The Tombs of Buganda Kings at Kasubi constitute a site embracing almost 30 ha of hillside within Kampala district. Most of the site is agricultural, farmed by traditional methods. At its core on the hilltop is the former palace of the Kabakas of Buganda, built in 1882 and converted into the royal burial ground in 1884. Four royal tombs now lie within the Muzibu Azaala Mpanga, the main building, which is circular and surmounted by a dome. It is a major example of an architectural achievement in organic materials, principally wood, thatch, reed, wattle and daub. The site's main significance lies, however, in its intangible values of belief, spirituality, continuity and identity.
Les tombeaux des rois du Buganda à Kasubi s'étendent sur près de 30 ha de collines dans le district de Kampala. La plus grande partie du site est une zone agricole, exploitée selon les méthodes traditionnelles. Son centre, au sommet de la colline, est l'ancien palais des Kabakas du Buganda, construit en 1882 et transformé en cimetière royal en 1884. Quatre tombes royales se trouvent maintenant dans le Muzibu Azaala Mpanga, le bâtiment principal de plan circulaire et surmonté d'un dôme. C'est un exemple important de réalisation architecturale en matériaux organiques - bois, chaume, roseaux et enduits en particulier. La signification essentielle du site réside toutefois dans sa valeur immatérielle faite de croyance, de spiritualité, de continuité et d'identité.
تمتد قبور الامراء في بوغندا على 30 هكتارًا من التلال تقريبًا في مقاطعة كمبالا. ويشكل اكبر جزء من الموقع منطقة زراعية مستثمرة بحسب الاساليب التقليدية. ويقع في وسطها، أي على قمة التلة، قصر قديم للقبقاس في بوغندا وهو قد شُيّد في العام 1882 وتحول الى مقبرة ملكية في العام 1884. ويوجد اليوم في موزيبو ازاعلا مبانغا 4 قبور ملكية وهو المبنى الاساسي الدائري الشكل الذي تعلوه قبة. انه مثال مهم للتنفيذ الهندسي من المواد الطبيعية: الخشب والقش والقصب والطلاء على وجه الخصوص. اما الدلالة الاساسية لهذا الموقع فتكمن في قيمته غير المادية التي تتمثل في الايمان والروحية والاستمرارية والهوية.
Захоронение королей Буганда в Касуби, округ Кампала, расположено на холме и имеет площадь около 30 га. Большая часть его территории используется для нужд традиционного сельского хозяйства. В его ядре на вершине холма стоит бывший дворец правителей Буганды «кабака», построенный в 1882 г. и превращенный в королевскую усыпальницу в 1884 г. В Музибу-Азала-Мпанга, главном здании дворца, имеющем круглую форму и увенчанном куполом, ныне находятся четыре гробницы. Это выдающееся произведение архитектуры, выполненное из природных материалов, в основном – древесины, соломы, тростника, прутьев и глиняной обмазки. Главное значение объекта связано с нематериальными ценностями, такими как вера, духовность, преемственность развития и национальная самобытность.
Emplazadas en Kasubi, las tumbas de los kabakas (reyes) de Buganda ocupan unas 30 hectáreas de colinas del distrito de Kampala. La mayor parte del sitio es una zona agrícola cultivada con métodos tradicionales. En su centro, en la cima de una colina, se alza el antiguo palacio de los kabakas construido en 1882 y transformado en cementerio real en 1884. El Muzibu Asala Mpanga –edificio principal de planta circular rematado por una cúpula– alberga hoy cuatro tumbas reales. Es un ejemplo notable de obra arquitectónica realizada con materiales orgánicos: madera, paja, juncos, cañas y adobe. No obstante, la importancia del sitio estriba en su valor inmaterial, ya que está íntimamente vinculado a las creencias y la espiritualidad de la población, así como a las nociones de continuidad e identidad.
De Tombes van Buganda-koningen bij Kasubi beslaan bijna 30 hectare heuvellandschap in het district Kampala. Het grootste deel van de omgeving is landbouwgebied, bewerkt volgens traditionele methoden. In de kern van het gebied, op de heuveltop, ligt het voormalige paleis van de Kabakas (koningen) van Buganda gebouwd in 1882 en in 1884 verbouwd tot koninklijke begraafplaats. Vier koninklijke tombes liggen in de Muzibu Azaala Mpanga; het ronde, met een koepel bekroonde hoofdgebouw. Het is een belangrijk voorbeeld van een architectonische constructie van organische materialen. Het grootste belang van deze site zijn echter de niet-materiële waarden van geloof, spiritualiteit, continuïteit en identiteit.
The Tombs of Buganda Kings constitute a site embracing 26.8 hectares of Kasubi hillside within Kampala City.
The site is the major spiritual centre for the Baganda where traditional and cultural practices have been preserved. The Kasubi Tombs are the most active religious place in the kingdom, where rituals are frequently performed. Its place as the burial ground for the previous four kings (Kabakas) qualifies it as a religious centre for the royal family, a place where the Kabaka and his representatives carry out important rituals related to Buganda culture. The site represents a place where communication links with the spiritual world are maintained.
Its spatial organization, starting from the border of the site marked with the traditional bark cloth trees, leading through the gatehouse, the main courtyard, and culminating in the large thatched building, housing the tombs of the four Kabakas, represents the best existing example of a Baganda palace/burial site.
At its core on the hilltop is the main tomb building, locally referred to as the "Muzibu-Azaala-Mpanga" which is a masterpiece of this ensemble. A tomb building has been in existence since the 13th century. The latest building was the former palace of the Kabakas of Baganda, built in 1882 and converted into the royal burial ground in 1884. Four royal tombs now lie within the Muzibu-Azaala-Mpanga.
The main tomb building, which is circular and surmounted by a dome, is a major example of an architectural achievement that was raised with use of vegetal materials comprised of wooden poles, spear grass, reeds and wattle. Its unusual scale and outstanding details bear witness to the creative genius of the Baganda and as a masterpiece of form and craftsmanship, it is an exceptional surviving example of an architectural style developed by the powerful Buganda Kingdom since the 13th Century.
The built and natural elements of the Kasubi Tombs site are charged with historical, traditional, and spiritual values. The site is a major spiritual centre for the Baganda and is the most active religious place in the kingdom. The structures and the traditional practices that are associated with the site are one of the exceptional representations of the African culture that depict a continuity of a living tradition. The site's main significance lies in its intangible values of beliefs, spirituality, continuity and identity of the Baganda people. The site serves as an important historical and cultural symbol for Uganda and East Africa as a whole.
Criterion (i): The Kasubi Tombs site is a master piece of human creativity both in its conception and its execution.
Criterion (iii): The Kasubi Tombs site bears eloquent witness to the living cultural traditions of the Baganda.
Criterion (iv): The spatial organization of the Kasubi Tombs site represents the best extant example of a Baganda palace/architectural ensemble. Built in the finest traditions of Ganda architecture and palace design, it reflects technical achievements developed over many centuries.
Criterion (vi): The built and natural elements of the Kasubi Tombs site are charged with historical, traditional, and spiritual values. It is a major spiritual centre for the Baganda and is the most active religious place in the kingdom.
The boundary of the land on which the tombs are located is clearly marked with the traditional bark cloth tree (Ficus sp.) and coincides with the 1882 traditional boundary. The live markers have been useful in keeping away land encroachers for housing construction and other developments, thus maintaining the original land size. The architectural palace design that comprise of the placement of the buildings, and tombs/ grave yards of members of the royal family around the Muzibu-Azaala- Mpanga reflecting the traditional palace structure is still being maintained in its original ensemble.
Although the recent fire tragedy, that destroyed the main tomb building, means that one key attribute is now missing, the cultural traditions associated with building in poles, spear grass, reeds and wattle are still vibrant and will allow the recreation of this tomb building.
The other traditional structures are still in place and the key attributes related to traditional ceremonial and religious practices and land tenure and land use practices are still being maintained.
The authenticity of the Tombs of the Kings of Buganda at Kasubi is reflected in the continuity of the traditional and cultural practices that are associated with the site. The original burial system of the Kabakas of Buganda is still being maintained. The placement of Muzibu-Azaala- Mpanga in the middle of other buildings around the large central courtyard (Olugya), with a forecourt containing the drum house and entry gate house, are a typical ensemble of the Buganda Kingdom palace. The practice of using grass thatched roof resting on structural rings of palm tree fronds is still being maintained as well as the internal elements and finishing materials such as the long wooden poles wrapped in bark cloth decoration. Although the authenticity of the site has been weakened by the loss to the fire of the main tomb structure, the building's traditional architectural craftsmanship and the required skills are still available to allow it to be recreated. This factor, coupled with the extensive documentation of the building, will allow an authentic renewal of this key attribute.
Managed by the Buganda Kingdom, the property was gazetted a protected site under Statutory Instrument No. 163 of 1972 and under Historical Monument Act (Act 22 of 1967). This legal status was further strengthened by the National Constitution (1995). The Historical Monument Act protects the Kasubi Tombs from residential encroachment or any other purpose inconsistent with its character. The land that hosts the Tombs is titled under the Land Act (1998). The land title is registered in trust of the Kabaka (King) on behalf of the Kingdom.
The protection of the site is further strengthened by the various Tourism Policies of Uganda. The site has an approved General Management Plan (2009 - 2015). A Site Manager is in place.
The greatest threat to the site is fire. There is a need to develop a detailed Risk Management Plan to address this threat, in particular, and to ensure that site documented is as complete as possible and securely stored.
In order to ensure that the traditional building processes associated with the site are maintained over time, there is an on-going need to train young educated people.
There is a need to ensure that the principles guiding the recreation of the main tomb building are agreed by all the key stakeholders - the UNESCO World Heritage Committee, the Buganda Kingdom and the Government of the Republic of Uganda, and that the process of recreating the building is systematic, based on evidence and adequately recorded.


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redpajama_set_name: RedPajamaCommonCrawl


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Rudy Ramirez on "Ruining" Lorca
Texas Performing Arts + Fusebox Resident artist Rudy Ramirez is an Austin-based director, writer, performer and teaching artist specializing in the development of new work. They are an Associate Artistic Director at The VORTEX Theatre and the founding artistic director of Avante Theatre Project, a company dedicated to producing new and avant-garde Latinx performance. Ramirez has worked with numerous theatre companies in Austin and around the country, has won 6 B. Iden Payne Awards and an Austin Critics Table Award as a director, and was named Best Director in the Austin Chronicle Readers' Poll in 2017.
For their residency, Ramirez, along with writers Victor Cazares (American (tele)Visions), Krysta Gonzales (Más Cara) and Jesús I. Valles ((Un)Documents) are developing The Ruining Lorca Trilogy, which reimagines playwright Federico García Lorca's iconic plays La Casa de Bernarda Alba (The House of Bernarda Alba), Bodas de Sangre (Blood Wedding), and Yerma (Yerma) as three pop-culture-infused comedies that revel in our contemporary tragedies, contradictions, and survival. Lorca was a queer Spaniard who survived a pandemic but lost his life to fascism. Ramirez, Cazares, Gonzales, and Valles are four queer Mexicans living through their own pandemic and a confrontation with rising facism nearly a century later, and on a quest to refract their own experiences and cultural touchpoints through his life and work.
Recently Fusebox Co-Artistic Directors Ron Berry and Anna Gallagher-Ross spoke to Ramirez about their inspirations for the project, and their playful process adapting Lorca's work virtually, and across geography.
Ron Berry: What a fun name for a project! Can you tell us a little bit about the origin story?
Rudy Ramirez: So this started on a bus (specifically the 10 bus) heading North. I was taking the bus for work and then Jesús got on and so we, of course, started talking—I can't remember how it came up—and we started making jokes about doing Mexican adaptations of [Federico García] Lorca plays. And we thought about renaming them Quinces de Sangre, as in Quinceaneras de Sangre, and La Tamalada de Bernarda Alba, and Jesús came up with a great last line: "My daughter died a size 8, she'll be buried a size 8!"
It was amazing, and that idea, it really stuck with me a lot, especially as I watched The Rude Mechs doing their "Fixing Shakespeare" series. They're taking the lesser-known Shakespeare plays that are not usually done in this day and age and saying, "How can we update them and make them relevant?" Their Fixing Troilus & Cressida, is my favorite thing that I've seen of theirs. I love it so much.
RB: It's fun!
RR: And so I thought, these plays of Lorca's, as you know, they're not the lesser knowns. They are the three most well-known of Lorca's plays, and in some ways are not representative of what he did as an experimental artist: they are the most mainstream-y of his works, I think. I have encountered Blood Wedding, I'd encountered The House of Bernarda Alba, I'd never read Yerma before, although I'd seen an adaptation of it. And as I thought to myself, "I would love to just take that idea [of adaptation] and run with it!", so when Fusebox approached me about this residency I was like, "Oh now is the time!" I always saw these as being like really sort of Fusebox-ready shows that would be just very wild, very fun, and very… very "free and wild" takes on these classic dramas.
AGR: And so, what's the process of "ruining"? Like, how do you go about "ruining" a play?
RR: I think you start the "ruining" by saying that nothing is sacred. Nothing about these plays is going to be held up as inviolable in the text. And I will say, I think that one of the reasons why I was thinking about this was that Victor Cazares asked, "Is anyone reading them in Spanish?" and I realized I'm not, but I really should. And so I started reading Blood Wedding and I was really struck by how much more colloquial it is in Spanish than in translation. I think that there is this idea often when Lorca is done in non-Spanish speaking countries that it's almost like Chekhov, like "Oh we've imported this high art," and it's presented with a Merchant-Ivory kind of take on it, you know? But I reading these plays in Spanish felt familiar. They sound like people in my family, not like people from another time or another place.
And so I got these three playwrights together: Jesús I. Valles and Krysta Gonzales who I've worked with before, and Victor Cazares, who I'd been wanting to work with. I think that they're all three really amazing writers who have that approach of really saying, let's laugh at what is sacred, let's take it apart, while still using the sacred to reach for these deep profound truths that may have shifted over the years but are still part of our consciousness.
We all read the three plays together, and spent a whole weekend just going through them and talking about them. And Jesús, Krysta, and Victor are all either entirely from El Paso/Juarez, or have spent large portions of their lives there, so this kind of became an El Paso trilogy. And we all said "Alright, what are the ways that we see these plays still having echoes today?"Jesús and Victor talked about seeing a production of Bernarda Alba when they were in high school, because they've know each other that long, and how struck they were by it and how the audience responded. We shared a lot of personal stories. I mean for Bernarda Alba, even though we started [reimagining it as] a tamalada, we also really started talking about Mexican pizza places, you know? Like we were looking up menus and there's a pizza that's called Llorona and it's all the spicy things on it. I also made the egregious error of talking about a breakup and they were just like, "We're jumping on that!" That's in here now!" Victor brilliantly put it this way, "We are four queer, Mexican American artists trying to survive a pandemic and trying to survive the rise of fascism in our country. Lorca is a queer, Spanish artist who did survive a pandemic but did not survive the rise of fascism in his country." So we are thinking about what we have to say to each other across the decades.
AGR: Wow, that's amazing.
RR: Yeah, I think so. I like it.
AGR: And so Rudy, what is your role in this process?
RR: I am basically the director and head dramaturg who's working with these three writers to say: "How are these three variations? How are they an inclusive unit? How can I direct the process?" In our last set of conversations I asked "What is the next thing that you need us to be spending time on in our next rehearsal? And there were different answers. Some said, "Well I'd really love to go through like plot-by-plot bead with this play." And another said, "I really want to talk about relationships, and bring in a guest to discuss Black Texan identity." It has been about saying, "How do I make sure that the people are in the same room, that they're talking to each other and that we have our North star of ruining these plays." We want to bring out the comedy and absurdity in them. But at the same time, we are thinking about what's powerful about them that can survive that ruination? You know? Like with Jesús and Llermo. We originally thought it would be funny if it was called "Yrma" because "I have my Aunt Yrma, my Tia Yrma." But it became "Llermo" because he and I started talking about being fat in the gay community, particularly fat and Mexican, and how there's all these pressures of thinness, and we were asking, what if the play was about not the desire of this woman to have a baby, but what if it's about this desire for thinness and beauty, and what that means in terms of whiteness and masculinity? What does it mean about hunger and desire? And that is, of course, the one that has got my breakup story in it. I'm hoping to be the person who helps bring out these stories and also unify them together into something that we could produce as a trilogy in rep somewhere. People could come and see them and be like, "Oh wow this is such a great variety of perspectives that nevertheless have given me a full experience."
RB: I love the way that you're thinking about ruining as a way of having a relationship with the writer; with the material. It's like, when you're getting to know someone and then you kind of realize that you can actually start joking with them, like "Oh yeah! Actually we can like totally goof around in this way, we can rib each other!" and it's so freeing and fun.
AGR: Could you tell us a little bit more about your collaborators?
RR: Absolutely. So chronologically, Krysta I go back to Sleeping Beauty at The Vortex. I was the assistant director on that show and she was in the cast. And you know, we really hit it off. Then I started working with her on Sing Muse!, which was a devised project I did at The Vortex, and she was Terpsichore, the Muse of Dance, and we really bonded a lot over that show. Then I met Jesús when they were doing a poem for this production called Fat: The Play. They got up there, covered in red glitter, and did this amazing performance poetry piece. I just loved it so much. And then I saw them in Aye, No! with Theatro Vivo, and it was a small role, it was like one scene, they were playing a curandero who was not really a curandero. It was just this random guy that these people were like, "Alright pretend to be a curandero for this scene." So they started praying to Santa Beyoncé and Santa Claus and it was incredible and so afterwards I said, "Listen my name is Rudy Ramirez. I'd love to work with you, I think you're really amazing and I've got this project about Emma Goldman I think would be amazing to work on with."
So Jesús and I worked on that, and then I cast both Krysta and Jesús in El Nogalar, the Tanya Saracho play, and we worked on that together. Then through Jesús and also through the Teatro Vivo Latinx New Play Festival, I met Victor. Victor wrote this incredible play American (tele)Visions that was going to be produced by New York Theatre Workshop, and then the pandemic hit so hopefully it's still on the docket, and it was about this family, and they were, I can't remember if it was Target or Walmart, stuck in this store and bringing in all these incredible references from all these different plays. At one point there was this hilarious parody of Angels in America happening. That is very much Victor's style, to throw in all these different things into his writing. I've been at readings of Victor's work and I just can't stop laughing. There's this raucous energy that are in those plays. And then again, Jesús and Victor have known each other since they were like in high school together. and they have become really amazing theatre artists. It's really great because there's definitely a feeling of camaraderie whenever we're working together and support for one another.
RB: I feel like that is also reflected in the work. When there's a real sense of camaraderie amongst the team and the artist, that that lives on in the work. You can see it and feel it. I feel it just in the way that you're talking about it.
AGR: Absolutely. It's a challenge doing a residency during a pandemic. How has it been for you as artists collaborating inside this moment?
RR: In some ways it's made us think more easily about collaboration and allowed us to work across geography. Krista is in LA, Victor in Portland, and I'm here in Austin. I think Jesús is already on their way to Rhode Island, soon I'm going to be in Massachusetts. But through all this we're still able to collaborate together online and work with other artists and partners who are in different places as well. We want this to be a live performance with a live audience, but in the meantime we are documenting our process online through these live virtual public workshops. This documentation, in some ways, will be like a fourth piece.
AGR: I love that you're thinking about it as the fourth piece in…what do you say, quad…?
RR: Tetralogy, I think?
RR: Yeah, we want to document these online sessions, but also when we finally get in the room in person, we want to be documenting that as well, and creating a fourth piece that's going to be part the marketing of this project, but also part of its dramaturgy. Kind of the "Ghost Piece"… like the haunting piece around all of them.
AGR: Do you think it could potentially even play a role in the live performance at some point?
RR: I'm very curious as to how we think about developing connective tissue. Right now I want to… I don't want to put the writers at any kind of boxes but I'm interested to see, as folks start writing and developing and particularly feeding off of one another's ideas, what are points where these connections might become explicit?
AGR: You are writing, or staging yourselves coming to terms with these texts. It's really interesting.
RR: Yeah! That's been really cool! I don't think I reckoned with the plays as much before this. And certainly, I had never read Yerma but then fell in love with it when I read it. I was so amazed by this play in which, you know, at the end there's this woman and she's been wanting to have a baby, wanting to have a baby, wanting to have a baby, and her husband says, "Yerma, I never wanted a baby. I just wanted you. I loved you," and in any other play that's the beautiful poignant ending, In this play she kills him! She's like "how dare you?" For her this baby is, in this weird way, about her independence and about her having something that's entirely her own. In reading it I thought, "I've never encountered a play like this before." That makes these moves… in such unexpected ways. It made me think: what does it mean to write in this world where love is subservient to something else that's always been attached to love? It's been intriguing to prep for Blood Wedding. I've been watching a lot of sort of classic revenge movies and recommending them to Krysta. I used my HBO Max subscription and I watched Lady Snowblood and then I watched The Bride Wore Black on this like Russian YouTube channel, because Blood Wedding is about these old family vendettas and these two men who kill each other, and it is about their jealousy…or is it? And with Quinces de Sangre, Krysta is translating it into a female-centric world. She's asking, "How do we portray women seeking revenge? How do we portray female violence? What excites us about it, what interests us about it?" Like also with Llermo…Jesús and I pretty much agreed that Carrie Fisher and Debbie Reynolds as a mother daughter relationship have to be in Llermo somehow. Like we don't know how yet but we know it's there.
AGR: I love all the different cultural references you're weaving into this, that inspire the writing.
RR: Exactly, exactly. I'm like the sous chef. They are the chefs. I'm here just to cut up all of the vegetables! And then I get to watch them make whatever they want with them.
Rudy Ramirez is one of four artists/collectives participating in the inaugural Performing Arts Residency launched by Fusebox Festival and Texas Performing Arts. The first of its kind in Austin, the residency program is geared towards adventurous Austin-based artists who are pushing the boundaries of performance and on the cusp of new projects, as well as furthering the values of diversity, equity, and inclusion in the local performing arts community. This interview is the fourth in a series of conversations we call "In Process," with resident artists about their creation process.


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Traditional Navigation Systems – Very High Frequency Omnidirectional Range (VOR) (Part Two)
Function of VOR
The VOR does not account for the aircraft heading. It only relays the aircraft direction from the station and has the same indications regardless of which way the nose is pointing. Tune the VOR receiver to the appropriate frequency of the selected VOR ground station, turn up the audio volume, and identify the station's signal audibly. Then, rotate the OBS to center the CDI needle and read the course under or over the index.
In Figure 9-12, 360° TO is the course indicated, while in Figure 9-15, 180° TO is the course. The latter indicates that the aircraft (which may be heading in any direction) is, at this moment, located at any point on the 360° radial (line from the station) except directly over the station or very close to it, as in Figure 9-15.
The CDI deviates from side to side as the aircraft passes over or nearly over the station because of the volume of space above the station where the zone of confusion exists. This zone of confusion is caused by lack of adequate signal directly above the station due to the radiation pattern of the station's antenna, and because the resultant of the opposing reference and variable signals is small and constantly changing.
Figure 9-15. CDI interpretation. The CDI as typically found on analog systems (right) and as found on electronic flight instruments (left).
The CDI in Figure 9-15 indicates 180°, meaning that the aircraft is on the 180° or the 360° radial of the station. The TO/ FROM indicator resolves the ambiguity. If the TO indicator is showing, then it is 180° TO the station. The FROM indication indicates the radial of the station the aircraft is presently on. Movement of the CDI from center, if it occurs at a relatively constant rate, indicates the aircraft is moving or drifting off the 180°/360° line. If the movement is rapid or fluctuating, this is an indication of impending station passage (the aircraft is near the station). To determine the aircraft's position relative to the station, rotate the OBS until FROM appears in the window, and then center the CDI needle. The index indicates the VOR radial where the aircraft is located. The inbound (to the station) course is the reciprocal of the radial.
If the VOR is set to the reciprocal of the intended course, the CDI reflects reverse sensing. To correct for needle deflection, turn away from the needle. To avoid this reverse sensing situation, set the VOR to agree with the intended course.
A single NAVAID allows a pilot to determine the aircraft's position relative to a radial. Indications from a second NAVAID are needed in order to narrow the aircraft's position down to an exact location on this radial.
Tracking TO and FROM the Station
To track to the station, rotate the OBS until TO appears, then center the CDI. Fly the course indicated by the index. If the CDI moves off center to the left, follow the needle by correcting course to the left, beginning with a 20° correction.
When flying the course indicated on the index, a left deflection of the needle indicates a crosswind component from the left. If the amount of correction brings the needle back to center, decrease the left course correction by half. If the CDI moves left or right now, it should do so much more slowly, and smaller heading corrections can be made for the next iteration.
Keeping the CDI centered takes the aircraft to the station. To track to the station, the OBS value at the index is not changed. To home to the station, the CDI needle is periodically centered, and the new course under the index is used for the aircraft heading. Homing follows a circuitous route to the station, just as with ADF homing.
To track FROM the station on a VOR radial, you should first orient the aircraft's location with respect to the station and the desired outbound track by centering the CDI needle with a FROM indication. The track is intercepted by either flying over the station or establishing an intercept heading. The magnetic course of the desired radial is entered under the index using the OBS and the intercept heading held until the CDI centers. Then the procedure for tracking to the station is used to fly outbound on the specified radial.
Course Interception
If the desired course is not the one being flown, first orient the aircraft's position with respect to the VOR station and the course to be flown, and then establish an intercept heading. The following steps may be used to intercept a predetermined course, either inbound or outbound. Steps 1–3 may be omitted when turning directly to intercept the course without initially turning to parallel the desired course.
Determine the difference between the radial to be intercepted and the radial on which the aircraft is located (205° – 160° = 045°).
Double the difference to determine the interception angle, which will not be less than 20° nor greater than 90° (45° × 2 = 090°). 205° + 090° = 295° for the intercept).
Rotate the OBS to the desired radial or inbound course.
Turn to the interception heading.
Hold this heading constant until the CDI center, which indicates the aircraft is on course. (With practice in judging the varying rates of closure with the course centerline, pilots learn to lead the turn to prevent overshooting the course.)
Turn to the MH corresponding to the selected course, and follow tracking procedures inbound or outbound.
Course interception is illustrated in Figure 9-16.
Figure 9-16. Course interception (VOR). [click image to enlarge]
VOR Operational Errors
Typical pilot-induced errors include:
Careless tuning and identification of station.
Failure to check receiver for accuracy/sensitivity.
Turning in the wrong direction during an orientation. This error is common until visualizing position rather than heading.
Failure to check the ambiguity (TO/FROM) indicator, particularly during course reversals, resulting in reverse sensing and corrections in the wrong direction.
Failure to parallel the desired radial on a track interception problem. Without this step, orientation to the desired radial can be confusing. Since pilots think in terms of left and right of course, aligning the aircraft position to the radial/course is essential.
Overshooting and undershooting radials on interception problems.
Overcontrolling corrections during tracking, especially close to the station.
Misinterpretation of station passage. On VOR receivers not equipped with an ON/OFF flag, a voice transmission on the combined communication and navigation radio (NAV/COM) in use for VOR may cause the same TO/FROM fluctuations on the ambiguity meter as shown during station passage. Read the whole receiver—TO/FROM, CDI, and OBS—before you make a decision. Do not utilize a VOR reading observed while transmitting.
Chasing the CDI, resulting in homing instead of tracking. Careless heading control and failure to bracket wind corrections make this error common.
Traditional Navigation Systems - Very High Frequency Omnidirectional Range (VOR) (Part One)
Previous: Traditional Navigation Systems – Very High Frequency Omnidirectional Range (VOR) (Part One)
Next: Traditional Navigation Systems – Very High Frequency Omnidirectional Range (VOR) (Part Three)


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redpajama_set_name: RedPajamaGithub


The Edge Night will begin with a video about Pope Francis and a fun Pictionary game using different things from his life. The night will then transition into the Proclaim where a few of the main messages of World Youth Day in Rio will be presented. The youth will then have a chance to discuss those messages and what they mean to them. Then there will be time for another fun game where the youth will be tested in trivia to see how much they know about Pope Francis. The night will end with the youth praying for Pope Francis.
The goal of this night is to help the youth get to know Pope Francis through his messages at World Youth Day 2013 in Rio. Youth will learn about Pope Francis and also grow in their understanding of the themes of the most recent World Youth Day.


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TV Week starts Logie weekend with Stars in the Park on Gold Coast
• There will also be a Live Voting Zone
TV Week will begin its Logies weekend on the Gold Coast with a free TV Week Logies Stars In the Park event to be held on Friday, June 28, from 4pm to 6pm at Kurrawa Park, Broadbeach.
There will be live musical performances from stars such as ARIA Award-winning singer Conrad Sewell.
There will also be a Live Voting Zone, where fans will be able to vote for their favourite stars and shows across all the Most Popular award nominees before voting closes on Sunday, June 30, and have their photo taken on a red carpet and with a real-life Gold Logie.
2019 TV Week Logie Awards stars Costa Georgiadis, Jules and Cam, Shelley Craft, Eve Morey, Ryan Moloney, Bonnie Anderson, Bernard Curry, Robbie Magasiva and Fox League stars will be in attendance to meet fans and sign autographs.
Fans will also have the chance to sit in The Voice Australia big red chair, have their photo taken in a Wentworth prison cell, share the love with ABC TV, enjoy a City of Gold Coast Creative Gold performance, and meet 90.9 Sea FM's breakfast hosts Ben & Dan, who will be broadcasting live from the event.
TV Week editor Thomas Woodgate said, "This is the perfect warm-up event for this year's TV Week Logie Awards. Fans will get a chance to get up close to some of their favourite TV stars, take a selfie with a Logie and have a great deal of fun at the same time. Plus, fans have the chance to win exclusive VIP passes to the red carpet as well! I'm genuinely excited, as it's the first time we've hosted a pre-event such as this. It promises to be a lot of fun and I look forward to seeing everyone there!"
Related Items:Logies, TV Week
Mercado on TV: Stephen Peacocke, Squinters, Wayne Blair & Robbie Hood
Mercado on The TV Week Logies: Sunday night's highs and lows
Staff Australia-wide celebrated at annual Nova Entertainment Awards
News Corp Australia appoints Ainslee O'Brien to lead NewsCast


The new Audi TT RS is the fastest TT ever made, with a claimed zero-to-sixty time of 3.5 seconds. It's powered by a turbocharged 5-cylinder engine and sounds a lot like the Audi Quattro rally car. You probably are interested in buying one, or at least getting behind-the-wheel of one.
Going through the online configurator, you're presented with a unique option. Do you get the fixed rear wing, or do you opt for the no-cost wing delete and get the power rear spoiler instead?
So if it was your money, would you keep the wing on the pedestal or ditch it for a cleaner look?


The County Clerk's Office oversees all records for births, deaths, marriages, assumed names, Circuit Court records, election information, notaries and concealed pistol license. In addition they take care of the County's payroll and accounts payable.
Both offices are open from 8 a.m. until 4:30 p.m., and close for lunch between Noon and 1 p.m.


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Pretty Palms and Cycads for your Containers
Palm Trees, Exotic Gardens, Mediterranean Gardens, Tropical Gardens, Water-wise Gardens
Palms and cycads make striking container plants for decks, patios, porches and around pools, adding an exotic and tropical touch to our outdoor living areas. The palm family is quite fascinating with about 2,500 species coming from many different climate zones, tropical, subtropical or temperate. While most palm trees thrive in the landscape, there are also quite a few species that are suitable to container gardening.
Generally speaking, if you want to grow a palm in a container, select species that are either slow-growing or low-growing which should be able to remain in the same container for 2-4 years. After that time, transplant them into a larger container. Make sure the species selected is also drought tolerant so that it can adapt to the limited moisture in a container.
Use a well-draining soil rich in organic material
When you remove the container from the root ball of your newly purchased palm, make sure you handle with care the root ball. Some palms suffer from having their roots cuts or bent and could undergo severe shock.
Palms are very intolerant of being planted too deep, regardless of age or size. Plant the palm so that the base of the stem (where the roots emerge) is about 1/2 in. (1 cm) below the soil level.
Fill in air pockets and compact the backfill around the root ball. Water the root zone thoroughly.
Irrigation frequency varies considerably depending on the species grown, the prevailing temperatures, the type of growing substrate, and the size of the container. A reasonable rule-of-thumb is to make sure that the substrate remains evenly moist but never saturated.
2-4 weeks after planting, apply a palm fertilizer. Fertilize again one month later or as instructed on the product label. When your palm is established, fertilize 4 times a year.
Bismarckia nobilis (Bismarck Palm)
Grown for its striking foliage color and texture, Bismarckia nobilis (Bismarck Palm) is an evergreen palm adorned with a thick trunk topped by a broad rounded head of gorgeous, stiff, intensely steel-blue, fan-shaped fronds, 4 ft. long and wide (120 cm). The persistent leaf bases are split, creating an attractive pattern on the trunk. Easy to care for, Bismarck Palm can regrow from rare freezes to 25°F (-4°C).
Brahea armata (Mexican Blue Palm)
Grown for its striking foliage color, Brahea armata (Mexican Blue Palm) is an erect palm adorned with a thick solitary trunk covered by fibrous leaf bases and topped by a crown of gorgeous, blue-green, fan-shaped fronds. Extremely resistant to sun and drought but also to strong winds, it is quite cold-hardy and can survive short periods at 18ºF (-8ºC). A strong and dramatic statement in the landscape.
Brahea edulis (Guadalupe Palm)
Brahea edulis (Guadalupe Palm) is a small to medium sized palm adorned with a thick solitary trunk and a low canopy of bluish-green, fan-shaped fronds. It is a relatively slow grower, adding 12 in. (30 cm) per year. Resistant to wind, salt, drought and heat, it can survive short periods at 20ºF (-7ºC). Guadalupe Palm makes a strong and dramatic statement in the landscape.
Butia capitata (Jelly Palm)
Slow-growing, Butia capitata (Jelly Palm) is a handsome small evergreen palm with a stout solitary trunk crowned with blue-green to gray-green leaves that curve in towards the trunk. The pinnately compound leaves form a dense, full crown and arch gracefully creating a slightly weeping effect. Easy to grow, Jelly Palm is salt, heat, drought tolerant and among the hardiest feather palms, withstanding temperatures down to 14ºF (-10ºC).
Chamaerops humilis (European Fan Palm)
Among the hardiest palms, Chamaerops humilis (European Fan Palm) is a bushy evergreen palm forming a medium-sized rounded shrub or a small tree. It can be stemless or multi-trunked (with up to 8 trunks). It is crowned by large, fine-textured, blue green to silver green, fan-shaped leaves. Heat, salt, strong winds and drought tolerant, it can withstand temperatures down to 10ºF (-12ºC).
Cycas revoluta (Sago Palm)
Very slow-growing and long-lived, award-winning Cycas revoluta (Sago Palm) is a palm-like evergreen perennial with a very attractive rosette of shiny, arching, pinnate leaves, up to 2-5 ft. long (60-150 cm), atop a rugged upright trunk. Resistant to salt and drought, it can survive short periods at 15ºF (-9ºC). Popular as an ornamental plant throughout the world, it makes an eye-catching specimen and looks superb in a container.
Cyrtostachys renda (Lipstick Palm)
Cherished for its incredible color, Cyrtostachys renda (Lipstick Palm) is a slow-growing tropical palm with a thin, bright green trunk adorned with white rings, and a long and glossy, crimson crownshaft (from which the fronds emerge), resembling a tube of lipstick. It is extremely cold sensitive and any temperature drop below 50ºF (10ºC) can be fatal. It is an exquisite plant for containers or as an indoor plant.
Dioon edule (Chestnut Dioon)
Slow-growing, Dioon edule (Chestnut Dioon) is an elegant, palm-like, evergreen cycad with an open rosette of large, stiff and straight, blue-green, pinnate leaves, up to 3-6 ft. long (90-180 cm). Borne atop a short stocky trunk, the leaves are divided into up to 120-160 spine-tipped, narrow leaflets. Drought and salt tolerant, Dioon edule is also one of the most cold hardy cycads. It can survive temperatures down to 22ºF (-5ºC).
Dypsis decaryi (Triangle Palm)
Exceptionally handsome, Dypsis decaryi (Triangle Palm) is a small to medium sized palm adorned with a solitary trunk topped with a three-ranked crown of gray-green to blue-green, keeled, feather leaves. Resistant to drought, heat and windy conditions, Triangle Palm can sustain foliage damage in light frost and can tolerate rare dips to 30ºF (-1ºC).
Hyophorbe lagenicaulis (Bottle Palm)
Hyophorbe lagenicaulis (Bottle Palm) is a picturesque evergreen palm with a smooth, pale gray to almost white trunk resembling a rounded bottle when young. As the palm ages, the swollen base becomes less pronounced and elongated. On top of the trunk sits a sparse canopy of 4-8 gracefully arching, glossy dark green, feather-like leaves. A moderate grower, Bottle Palm is drought and salt tolerant. It is hardy to 32°F (0°C).
Latania loddigesii (Blue Latan Palm)
Exceptionally beautiful, Latania loddigesii (Blue Latan Palm) is an evergreen palm adorned with a pale gray trunk topped by a gorgeous canopy of very thick, stiff, silvery-blue, fan-shaped leaves with red margins, 8 ft. wide (240 cm). Slow-growing, Blue Latan Palm is a very tough and adaptable palm that enjoys heat, sun and dry conditions. It loathes temperatures below 32°F (0°C). It makes a strong and dramatic statement in any landscape.
Livistona chinensis (Chinese Fan Palm)
A beautiful species with its soft, cascading appearance, Livistona chinensis (Chinese Fan Palm) is a medium-sized evergreen palm with a slender trunk adorned with up to 50 large, coarse-textured, emerald-green, palmate leaves, up to 3-6 ft. across (90-180 cm). Fairly slow-growing and exotic-looking, Livistona chinensis tolerates dry periods and enjoys fair salt tolerance. Cold-hardy, it can withstand temperatures down to 15-20°F (-9 to -12°C).
Phoenix canariensis (Canary Island Date Palm)
Slow-growing, Phoenix canariensis (Canary Island Date Palm) is a majestic evergreen palm tree with a stout trunk topped with a rich green, rounded crown with up to 100 gracefully arching featherlike fronds. Easy to grow, Canary Island Date Palm is drought and salt tolerant. It also tolerates significant winter cold but may suffer frond damage when temperatures dip to 18°F (-8°C).
Phoenix roebelenii (Pygmy Date Palm)
A widely cultivated species, Phoenix roebelenii (Pygmy Date Palm) is a dwarf evergreen palm tree with a slender trunk topped with a dense crown of fine-textured, lustrous green, gracefully arching fronds. Gray-brown, the trunk is embossed with diamond-shaped leaf bases. Easy to grow, Pygmy Date Palm is hardy to 26°F (-3°C). Popular as a container plant in northern gardens and conservatories.
Rhapis excelsa (Lady Palm)
Reminiscent of bamboos, Rhapis excelsa (Lady Palm) is a small evergreen palm with upright, slender, bamboo-like canes bearing delicate, glossy, dark green, fan-shaped leaves. The sturdy canes are covered with brown fibers which fall as the plant ages, revealing the bamboo-like trunks. Slow-growing and ridiculously easy to grow, Lady Palm can withstand temperatures down to 18ºF (-7ºC).
Sabal minor (Dwarf Palmetto)
One of the hardiest palms, Sabal minor (Dwarf Palmetto) is a small evergreen palm, usually trunkless but sometimes with a short trunk. At the tips of long smooth unarmed petioles are 4-10 huge, fan-shaped leaves that can reach 3 ft. in diameter (90 cm). Salt and drought tolerant, Dwarf Palmetto is also hardy to 10°F (-12°C) with no leaf damage.
Syagrus romanzoffiana (Queen Palm)
A very aristocratic-looking species, Syagrus romanzoffiana (Queen Palm) is an elegant evergreen palm with an exceptionally straight, slender trunk and a high canopy of gracefully arching, feather-like fronds that can reach 8-15 ft. in length (2-5 m). Slow-growing and long-lived (50-150 years), Queen Palm is hardy to 25°F (-4°C), but the leaves may be severely damaged.
Trachycarpus fortunei (Chinese Windmill Palm)
Trachycarpus fortunei (Chinese Windmill Palm) is an evergreen palm forming a small tree with a terminal tuft of deeply divided, fan-shaped, dark green leaves, up to 3 ft. wide (1 m). They rise atop a stout trunk that is densely covered with hairy black fibers from old leaf sheaths. Wind, drought, and salt tolerant, Trachycarpus fortunei is quite cold-hardy and can survive short periods at 5ºF (-15ºC).
Guide Information
Palms - Cycads
Showy, Evergreen
Patio and Containers
Mediterranean Garden
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16 Artists Who Made Sure Black Lives Mattered at Art Basel Miami Beach
Julie Walker
Floater #2, 2016, by Derrick Adams
Courtesy of Rhona Hoffman Gallery
The beauty of art is that it starts with one person's dreams and ideas, which are then realized in a painting, sculpture or other art medium. From there it lives on forever, hopefully for all the world to see. That's one reason it's so important that the artwork of black artists, who often document the good and bad of our lives, flourish in this new, emerging worldview.
From police violence to black love, from the Black Panthers to the Jackson Five, it's all reflected in this selection of artwork from the largest and most important art fair in America, Art Basel Miami Beach, as well as some of the many satellite fairs and shows, which took place in Miami from Dec. 1-4.
Although some big-name celebrities made appearances, it's the artists who are always the real standouts. Kehinde Wiley presided over his annual fish fry, where a prompt Lauryn Hill performed; Jacolby Satterwhite was feted by Artsy and Faena; and the New York-based street artist Bradley Theodore was celebrated by the Ivy. Additionally, this year the Art of Black Miami expanded its programming to include even more artists of African descent.
1. Tomashi Jackson
Dajerria All Alone (Bolling v Sharpe (District of Columbia)) (McKinney Pool Party), 2016, by Tomashi Jackson; mixed media on cotton and canvas
Courtesy of Tilton Gallery
Tomashi Jackson is part of Simone Leigh's Black Women Artists for Black Lives Matter. Jackson is involved in a lot of political and street activism. For this work, Dajerria All Alone, she studied Josef Albers' writings from the 1960s and drew comparisons to the civil rights movement. The color is albers, while the images are from police-brutality cases and landmark court decisions from the civil rights movement. The Supreme Court case Bolling v. Sharpe dealt with segregation in Washington, D.C.'s public schools. "McKinney Pool Party" references the 2015 incident at the Texas pool party where a police officer restrained a black teenage girl in a bikini on the ground.
2. Yashua Klos
Red Like Lightning, 2016, by Yashua Klos; collage with ink and woodblock prints on archival paper
Yashua Klos' artwork is very personal to him. It is based on racial identity and his experience as a black man. Klos, who grew up on the South Side of Chicago, likes to pull imagery from his surroundings, which include the bricks from buildings and streets. In his artwork, violence, police and the black male intersect to form a tableau.
11. Derrick Adams
Derrick Adams gives us a different look at the black body with his Floater series of acrylic paint and collage on paper. The work depicts the black body at pleasure, which we don't always see reflected in mass media. The artist points to the political statements that African Americans make when they take a break, such as President Barack Obama playing golf.
12. Kerry James Marshall
Untitled (Curtain Girl), 2016, by Kerry James Marshall; acrylic on PVC panel, 30 by 24 inches
Courtesy of the artist and Jack Shainman Gallery, New York
Kerry James Marshall's newest work, Untitled (curtain girl), sold for $600,000 at Art Basel Miami Beach, according to the Financial Times. The painting shows a young woman parting a star-spangled beaded curtain. Marshall has been enjoying a celebratory year, with a solo show at New York City's Met Breuer. Marshall's work reflects a life shaped by growing up during the civil rights movement. He is known for using African-American life and history as a subject matter.
13. William Villalongo
Seed, by William Villalongo; acrylic paper collage and cut velour paper, 78 by 40 inches (two sheets, 39 by 40 inches each)
Courtesy of Susan Inglett Gallery
William Villalongo sold out of his cut-paper artwork the first day of the Untitled Art Fair. His acrylic paper collage and cut velour work depicts the black man's place in society, often pushed onto fringes or hidden away. Villalongo's work can be found in the permanent collection of the Whitney Museum, and the artist did a residency at the Studio Museum in Harlem. He also curated the Black Pulp Show, about the ownership of the black image.
14. Nina Chanel Abney
Pool Party at Rockingham #2, 2016, by Nina Chanel Abney; acrylic and spray paint on canvas, 84 by 60 inches
Nina Chanel Abney made her debut at Art Basel Miami with two large-scale, politically charged compositions in acrylic and spray paint on canvas. Both represent her take on the 2015 McKinney, Texas, pool-party incident, where a white police officer pinned a black teenage girl wearing a bikini to the ground. According to Blouin Art Info, Pool Party at Rockingham #1 and Pool Party at Rockingham #2 sold for $45,000 apiece.
15. Aaron Fowler
Granny $, 2016, by Aaron Fowler; mixed media, 72 by 25 by 6 inches
Courtesy of Diane Rosenstein Gallery
Aaron Fowler's assemblage artworks are made from found materials, including objects like church chairs, hair weaves and CDs. Granny $ shows his grandmother on a $1,000 bill. Fowler believes that his family is the real currency, not just in his life but in the world. The work also represents his American story: born to a 14-year-old mother in St. Louis, where he has deep roots.
16. Wesley Clark
My Big Black America, 2015, by Wesley Clark; stain, spray paint, latex, salvaged wood, 16 feet by 10 feet by 14 inches
Courtesy of Wesley Clark/Prizm Art Fair
Wesley Clark is from Washington, D.C., and is part of the artist collective Delusions of Grandeur. This piece represents the United States as seen from the perspective of black America and is aptly titled My Big Black America. Clark works with reclaimed wood, and this piece is made with vestiges of African-American life: a rocking chair, bed posts and tree limbs. It's also a metaphor for the contributions of African Americans to the building of the United States.
3. Glenn Ligon
Untitled, 2016, by Glenn Ligon, Suite of 17 screenprints, 36 x 26 inches
Courtesy Regen Projects, Los Angeles
Glenn Ligon's new work is something the artist has actually been working on for the past two-and-a-half decades. The collection of 17 screen prints is from James Baldwin's 1953 essay "Stranger in the Village." Ligon scanned the first page, then superimposed each page after that onto the next one so that when you get to the last of the 17 screen prints, it's completely abstracted. Ligon was also one of the featured speakers during Art Basel Miami Beach.
4. Ruby Onyinyechi Amanze
there is abundance, 2016, by Ruby Onyinyechi Amanze; ink, graphite, photo transfers, colored pencils
Courtesy of Goodman Gallery
Ruby Onyinyechi Amanze was born in Nigeria, grew up in the United Kingdom, and now lives and works in New York City. Much of her work is centered on drawing and works on paper and is semiautobiographical. This artwork, there is abundance, like others of Amanze's work, represents elements of black love. At the same time, it has a futuristic existence, like a dreamscape. It's a subject matter we need to see more of because, yes, we love, too.
5. Jimmy Jenkins Jr.
Lego Vuitton Don, by Jimmy Jenkins Jr.
Artist Jimmy Jenkins Jr. used more than 10,000 individual Lego pieces to build his one-of-a-kind Louis Vuitton luggage set. It took over a year to both accumulate the individual Lego pieces and construct the set. Jenkins says that as a child he loved Lego. The classically trained artist paints, sculpts and teaches art. The Lego LV luggage is part of a series based on an exploration of value, and at $20,000, it rivals the real thing. Jenkins was one of several finalists at the Russell Simmons and Danny Simmons Bombay Sapphire Artisan Series Finale.
6. Kenyatta A.C. Hinkle
The Evanesced, by Kenyatta A.C. Hinkle
Julie Walker/The Root
Kenyatta A.C. Hinkle's work was on view at the Art Miami Fair at Jenkins Johnson Gallery, a black-owned gallery in San Francisco. The 29-year-old artist knows what she wants to talk about, and that's the black female body as geography. She looks at the perceptions and myths that follow the black female body around the world. Her series The Evanesced, which was done during a residency with artist Sanford Biggers, will be on view at the California African American Museum in Los Angeles in February.
7. Chris Ofili
Annunciation, 2006, by Chris Ofili; bronze, 79 by 84 by 47 inches
Courtesy of David Zwirner, New York/London
Although Chris Ofili is well-known as a painter, Annunciation is one of the artist's rare sculptures, yet it still captures elements of his paintings. The supernatural man has an Afro and a pointed beard. The work is based on the biblical Annunciation. The larger-than-life-size work is done completely in bronze but with two different surface finishes, which differentiates the two bodies that make up the intertwined couple. One of Ofili's most influential works is The Holy Virgin Mary, which incorporates resin-covered lumps of elephant dung. That painting was at the center of a controversy in 1999 between then-New York Mayor Rudy Giuliani and the Brooklyn Museum of Art.
8. Romare Bearden
Jazz (Chicago) Grand Terrace, 1964, by Romare Bearden; gelatin silver print (photostat) mounted on fiberboard, 34 7/8 by 47 inches
Courtesy of DC Moore Gallery
Some of Romare Bearden's rarely seen works from before 2000 were for sale at the DC Moore Gallery during Art Basel Miami Beach. Bearden was instrumental in creating a new way of doing political art with these collages, which are as relevant today as they were in the 1960s, when he created them. Bearden is considered one of the granddaddys of black artists because of how many he influenced.
9. Sanford Biggers
Witness, 2016, by Sanford Biggers; sequins, canvas, fabric, tar, polystyrene, Aqua-Resin
Courtesy of Marianne Boesky Gallery
Sanford Biggers' Witness loomed large over Art Basel Miami Beach because of both the size and what it represents. The piece references the Black Panthers, the Jackson Five and African carvings. The small figures on the ground are hand-carved. The artist starts with polystyrene, which is a form of plastic, then dips it in tar and add sequins. The Art Newspaper reports that the piece was sold to a U.S. museum for $55,000.
10. Danny Simmons
Can I Get Witness, 2016, by Danny Simmons; oil, pigment, fabric, inkjet print and charcoal on paper, 22 by 30 inches
Danny Simmons showed several of his new works at Macaya Gallery during Miami Art Week. The series, including Can I Get Witness, explores the way modern art reflects traditional African art. Simmons uses African fabric, such as kente cloth, in his assemblage works of oil, pigment and charcoal on paper. The textile patterns weave from one abstraction to another, showing the fluidity between Africa and modern art.


A bone marrow donor has been found for Dakota Kwiecinski, a 2-year-old Navajo boy with a rare and serious blood disease.
A stem cell match was found in a preserved umbilical cord. The cells will be transferred to Dakota's body.
Dakota's family has been campaigning to register more Native Americans and mixed-Natives on the National Bone Marrow Registry. A blood drive will be held this weekend at the Totah Festival and a fundraiser will be held Saturday at San Juan College's Henderson Fine Arts Center.


Chargify Direct usually requires a more technically experienced merchant, and sometimes requires our technical specialist support during implementation. Access to our technical specialist support is available with our premium Chargify plans.
You're welcome to use Chargify Direct on any plan level with Chargify. However, please note that if you need assistance, we will ask up-front that you be on a plan that includes advanced technical support.
Please note that Chargify Direct currently doesn't support creating manual invoice-based subscribers.
Chargify Direct allows you to create Chargify resources (such as subscriptions) via a form on your own website that posts directly to Chargify. After Chargify receives the form submission, the user is redirected back to your own site. The redirection communicates the result of the submission so that your website can decide how to respond to the user. This flow is sometimes called "transparent redirect" within the industry.
Please be aware that using Chargify Direct is radically different than an implementation of Chargify's API. We refer to Chargify's main API as V1 in this documentation. Chargify Direct is referred to as V2 occasionally here as well.
Chargify's API (V1) uses a separate endpoint that is constructed using your site's subdomain.
Chargify Direct uses the endpoint https://api.chargify.com/api/v2/.. as the basis for all calls made.
The methods and endpoints and examples are not interchangeable. Please be aware what space you are working in before proceeding.
You craft a form on your own website that posts to one of the Chargify Direct resource endpoints at Chargify. This form must contain the proper secure parameters and should also have parameters for the resource being created. Optionally, you may add parameters that will be reflected back to you in the mirror parameters.
data Optional A string in URL query-string format that may be used to transmit tamper-proof data to Chargify through the form (see Secure data). Note that you will want to escape any HTML characters in this string before embedding it in your form.
Adding a timestamp to your request can help to guard against replay attacks and duplicate submissions but also has the potential to diminish the experience of valid users. If you do not send a timestamp with your requests, Chargify will not perform any rejections based on timestamp age or timestamp-nonce pair duplicates.
If you submit a timestamp with your request, it will be included in the response parameters and available when you fetch the call. If you do not submit a timestamp, one will be generated automatically.
At this point in development, Chargify is not rejecting any submissions based on the age of the timestamp. Only duplicate timestamps will be rejected. The specifics of this mechanism will be published in the future.
Adding a nonce to your request helps to guard against replay attacks and duplicate submissions.
Values for your nonce must be 40 characters or less.
If you do not send a nonce with your signup request, Chargify will generate one, but will not perform any rejections based on timestamp-nonce pair duplicates.
The nonce is required for the card_update endpoint.
The nonce will be reflected back to you in the response parameters.
The data parameter in the secure inputs gives you a chance to provide tamper-proof attributes along with your form submission. Usually, you will place parameters for the resource being created that you don't want the user to be able to change. For example, you could include the product handle for a signup so that the form would only work for creating a subscription to the specified product. If the same parameter is sent in the normal resource parameters, that parameter will be overridden by the one in the secure data.
Unless you have registered a default redirection URI for the endpoint you are accessing, one of the parameters in your secure data must be for redirect_uri.
As long as the submission passes signature validation, the value of pro would be used, not basic, for the signup[product][handle] parameter.
The signature is the hexadecimal representation of a computed Hash-based Message Authentication Code, using SHA-1 as the cryptographic function (HMAC-SHA1). The secret for the function is the API shared secret (api_secret) issued to the API user by Chargify. The message for the function is the concatenation of the api_id, timestamp, nonce, and data parameters in this order . Any optional parameter that is not given is converted to an empty string.
In order to tell Chargify where to redirect after attempting to create the resource, you should specify a value for redirect_uri within your secure data. This value is not read from normal parameters so, if included, it must be within your secure data paramters.
Your form may post any data (formatted like the secure data) to the mirror parameter. This data will be reflected back to you, unaltered, as a part of the response parameters.
Please keep the amount of data passed in this parameter to a minimum. Since it is recommended that query strings have fewer than 255 characters, and the redirection to your app will use a query string to pass result parameters, adding a lengthy mirror parameter could cause compatibility problems for your web server.
Creating a signup creates a subscription, and may create or reference an existing customer and payment profile.
Updating a subscription's payment profile with new information.
See API: Card Update for more details.
Your form should contain parameters for the resource you are creating, unless they are all placed inside of the secure data (unlikely).
See Chargify Direct Signups for a full listing of input parameters.
status_code An HTTP status code that represents the status of the request. The same codes used for API resource creation are used.
call_id The ID for the stored representation of the original call (form post). The call may be fetched via the API for full response information (for both success and fail scenarios).
The signature of the response is the hexadecimal representation of a computed "Hash-based Message Authentication Code", using SHA-1 as the cryptographic function (HMAC-SHA1). The secret for the function is the API shared secret (api_secret) issued to the API user by Chargify. The message for the function is the concatenation of the api_id, timestamp, nonce, status_code, result_code, and call_id parameters.
A POST to a Chargify Direct endpoint is the same as making an API call. This call is logged and made available as a call resource in our API. This resource makes available the original request parameters, the response values, and the results.
When using Chargify Direct, the response parameters will include a call_id pointing to the call that was created as a result of your form post. You may fetch this call from https://api.chargify.com/api/v2/calls/<call_id> using your Chargify Direct (API V2) credentials.
See API: Call for a full listing of output fields.
Your form post is authenticated via the secure parameters included with your form submission.
Chargify Direct supports HTTP Basic Authentication.
HTTP Basic Authentication (on wikipedia) is available using your api_id and api_password. It works the same as described in the article on API V1 authentication, only the credentials are different.


Rethinking urban mobility and creating alternatives to the conventional use of cars so that Munich's growing population can use streets and parking lots in a different, more beneficial way. The Green City Projekt e. V. attempts to implement these ideas within Munich since 1990 – with substantial success. Over several months Founders Reserve Media produced an image film for Munich's largest environmental protection organization, presenting the various sections of Green City's work. The film also provides a quick glance over the most important events of the organization and into its basic philosophy.


Hi guys, Coo seems to be on the up again!
His temperature is down and while he's still sleepy, he's been more alert and awake today! woo hoo!
I guess we've weathered another storm - well for now anyway!
While he's been poorly, I've been keeping busy.
This time, I've come over all Nigella Lawson and took to the kitchen!
Recipes for all number of weird and wonderful goodies have been tried out! The latest being the lovely Rocky Road bars and very nice they were too!
I'm glad Coo's feeling better.
He's had a right old struggle this month so hopefully we're over the worse of it for a wee bit and things stay a bit more settled!
I hope you're doing ok and having a settled time where you are too!


text:
Hinault and LeMond Ride Together Up Alpe d'Huez!
Greg LeMond's first day in the yellow jersey was not an easy one. Stage 18 almost immediately ascended the Col du Lautaret then the Col du Galibier en route to a summit finish on Alpe d'Huez.
The famous Alpe is cycling's "Fenway Park, its Wimbledon, its stadium of reference . . . [its] modern temple," according to the French writer Jean-Paul Vespini in his book The Tour Is Won on the Alpe. But Hinault would not wait for the Alpe to commence his attacks.
Hinault featured prominently all the way up the Galibier, trying a few tentative jabs with brief accelerations, testing the others' legs. LeMond paid close attention to him, never allowing Hinault to stray too far. Urs Zimmermann, the #2 rider on GC between LeMond and Hinault, spent much of the climb marking LeMond. Zimmermann, it appeared, was glued to LeMond's wheel.
"Hinault started attacking on the Galibier," said LeMond. "He was saying, 'We've got to secure second place.' At one point on the climb, he got away, but I went after him myself. Then he attacks on the descent, and people counterattack, and he keeps going, while Zimmermann's just staying on my wheel. All of a sudden there are three guys together [Hinault, Bauer, and Cabestany]. I stopped pedaling to see what Zimmermann would do, if he would jump after them. But he stayed behind me. I thought, Holy shit. I was given strict instructions not to work with Zimmermann, so I was stuck."
Again Hinault seized the initiative to take advantage of LeMond's position. With Hinault up the road, LeMond was in a bind. Hinault was again in a position to win the Tour.
LeMond dropped back a few yards to the team car for a brief discussion with team director Paul Kochli. On French television, it seemed that he asked a question.
La Vie Claire team director Paul Kochli consults with a rider
A minute later he attacked Zimmerman, dropping him after an inspired descent. With the Swiss left behind, LeMond nailed it, eventually making contact with Hinault's group.
With LeMond caught back on, La Vie Claire teammate Steve Bauer drove the break through the valley to the Croix de Fer like a time trial, building a 3-minute lead on Zimmerman for his team captains.
Hinault absolutely bombed down the backside of the Croix de Fer. Félix Lévitan, the Tour's director, in the car behind the leading pair, could not believe what he saw. "In all my years on the Tour de France, I have never seen such a descent," Lévitan says on race radio. "No word describes this. . . . Hinault is doing 90 kilometers per hour, and LeMond is with him." But there was another shock in store for Lévitan: Midway down, Hinault slowed marginally, sat up, pulled at his shorts, and leaned over to the side of the road for a high-speed nature break.
At the end of the descent, their advantage on Zimmerman had grown to nearly 5 minutes. The Alpe loomed ahead.
Hinault said the crowds were massive on the Alpe d'Huez and they were chanting his name. "I told Greg to stay behind me, that it will be OK, that I know how to deal with the crowd."
For hairpin after hairpin, the order remained the same: Hinault led, LeMond followed as they proceeded through banks of braying fans.
They proceeded up the mountain at a steady pace, taking 48 minutes from bottom to top. French TV was beside itself, believing it was witnessing the most extraordinary reconciliation between rivals.
LeMond and Hinault ascend Alpe d'Huez
Yet a scriptwriter couldn't have come up with a more fitting, or more moving, denouement. Hinault, fulfilling the promise he made to LeMond, performing the role he said he'd perform as though he has finally come to terms with it. His shepherding of LeMond up the mountain was almost paternal. It seems to signify that the old warrior, in what he says will be his final Tour, having given his all, has conceded defeat.
There is a nobility, even heroism, to what Hinault appeared to be do today, particularly given the implied threat to LeMond from the roadside fans, virtually all Hinault supporters.
The fans spilled in unruly fashion onto the road, and Hinault cleaved through them, clearing the way for LeMond, who followed in the protective cocoon between his teammate's rear wheel and the TV motorbike that followed just behind him. They rode in silence. Even LeMond looked relaxed. "They look as though they're out on a club run," said tv commentator Phil Liggett as they entered the ski resort at the summit.
At the plateau, LeMond put in the smallest of accelerations to emerge, for the first time since the valley, from Hinault's shadow. He pulled alongside his teammate, reached out to touch his shoulder blade, and then put his arm around Hinault's shoulder. They both smiled. They exchanged a few words, chatting as though they are indeed out for a leisurely ride.
What did Greg say to Hinault? We may never know.
In a post-stage interview at the summit, Hinault said, "I thought Greg learned a lot again today. "I only hope the strongest man wins this Tour."
"You are going to fight one another?" asks a surprised Chancel, who, like everyone else, believed the hand-in-hand finish signaled a truce.
"The Tour is not finished," Hinault replies.
Join us tomorrow for Stage 19, a hilly stage from Villard-de-Lans to Saint-Étienne.
Phil Liggett offers commentary on this video recap of today's stage.


text:
How many people are sexually assaulted in U.S. hospitals? No one knows.
Many more patients reported hospital sexual abuse in the United Kingdom in the last three years. Police data counted 1,600 attacks recorded: a 50% increase, and an alarming number.
Do you want to know how that compares to sexual abuses in U.S. hospitals?
Too bad—somehow, no one has counted the number of rapes and assaults in U.S. hospitals.
Unfortunately, that's not because sexual abuse isn't happening in medical facilities across the U.S.
Just recently…
A contract nurse was transferred from hospital to hospital, trailed by accusations of molestation and sexual abuse. The contractor didn't fire him until he was finally caught and arrested.
A California nursing assistant has been accused of sexually assaulting brain injury patients. One of them reported an attack to hospital staff and was called "delusional"…even though a different patient had made a similar complaint the year before.
A hospital employee has confessed to sexually assaulting unconscious or semi-conscious patients. Police say there may be nearly 100 victims.
There are hundreds of isolated stories about rape and sexual abuse in medical facilities.
But we don't know how often sexual assault occurs in hospitals, or how often it is reported. We don't know who the perpetrators are, or what the repercussions are for victims.
Here are some disturbing commonalities in many of these cases.
1. Victims are in a vulnerable state.
Abuse and assault by people in positions of power is not an anomaly. Sexual abusers and rapists often seek victims who are vulnerable. That's why hospitals and nursing homes must be vigilant in monitoring and reporting: patients can be ill, heavily medicated, confined.
2. Victims are often assumed to be lying or delusional.
Sadly, this is often true for victims of sexual violence. But medical facilities have a duty to patient safety: therefore, you err on the side of the accused, rather than the accuser. Since there are seemingly no statistics about rape and assault in hospitals, there also is no evidence of false accusations.
3. There are people on staff who know or suspect the abuser.
The medical profession has a reputation for a "code of silence". Patients are often harmed by undocumented medical errors. Nurses cover for dangerous doctors. Administrators go to great lengths to protect hospital staff instead of protecting patients. All of this may contribute to covering up of sexual abuse occurring in hospitals, nursing homes and other medical facilities.
We can't reduce and prevent sexual violence by ignoring it.
Read a real victim's story of hospital sexual abuse here
If you know of statistics on sexual abuse in U.S. hospitals, please share with us @damorelaw
Jury gives justice to sex abuse victim – while hospital pretends it never happened Dermatologist who sexually molested patients is still practicing in New Jersey


Attached Resource Computer Network (ARCNET)is a low-cost, token-passing LAN system, developed by Datapoint Corporation in the 1970s.
Negative Acknowledgment. An ARCNET message indicating that the destination node does not have a free buffer—sent in response to an FBE.
Points in a network where service is provided, service is used, or communication—interpreting of the information sent and received. Each node has a unique address. Sometimes called a station.


text:
8 Ways To Kiss And Make Up
Essential steps to get you past your anger—and into a happier, healthier life
By Joan Borysenko, PhD
I was about 10 when my mother had a fight with her best friend, Selma. Summer days at the Smiths' pool suddenly were a thing of the past; so were the festive Wednesday night poker games at our house. Any mention of the woman I'd thought of as an aunt—indeed, Selma's very name—was enough to make my mother livid. They didn't reconcile for more than a decade. The grievance that split them apart? An argument over who would pay for a bag of groceries.
Buddha would say that my mother's resentment was like a hot coal: She picked it up to throw it at someone else, but she was the one who got burned. Frederic Luskin, PhD, and Carl Thoresen, PhD, who run the Stanford Forgiveness Project at Stanford University, have shown that a grudge is a gift that keeps on giving—misery, that is.
It causes anxiety, depression, anger, paranoia, isolation, insomnia, and physical pain. But by forgiving your transgressor, you take back control of your life, and that brings just as outsized a list of benefits. There are physical payoffs, like lower blood pressure; maybe more important, you feel less anger, anxiety, and depression, and more self-esteem.
One of the most moving of Luskin's studies was the Stanford-Northern Ireland Hope Project, in which 17 men and women from Northern Ireland, all with family members murdered in the violence there, went to Stanford for forgiveness training. After just a week, these men and women who'd lost parents, children, spouses, and siblings reported a 35% decline in headaches, stomachaches, and other symptoms of stress, and a 20% drop in symptoms of depression.
Most people think forgiveness is a good idea, Luskin says—"until they have something to forgive." That may be because so many of us just don't know where to start. Fortunately, the path has been well marked, and one of the best decisions you can make this New Year is to learn how to follow it. Here are five steps to start you on your way.
1. Understand what forgiveness is—and what it isn't.
A lot of people don't want to forgive because they think it's wimpy, or that it means they're saying the offender did nothing wrong. It's neither: You can send an offender to jail and forgive him. People also think forgiveness requires reconciling with the person who mistreated them.
It can—but it doesn't have to. Forgiveness isn't really about the offender at all. Instead, it's about letting go of the anger that eats at you—accepting that you were wronged but deciding to move on from your hurt. It's an act of profound self-respect and self-care that takes courage and commitment on your part.
2. Grieve for what you've lost.
Premature forgiveness has been compared with squirting whipped cream over garbage. The result may look good, but the underlying problem remains and will fester. To truly forgive, you must feel your sorrow, and that can take time. Even after you've decided to let go of your anger, you may feel it flare from time to time.
You need to be gentle with yourself, counsels educator Robin Casarjian, founder of the Lionheart Foundation, a national prison rehabilitation program. In time, the memory of what happened will return less often and feel less painful.
3. Don't wait for an apology.
Sometimes the person who hurt you isn't even aware that he's done so. In other cases, he's incapable of understanding or caring. The simple words I'm sorry can be healing, but so is deciding that you no longer need to hear them.
4. Try to understand what drove the offender.
Generally speaking, bad behavior is the result of emotional immaturity, a state more to be pitied than judged. For example, studies show that many of the criminals in our federal prisons were abused as children. If your ex-friend betrayed a confidence, what insecurity must have driven her? If your father never showed you love and affection, how damaged must he be? Empathy can force out corrosive anger and transform your life—and sometimes the lives of others.
Last May, I was a guest on my friend Naomi Judd's inspirational television program, Naomi's New Morning. The topic of the show was forgiveness, and one of Naomi's guests was a woman named Cheryl Ward, whose husband had been killed and her daughter raped when a gang of teenage boys broke into their home looking for money.
Cheryl told a story of radical empathy: Rather than being consumed by her grief and anger, she chose to visit the young men in prison and try to understand what had prompted them to commit such a heinous crime. Developing compassion not only lessened her pain but also led her to become an advocate for inmate rehabilitation.
5. Celebrate who you have become.
In a recent study at the University of Miami, psychologist Michael McCullough, PhD, and his colleagues asked approximately 200 people who'd been hurt by someone to write about either the traumatic aspects of the betrayal or things they'd gained as a consequence, like becoming less selfish or discovering that they had unexpected strength. Those who wrote about what they'd learned or how they'd grown described feeling less bitter than the others did and were also more likely to forgive.
Life is a school for learning, and some of the lessons are painful ones. We can't avoid being hurt. But we can decide not to let our hurt overshadow the rest of our lives. Choosing to let go and move on doesn't leave you the same as you were before. It brings you greater understanding and maturity and more compassion—toward others, and toward yourself, as well.
Smart ways to really move on
Take a calming breath. When an upsetting memory arises, use deep breathing or another stress-management technique to allow yourself to feel your emotions without becoming overwhelmed by them.
Change the way you describe yourself. You were badly hurt--but you're also someone who was brave enough to choose to forgive.
Tell it one more time. Acknowledge your hurt to someone you trust, and then stop telling your grievance story once and for all. These stories keep hurt alive and can prevent you from being fully open to the people you need and love.
More From Depression
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8 Mood-Boosting Tips to Prevent SAD
5 Signs You're Not Getting Enough Vitamin D
10 Surprising Signs of Depression
6 Women Share What It's Actually Like On Being On Antidepressants
The Truth About Whether Birth Control Makes You Depressed
6 Women With Depression Share How They Stay Motivated To Exercise
Anti-Depressants Really Do Work, According To Major New Study
The Incredible Reason Why This 59-Year-Old Mom Trains For Ironman Races
You Messed Up. Now What?
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The Best Kind of Kiss?
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Magazine cap with quick-detach sling swivel base, to replace your factory fitted magazine cap.
The Remington 1100 and Browning BPS/A2 can also be supplied for 20g by prior-request.
Also available ~ Automatic and pump shotgun sling fittings and Shotgun magazine tube rails.
Remington 870 Express series with internal mag tube ratchet type system.
Not for 3 1/2" mags.
Remington 870 12 gauge series, 870F, 870 Special Field, 870 Lightweight Ltd with ball & detent barrel lug system.
It should also fit Remington 870 Wingmaster.
Remington 12 gauge 1100 Series, 1100 Auto, 1100 Lightweight Field, 1100 Trap (No: M256124V).
Please note; for late model 1100's (with internal ratchet on end cap) the following 11-87 cap will fit.
Remington 12 gauge 11-87, 11-96.
Mossberg 590/835 shotguns with internal mag tube ratchet type system.
Winchester 1200, 1300, Defender, Ranger Pump, Super X, SXP (stronger replacement for original Winchester SXP Field pump action 12 gauge).
Browning 12 gauge BPS, Auto 5, Silver Hunter. Needs confirmation, possibly only compatible with production runs of 1998 and onwards, and may not fit the Silver Hunter. The Browning Gold mag cap will fit the pre-1998 Silver Hunter but with a slight gap, so will need a washer to prevent movement in the forend.
Browning 12 gauge Gold shotguns.
Please note; reportly does not fit the Browning Gold Clay semi auto.
Mossberg 12 Gauge slide-action 500 series without QD swivel studs, 500 slugster, 500 ATP.


Without the excellent cards, which were fixed to my handlebar bag, and the signs of the bike paths, I had hopelessly lost my way. So, however, I passed through the water labyrinth, and in fact managed to reach my destination of today, Dordrecht, without any considerable detours. In this part, the Rhine bike route hardly deserves its name because it leads through many rural areas, often along canals or small lakes.
But suddenly you reach again one of the Rhine arms and have to cross the river with a ferry or a water taxi. The system works really perfectly. There are no long waiting times. The crossing costs for a cyclist between 80 cents and 1,50 euros. And such a ferry transfer can be quite communicative. On the way to Kop van't Land near Dordrecht I got into conversation with another "Fietser".
The 60-year-old asked me how many kilometers I had traveled today, where I came from and where I wanted to go. "Years ago, I cycled some passages of the tour that you have done by myself," the man recalled. "I liked particularly the area around Rüdesheim." Means the Rhine Gorge between Bingen and Koblenz. He gave me a tip for an alternative route to Dordrecht. "But yours is also very beautiful," he said, gave me for farewell a pat on the shoulder and cycled away in breakneck speed.
Today, there were many fair weather cyclists en route. Since the morning, the sun was shining, the wind was not worth mentioning, ideal cycling weather. If there would not have been this pulling in my calves. They are crying for recovery. They still have to persist one day. Then we – my calves and I as well as my dear faithful folding bike – will hopefully stand in Hoek van Holland on the beach and look together to the mouth of the Rhine.
This eleventh day of my donation bike tour "School up! River down!" for the reconstruction of the school in the Nepalese village of Thulosirubari lasted nine and a half hours. I rode 124 kilometers from Wageningen to Dordrecht. In earlier times the Rhine trade ended there, what brought the city wealth. Today, Rotterdam has outdone Dordrecht as trade metropolis. I will ride to Rotterdam tomorrow and then continue to the sea. Still some 70 kilometers are missing.
P.S.: When I will have arrived at the beach, I will – if I'll have an internet connecition – inform you via Twitter and Facebook. The detailed summary of the last day will be available after my return to Cologne.


• The $20 million conversion of Fulton Mall to Fulton Street is on schedule, with completion expected in May. That still doesn't help some of the mom-and-pop businesses along the route. They're hanging on by a thread.
Craig Scharton and Veronica Stumpf offer insight into the development of downtown Fresno's former Fulton Mall.
• Stormy weather: Showers and rain are in the forecast today and Tuesday. There's a winter storm warning today in the high Sierra, which more than a foot of snowball expected.
An afternoon downpour snarled traffic throughout parts of north Fresno on Friday, including on Champlain and Perrin.
• The president of the United States says California is "out of control" if it declares itself a sanctuary state for refugees and undocumented immigrants. "If we have to, we'll defund," Donald Trump said in an interview before the Super Bowl.
• OK. That Super Bowl. Let's recap. The Atlanta Falcons once led by 25 points. With 9:48 in the fourth quarter, they led by 16. So was the New England Patriots' record-setting 34-28 victory in overtime an eye-bugging comeback by Tom Brady or a mind-numbing choke by Atlanta? And what about Lady Gaga? Or those commercials, including the one with the controversial ending?
• Tech companies, including behemoths such as Apple, Google and Facebook, are siding with court battles against the White House's travel ban.
• A Los Banos man and his daughter arrived at San Francisco International Airport on Sunday, ending an eight-day delay that saw the girl caught up in President Trump's executive order restricting travelers from her native Yemen and six other Muslim-majority countries.
• A federal hiring freeze imposed by the White House hasn't affected Fresno's veterans hospital.
• Free frozen yogurt today. Repeat: Frozen yogurt. Today. Free.
• An early version of a video game based on the adventures of Conan features an "endowment" slider with which the player can adjust the size of his barbarian's naughty bits. To which our columnist, Rory Appleton, asks: why?
• Patricia Astone was a special education teacher, master gardener and deacon at Sanger Community Church. A trial will determine whether St. Agnes Medical Center and a doctor were negligent in her death.
• "Wayne's World" is 25 years old. To mark the birthday, it's returning to the big screen. Ex-cel-lent!
• What superpower would you want? Flight? X-ray vision? I want this cat's ability to find her family after going walkabout for 15 years.
• A definition of chutzpah: Police say this woman tried to buy a house with a $1.2 million check. That she forged.
Got Scoop ideas? Contact Jody Murray (559-441-6367, @jmurray59).