are just some of this weeks illustrations which resonated with me for the glorious choice of colours and the sense of innocent fun.
I work full time in an IT area for an Australian Government agency. My work is quite dull and blah and stifles my creativeness but it pays the bills and keeps my art supplies well stocked. I can't wait to get home each day and continue with whatever art project I have on the go at the time.
To retire and be a full time artist!
I am self-taught and started drawing from the time I could hold a pencil. I studied art at school but was only really interested in the practical side and so my art history studies suffered. After a hiatus of 20 years or so, I picked up my pencils again. It was during the January 2011 floods of South East Queensland. I had a pinched nerve in my lower back at the time and found myself bed ridden for a couple of weeks. As I was born in Toowoomba and lived in the Lockyer Valley area I was mortified by the destruction and devastation I was witnessing on the rolling TV coverage, I needed an escape so I dug out my pencils and began drawing again…and so began my current art journey.
My passion is for portraiture and from time to time I am commissioned…you will notice that a large number of my challenge entries include a portrait of some description.
I joined the challenge in Week 3 of 2014. Most of my work last year was digital finger painting using the Paper 53 app. From the moment I joined in I felt the love and support of the group. The thing I love most would have to be the fellowship and the positive feedback and encouragement the members give each other. I enjoy seeing what the other members create each week, there are so many talented members, and I love that the kids also get involved. I am inspired each week to create something new and sometimes more than one.
The challenge has contributed to the development of my skills for my regained love of drawing and painting. As I am a natural drawer I primarily use pastels or pencils of one sort or another, the challenge and its members have given me the courage to venture into using other medium, some of which I have NOT yet mastered :-) I tend to go through phases of favourite mediums and am currently in a black water colour phase.
I feel immensely privileged that one of my pieces from last year's challenge, Week 42: Black and White, was chosen to be included in the Challenge's Art Brookfield exhibition this year and my Grandson and I had the pleasure of meeting the challenge founder Tania at her book launch earlier this year... I have also re-connected with old school friends through the challenge...thank you everyone for making the challenge so worthwhile.
Richelle with Tania McCartney at the book launch of "This is Captain Cook"
hmmm that's a hard one, if the question was, what is your least favourite that would be easier to answer…however my favourite so far would be Week 34 Japan with Week 5: Kitchen and Week 20: Melancholy coming in a close 2nd and 3rd.
ummm there are lots of things, none of which are very interesting...I have a black belt in Tae Kwon Do.


Petascale machines with hundreds of thousands of cores are being built. These machines have varying interconnect topologies and large network diameters. Computation is cheap and communication on the network is becoming the bottleneck for scaling of parallel applications. Network contention, specifically, is becoming an increasingly important factor affecting overall performance. The broad goal of this research is performance optimization of parallel applications through reduction of network contention.
Most parallel applications have a certain communication topology. Mapping of tasks in a parallel application based on their communication graph, to the physical processors on a machine can potentially lead to performance improvements. We have developed an automatic mapping framework and implemented a mapping library to map the communication graph for an application on to the interconnect topology of a machine while trying to localize communication.
A parallel quantum chemistry application, OpenAtom, runs twice as fast when its objects are mapped in a topology aware fashion on various machines (see figures below). NAMD, a molecular dynamics applications also sees performance improvements of 10-15% at the scaling end. Building on these ideas, we have developed algorithms and techniques for automatic mapping of parallel applications to relieve the application developers of this burden. We use the hop-bytes metric for the evaluation of mapping algorithms and suggest that it is a better metric than the previously used maximum dilation metric. The main focus of this research is on developing topology aware mapping algorithms for parallel applications with regular and irregular communication patterns. The automatic mapping framework is a suite of such algorithms with capabilities to choose the best mapping for a problem with a given communication graph.
Our work is among the first to discuss the effects of contention on Cray and IBM machines and to compare across multiple architectures. Contrary to popular belief that Cray machines do not stand to benefit from topology mapping, this research proves otherwise and provides detailed methods and results for performance improvements from topology mapping on them. Another contribution of this work is an API for topology discovery which works on both Cray and IBM machines.
We believe that the set of MPI benchmarks we have developed for quantifying message latencies would be useful for the HPC community to assess latencies on a supercomputer and to determine the message sizes for which number of hops makes a significant difference. The effective bandwidth benchmark in the HPC Challenge benchmark suite measures the total bandwidth available on a system but does not analyze the effects of distance or contention on message latencies. Results from MPI benchmarks re-establish the importance of mapping for the current supercomputers.
Our experience in developing mapping algorithms for production codes and insights discussed in this work will be useful to individual application writers trying to scale their codes to large supercomputers. We believe that the automatic mapping framework is applicable to a wide variety of communication scenarios and will relieve the application writers from the burden of finding good mapping solutions for their codes. Application developers can use this framework for mapping of their applications without any changes to their code base. Unlike most of the previous work, this research handles both cardinality and topological variations in the graphs. The framework provides scalable and fast, runtime solutions. Therefore, it will be useful to a large body of applications running on large parallel machines.
There has not been much research on mapping of unstructured mesh applications for performance optimizations and this research takes up at that task. We have also started developing scalable techniques for distributed load balancing in an effort to move away from centralized mapping decision algorithms.


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Ronald J. Viehweger, Jr.
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Meet Ronald J. Viehweger, Jr.
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Ron became a principal at GMG Insurance in 2003 and grew the company into a national agency while keeping its roots in Bucks County, PA. Under his leadership, the GMG Insurance has evolved into a nationally recognized multi-line insurance firm. Offering coverage from employee benefits to HR consulting, high-value homeowners, and corporate risk management services, GMG Insurance is structured to manage the evolving challenges of our world.
A native of Bucks County and a graduate of Central Bucks East High School, Ron spent most of his twenties in Marin County, CA, managing a popular bicycle chain, Mikes Bikes. His appreciation for the quality of life, strong sense of community, and desire to raise a family inspired his eventual move back to his hometown. Once back in Pennsylvania, Ron indulged himself in the world of insurance and risk management at GMG Insurance.
In 2009, after working and expanding GMG Insurance for six years, Ron and his business partner Charles Thomas had the opportunity to purchase the agency from a local bank. It was unusual timing given the financial crisis that was occurring and the recent bailout of AIG. GMG Insurance was able to successfully emerge more robust than ever, repeatedly reporting steady growth along with several strategic acquisitions. Now with offices on both coasts, dedicated staff, and a vast array of company partners, GMG Insurance is well-positioned to protect the assets of its customers for years to come.
A graduate of The American University, Ron holds a Bachelor's of Science degree in business administration with a focus in marketing. He also earned his Certified Insurance Counselor (CIC) designation in 2008 and his Certified Risk Manager (CRM) designation in 2014. Ron currently lives in Solebury Township, PA, with his wife and two teenagers. He has served on numerous non-profit boards and, for the past ten years, has served as the director of coaching at the Solebury Soccer Club. Ron enjoys coaching youth soccer, golf, skiing, hiking, and riding his collection of bikes.
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Giosetta Fioroni's Optical Spy (1968). As reproduced in Arte Povera
Giosetta Fioroni on her 2017 Frieze Project
The 60s art voyeur tells us about recreating The Optical Spy in New York - 50 years on from its Rome premiere
Frieze art fair opens today in New York, with a series of Frieze Projects interspersed among the gallery booths, themed around the act of seeing and being seen. It feels like a thoroughly contemporary subject, in an age of CCTV surveillance and selfies but one work being re-staged for the fair proves the art world has been examining this theme for many decades, long before the rise of social media.
The Italian painter and performance artist Giosetta Fioroni first staged her performance La Spia Ottica - The Optical Spy in 1968, at the seminal performance and installation show Teatro delle Mostre or Festival of Exhibitions. A kind of through-the-keyhole look into a young lady's bedroom, the work distils voyeurism into one simple installation. In this exclusive Q&A, arranged with the help of Fioroni's gallery, Partners & Mucciaccia London, the artist reflects on the work, how it was received when she first staged it, how it fits in with her other poppy works on canvas and what it's been like to recreate almost half a century on.
Mi si e' sfilata la scarpa (My Shoe Slipped Off), 1968. Pencil, coloured aluminum and enamel on canvas, metal frame. Cm 180x127. Photograph by Giuseppe Schiavinotto. Courtesy of Goffredo Parise - Giosetta Fioroni Archive
Tell us a little about Teatro delle Mostre or Festival of Exhibitions. What was the exhibition like when it was first staged? Did it feel like an important event at the time? Are you surprised Frieze has decided to restage it? In 1968, Plinio De Martiis, the most intelligent and vital person in the Italian art world, had an art gallery located close to the gorgeous Piazza del Popolo in Rome. For the first time in his gallery, he exhibited the works of the great American artist Cy Twombly. In that same year, he organised the Festival of Exhibitions; every day for a month, a new artist proposed his own idea of 'performance'.
Driving his choice at that time was the wish, shared among many artists, to focus on anything that would draw the viewer away from the tradition of painting and sculpture, and instead towards other experiences, such as performances. I think that Frieze has understood the vitality of the idea. For this reason, I want to bring to life again an experience that was truly special to me, and I will do so by narrating two different "actions", one by Fabio Mauri and my The Optical Spy, to shed light on a pivotal moment in the history of contemporary art.
Liberty con paesaggio (Liberty with Landscape), 1969. Pencil and enamel aluminum on canvas, Cm 100x100. Photograph by Giuseppe Schiavinotto. Courtesy of Goffredo Parise - Giosetta Fioroni Archive
Could you tell me about your work The Optical Spy? Could you describe the initial germ of the idea? The Optical Spy wants to evoke voyeurism! Every viewer looking through the keyhole (or optical spy) in some ways becomes "un guardone", or watcher, or a voyeur, as they say in France.
It feels like a prescient work given the way that we are all pressured to evesdrop and comment on each other's lives via social media. Honestly, I could not tell if it was revelatory at the time or if it was a precursor of works that were still to come, expressing life today. It seems to me today there is an enormous amount of proposals and suggestions in all directions, maybe experiences in many directions and some lack personality and ideas.
How did people react to The Optical Spy in 1968? ____ At the time, the reaction from the audience was extremely lively and positive; many asked to see the performance again. There was a strong interest from the press, not only from specialist art publications, but also from the mainstream magazines and newspapers. Since then there have been several requests to "recreate" the performance. In fact it was recreated at the Palazzo delle Esposizioni, in Rome, in 1974.
Does the performance piece relate to your silver works, recently on show in London or should we view the two as very distinct bodies of work? I do not believe there is a direct connection, except perhaps my strong interest in femininity.
La Modella Inglese (The English Model), 1969. Enamel on canvas, Cm 180.5x140,7. Photograph by Giuseppe Schiavinotto. Courtesy of Partners & Mucciaccia.
Will you restage The Optical Spy faithfully at Frieze or change it to suit our times? I believe that a little philosophy is necessary today in 'reconstructing' The Optical Spy, but just a little bit. This relates specifically to what the actress, the protagonist, who remains silent during the performance, is wearing. As for the rest, I don't think it is essential. Yes, the focus should be on the clothing, gestures, the smoking cigarettes, old newspapers, old television and old telephone! But a great silent actress was necessary in order to reproduce a leisurely and happy day of a beautiful woman, who is a little lazy in her daily routine - her make-up, reading and phone calls.
For more on The Optical Spy, The Festival of Exhibitions and other seminal works from this period get Arte Povera. For more on the art world as seen from Frieze's point of view get frieze A to Z of Contemporary Art. And don't forget Biennials and Beyond.
frieze A to Z of Contemporary Art: frieze Magazine
The ultimate guide to 25 years of contemporary art, as seen through the filter of the world's leading contemporary art magazine
frieze A to Z of Contemporary Art charts the dynamic, changing landscape of the contemporary art and culture of the past quarter century. Drawing on frieze magazine's exceptional back catalogue of articles, this book brings together a curated collection of over fifty engaging highlights. It features artist interviews; essays on subjects as varied as museums, photography, pre-historic art and television; and think pieces on broader cultural topics, such as fame, gentrification, nostalgia, and style. The book's content - selected from throughout the magazine's history - offers a guide to this dynamic era of visual culture, revealing the increasing internationalism, popularity, and market dominance of contemporary art.
frieze magazine was set up in 1991 and is the leading magazine of contemporary art and culture. frieze includes essays, reviews, and columns by today's most forward-thinking writers, artists, and curators.
"Get to know all there is about contemporary art with this new A to Z." —Amuse-i-d.vice.com
"A gallimaufry of excellent art journalism... Offers an intriguing array of artist profiles, compressed literary nuggets, elegiac reminiscences and revealing interviews." —Art Quarterly
"An absolute must for anyone looking to get up to speed on world of art."—CraveOnline
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No. Comic Relief was originally always every two years. The Sport variant seems to have been invented to fill in the gaps.
Not really, the first one was in 1985, ( which also had single) the second one which become a Telethon was in 1988 and the third in 1989 then it become every two years.. hides under a rock.
The first Comic Relief was in 1986 actually (plenty of references to it on the BBC4 TOTP repeats last year), though it was just a pre-recorded stage show shown several weeks after it happened.
Wasn't called Red Nose Day in 86 though, that didn't begin till the first telethon in 88.
That's the confusion, it launched on Christmas Day 1985.
The telethon event launched on Friday 5th February 1988. Originally the organisers had hoped to be like Children in Need and be an annual telethon, which is why they returned in 1989 for their 2nd Red Nose Day. However Richard Curtis and the organisers felt after the 1989 event, Red Nose Day should be a biennial event and that is why 1991 was the 3rd Red Nose Day telethon. Richard said the event was just too big to organise, and since money would be going to Africa as well as the UK, the one year break between telethons would be suitable, and that is how the every two year Red Nose Day started.
Comic Relief as a charity commenced in 1985.