Introduce yourself and let the women know when and where the group meets as well as the book we'll be studying, The Good and Beautiful God by James Bryan Smith.
Send a group text or email highlighting all the details of your group and letting them know how excited you are to get started!
Or coordinate for someone else in the group to bring refreshments. Food brings people together and makes gatherings more fun. Create a signup sheet and send it around during your first meeting to get the food for the rest of the weeks covered. You're already leading and/or hosting, and bringing food is a great way to spread around a feeling of ownership to the women in your group.
>>> Pray for everyone on your roster and for your time together this week.
Especially this first week, starting our groups in prayer will be a great move! It allows us to sit down, take a deep breath and focus our hearts and minds on God. Invite Him into your time together. Ask Him to speak and move in your group today and over the next two months as you meet together.
The first gathering is all about getting relational momentum and building (or re-building) trust and openness. This happens when you spend intentional time catching up, getting to know each other's stories, and asking each other questions. You should spend a good chunk of time on this!
Let's have everybody share what their comfortable sharing! Tell us about yourself, your family, how you came to Mission, your occupation and hobbies, anything!
Tell us about your break since the last session (if you've met before), what was the highlight? What was unexpected?
This book is called The Good and Beautiful God because the focus is on the character of God and how we move into a life of intimacy with Him. The book will help us learn how to live like Jesus in our ordinary, everyday lives: in our families, at work and in our spheres of influence. It all starts with knowing the God Jesus knows and loving Him.
At the end of each chapter we'll be engaging in spiritual practices that reinforce the biblical messages on our minds and hearts. Community is the perfect place to practice these "soul training" exercises together. We'll be learning to live as as Jesus taught us to live and we'll get to practice what we're learning together.
Thinking quickly, what are some of the first words come to mind when you think about what God is like?
What are the main voices in your life influencing your thoughts about God? Are they all saying different or similar things?
Describe your own experience with trying (and perhaps failing) to change things about yourself or your life. What do you think was the main reason for failure or lack of results?
What do you hope to get out of this book, and our time together?
Homework is always tricky, and it's not a problem to solve; we can't simply take it all away, or "require" it from everyone. Since it's not a problem to solve, it means it's a "tension to manage". Some people in your group need to know that if they don't read, do the soul training, or prepare at all... they are still encouraged to come. Others in your group need to be pushed and encouraged to take the intentional step and commitment to DO it, pushing other things aside and making it a priority.
The thing is, YOU have the best idea of where people are at in your group. Reaffirm for everyone that while the homework is strongly encouraged, the most important thing is showing up - no matter what!
Introduction: "How to Get the Most Out of This Book"
Chapter 1: "What are You Seeking?"
"The number one enemy of Christian spiritual formation today is exhaustion."
As the section "How to Get the Most Out of This Book" suggests, find a journal or notebook to answer the questions posed throughout each chapter and for the reflections on the soul-training experience found at the end of each chapter.
Reflect on your experience: Journal about your answers to the questions on page 36.
Ask everyone how you can be praying for each other throughout the week. Make sure to write them down and send them to the group so everyone can be praying throughout the week.
Close in prayer or ask someone else to pray!


text:
Sharing the findings of the Husch Blackwell report - Office of the President
Sharing the findings of the Husch Blackwell report
Dear CSU Community,
Thank you to the many members of the CSU community who met with investigative attorneys from law firm Husch Blackwell as part of the firm's independent review of issues related to racial bias and COVID compliance in CSU Athletics. We've now received the final reports, I've discussed them with the Chancellor, and in the interest of transparency have posted the unredacted reports here.
In my conversations with the Chancellor, we agreed that the findings of the investigation are positive and reassuring overall. They also provide extremely helpful context and recommendations. We are confident that our current CSU Athletics staff will work with us to move forward as our football program resumes.
In the report focused on compliance with COVID-19 public health precautions in CSU Athletics, the investigators found that most student-athletes who participated in the investigation reported feeling safe during team activities and believed that coaching and training staff made their best efforts to implement and enforce the University's return-to-sport protocols. While numerous witnesses expressed some degree of dissatisfaction or concern about aspects of the protocols, those concerns were predominately related to communication, consistency, or testing policies rather than intentional non-compliance with the protocols.
Our CSU community knows we have been aggressive with our COVID-19 mitigation protocols, which have included robust communication and a student-focused social norming campaign. The pandemic presents ever-changing circumstances that demand rapid response. We have engaged actively to communicate these circumstances and responses as quickly as possible and we will continue to strive to meet the needs of our community for clear, quick, and accurate information. As I have said publicly many times, our CSU staff and faculty have responded to the pandemic with unbelievable energy, creativity, and dedication. I am deeply, deeply grateful.
In the report focused on allegations of "pervasive racial inequities or harassment" in CSU Athletics, the investigators found that most student-athletes who participated in the investigation disputed allegations of pervasive racial inequities or harassment within their athletic team or the Athletic Department more broadly. Few individuals alleged that such incidents were widespread or tolerated by current coaching staff. In contrast, numerous individuals recounted racial insensitivity involving former coaches in years past and expressed concern that their behavior went unaddressed by Athletic Department leadership at that time.
Let me be clear: a climate of racial insensitivity is unacceptable even if it started with staff no longer employed at CSU. We all know that it takes time to change culture and we are committed to creating one that is anti-racist, equitable and just. We currently have many resources in place at CSU for members of our community to access any time they feel devalued on the basis of their identity, including the Bias Reporting System; the Office of Equal Opportunity, which is charged with prohibiting all discrimination and harassment and oversees the Office of Title IX and Gender Equity; and the Office of the Ombuds. Going forward and effective immediately, CSU Athletics will engage even more actively with those resources, make our student-athletes and Athletics staff aware of these resources, and respond quickly and with compassion to any expressed concerns.
In this second report, the investigators further found that many individuals from different races, teams, and employee roles are personally and emotionally struggling with the national reckoning around issues of racial justice and equity. Many of them expect their teammates, coaches, colleagues, administrators, and the University to engage in more meaningful and sustained dialogue around issues of race and do more to effectuate change. While this finding documents a painful experience for members of our Athletics community, it also speaks powerfully to their commitment to the values that CSU upholds and to their sense of urgency around seeing us all live those values.
I share that commitment and sense of urgency. So does the entire CSU leadership team; so do the leaders and partners of the CSU Race, Bias and Equity Initiative; so do the creators of the TOGETHER initiative in CSU Athletics; so do the more than 1,500 members of our community who have already registered to participate in our annual Diversity Symposium later this month. We are committed to a climate and culture across this university, including in CSU Athletics, that is anti-racist and that supports the growth, development, and success of our student-athletes in every sport. We will work quickly to implement the recommendations made in the report and prioritize these issues across the institution as we have committed to do.
Once again, I thank everyone who participated in the independent investigation that Husch Blackwell recently completed. I thank you for your courage, your patience, and your candor. I also thank those of you reading this message for your interest in these findings and in our continuing commitment to the high standards of excellence, integrity, and equity that define our CSU community.

redpajama_set_name: RedPajamaCommonCrawl


text:
En matemàtiques, el teorema del punt fix de Lefschetz és una fórmula que explica els punts fixos d'un mapatge continu a partir d'un espai topològic compacte  a si mateix mitjançant traces de les assignacions induïdes en els grups d'homologia de . S'anomena així en honor del matemàtic Salomon Lefschetz, el primer en definir-lo el 1926.

El recompte està subjecte a una multiplicitat imputada en un punt fix anomenat índex del punt fix. Una versió feble del teorema és suficient per mostrar que un mapatge sense cap punt fix ha de tenir propietats topològiques especials (com ara una rotació d'un cercle).

Definició formal
Per a una definició formal del teorema, fem

sigui un mapa continu des d'un espai triangulable  compacte a si mateix. Definim el nombre de Lefschetz  de  com

la suma alternativa (finita) de les traces de la matriu dels mapes lineals induïts per  en el , l'homologia singular de  amb coeficients racionals.

Una versió simple del teorema del punt fix de Lefschetz indica: si

llavors  té almenys un punt fix, és a dir, existeix almenys una  en  tal que . De fet, com que el nombre de Lefschetz s'ha definit a nivell d'homologia, es pot estendre la conclusió per dir que qualsevol mapa homotòpic a  també té un punt fix.

Però s'ha de tenir en compte que això no és veritable en general:  pot ser zero, fins i tot si  té punts fixos.

Esbós d'una prova
En primer lloc, aplicant el teorema d'aproximació simplicial, es demostra que si  no té punts fixos, llavors (possiblement després de subdividir ),  és homotòpic a un mapa simplicial de punt fix lliure (és a dir, envia cada símplex a un símplex diferent). Això significa que els valors diagonals de les matrius induïdes a la cadena simplicial complexa de  han de ser tots zero. A continuació, es nota que, en general, el nombre de Lefschetz també es pot calcular utilitzant la suma alternativa de les restes matricials dels mapes lineals abans esmentats (això és cert gairebé per la mateixa raó que la característica d'Euler té una definició en termes de grups d'homologia (vegeu l'apartat Relació amb la característica d'Euler). En el cas particular d'un mapa simplicial de punt fix, tots els valors diagonals són zero i, per tant, les traces són zero.

Teorema de Lefschetz-Hopf
Una forma més forta del teorema, també conegut com el teorema de Lefschetz-Hopf, estableix que, si  només té uns punts fixos finits, llavors

on  és el conjunt de punts fixos de , i  denota l'índex del punt fix . A partir d'aquest teorema es dedueix el teorema de Poincaré-Hopf per a camps vectorials.

Relació amb la característica d'Euler
El nombre de Lefschetz del mapa identitat en un CW-complex finit es pot computar fàcilment al adonar-se que cada  es pot considerar una matriu identitat, de manera que cada terme de la traça és simplement la dimensió del grup d'homologia adequat. D'aquesta manera, el nombre de Lefschetz del mapa identitat és igual a la suma alternativa dels nombres de Betti de l'espai, que al seu torn és igual a la característica d'Euler . Així tenim

Relació amb el teorema del punt fix de Brouwer
El teorema de punts fixos de Lefschetz generalitza el teorema del punt fix de Brouwer, que indica que cada mapa continu del disc unitat -dimensional a ha de tenir com a mínim un punt fix.

Això es pot veure de la següent manera: és compacte i triangular, tots els grups d'homologia excepte quan  és , i cada mapa continu indueix el mapa identitat  i la traça és ; tot això implica això de forma conjunta  no és zero per a cap mapa continu .

Context històric
Lefschetz va presentar el seu teorema de punts fixos en [Lefschetz 1926]. L'enfocament de Lefschetz no estava en els punts fixos dels mapatges, sinó en els anomenats punts de coincidència de les assignacions.

Donats dos mapes  i  des d'una varietat  orientable a una varietat orientable de la mateixa dimensió, el nombre de coincidència de Lefschetz de  i  es defineix com

on  és el següent,  és el mapatge induït per  en els grups de cohomologia amb coeficients racionals, i  i  són els isomorfismes de la dualitat de Poincaré per  i , respectivament

Lefschetz prova que si el nombre de coincidència no és zero, llavors  i  tenen un punt de coincidència. Ell assenyala en el seu treball que deixant que  i deixant que  sigui el mapa d'identitat ofereix un resultat més senzill, que ara coneixem com el teorema de punts fixos.

Frobenius
Fem que  sigui una varietat definida sobre el camp finit  amb  elements i fem que  sigui l'elevació de al tancament algebraic de . L'endomorfisme de Frobenius (sovint anomenat només Frobenius), denotat com , de  mapes un punt amb coordenades  fins al punt amb coordenades  (per exemple,  és el Frobenius geomètric). Així els punts fixos de  són exactament els punts de  amb coordenades a , denotant per al conjunt d'aquests punts: . La fórmula de la traça de Lefschetz es manté en aquest context i diu:

Aquesta fórmula implica la traça de Frobenius en la cohomologia, amb suports compactes, de  amb valors en el camp dels nombres -àdics, on  és el primer coprimer de .

Si és suau i equidimensional, aquesta fórmula es pot reescriure en termes de l'aritmètica Frobenius , que actua com a inversa de  sobre cohomologia:

Aquesta fórmula implica la cohomologia habitual, en lloc de la cohomologia amb suports compactes.

La fórmula de traça de Lefschetz també es pot generalizar a piles algebraiques sobre camps finits.

Referències

Bibliografia

Vegeu també
 Fórmula del punt fix fix holomòrfic de Lefschetz
 Funció zeta de Lefschetz
 Teorema del punt fix

Enllaços externs

punt fix de Lefschetz

redpajama_set_name: RedPajamaWikipedia


for questions that specifically ask about the meaning, or the origin of expressions, attributed to or used by the 45th President of the United States, Donald Trump.
Is "going loco" a common AmE expression?
President Trump said "I always put justice now with quotes" -CNN What does that mean?
What did Trump mean when he said that the US is like a "piggy bank"?
Is Trump's 'cracked up' expression a special AmE version of the idiom?
Mr. Trump and his spokesperson seem to favor the word OUR, as in our great military or our nation when THE nation might do. Is there a signal or purpose for this usage?
What did President Trump mean by "crusty voice"?
Does the phrase "locker room talk" have precedent?
What does Donald Trump's: …it was time to "turn them in"… mean?


text:
Rick Bragg
by Shauna Miller September 7th, 2001 August 29th, 2020
One night, drunk on grain alcohol and crazy with pride, Rick Bragg's great-granddaddy Jimmy Jim Bundrum bit off a man's finger. Bundrum's wife took the gory stub from the mantel where her husband had left it and flung it into the yard, where it was snapped up by a starving chicken. Bragg, a Pulitzer Prize-winning correspondent for the New York Times, grew up in a family with a rich oral tradition. His widely acclaimed 1998 memoir of his mother's childhood in the Appalachian foothills, All Over but the Shoutin', introduced readers to her parents, Ava and Charlie. But for Bragg, that work was only the beginning of a long, personal search for his family's story. In his new book, Ava's Man, Bragg traces the Bundrum line up to its venerated patriarch, Charlie, a roofer and small-time bootlegger who moved his family 21 times along the Coosa River, trying to outrun the hard times of the Depression. "I do not think I have ever had so much fun," Bragg writes, "as I have had in learning and sharing the stories of a man that history would otherwise have ignored, as it would have ignored my mother and people like her." Bragg's previous work has been criticized for romanticizing the poverty of his people, but the beauty in the lives of Charlie and Ava grows up in the spaces between the knife fights, arrests, and stillborn babies. It lives in the weird way that they sing songs at each other while they fight, songs that their grandchildren know the words to even now. Bragg reads at 7 p.m. Friday, Sept. 7, at Politics and Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. (Shauna Miller)


text:
Q: Xamarin android - Returning from push notification won't display page content Returning from a push-notification, my Xamarin android App won't show the content of my Page.
Reproducing:

*

*"Minimizing" the app

*Click a recieved push notification to open the app

The app starts as expected. However, after starting it's supposed to display my start page (a simple ContentPage with a WebView) - but nothing is shown. Debugging, I can see that my page is loaded (OnAppearing is called).
Starting the app "minimized" usually works - just not when clicking from a notification!
Code for when the app recieves a notification (please tell me if other code is more relevant!):
var intent = new Intent(this, typeof(MainActivity));
intent.AddFlags(ActivityFlags.ClearTop | ActivityFlags.SingleTop);
var pendingIntent = PendingIntent.GetActivity(this, 0, intent, PendingIntentFlags.UpdateCurrent);

var notificationBuilder = new Notification.Builder(this)
   .SetSmallIcon(Resource.Drawable.testicon)
   .SetContentTitle("Test")
   .SetContentText(messageBody)
   .SetAutoCancel(true)
   .SetContentIntent(pendingIntent)
   .SetVisibility(NotificationVisibility.Public)
   .SetPriority((int)Android.App.NotificationPriority.High);

var notificationManager = NotificationManager.FromContext(this);
notificationManager.Notify(0, notificationBuilder.Build());

Any help to point me in any direction is appreciated!

A:
The app starts as expected. However, after starting it's supposed to display my start page (a simple ContentPage with a WebView) - but nothing is shown.

If you need your Forms app to start from the beginning, you need to comment out/remove intent.AddFlags(ActivityFlags.ClearTop | ActivityFlags.SingleTop);. This flag will restore the existing running app instead of running a new instance of your app.

redpajama_set_name: RedPajamaStackExchange


Where the physical and digital worlds collide!
Following the roaring success of the Desktop 3D Printing Show in early March (see images below), iMakr presents its next event for the 3D printing and design world.
As 3D printing has become ever more widely adopted and 3D technology continues to advance, the line between the digital and the physical worlds is becoming ever more blurred. Digital designs can now be realised in the press of a button via a 3D printer and the physical objects can be captured digitally with a simple 3D scan.
The most advanced 3D printers across all desktop technologies.
World class speakers from the leading innovators in 3D technology.
Face and object scanning using the most advanced handheld and desktop 3D scanners.
New materials for 3D printing, from exotic filaments to castable resins.
Demonstrations of the latest 3D design software.
Real-life success stories from 3D designers, makers and creative minds that have embraced the DIGICAL world.
This show is for professionals and enthusiasts fascinated by the power of 3D printing and 3D scanning. Learn how best to incorporate 3D printing and 3D design into your educational institution. Explore how 3D printing and digital applications can positively impact your business' bottom line.
From education to jewellery, from engineering to product design, you will find new inspiration to develop your own DIGICAL capabilities.
Early registration to the event is free until the end of June so book your place today! From July the price will be £10 per attendee and £15 at the door.
Exhibitors and attendees: find out more information at the new Digical Show website!


In the Second Wave, people understood the concept immediately and took it home to their home watershed. In a relatively short time, tens of thousands of watershed organizations were operational in this country and throughout the world, working on restoring both the physical watershed, the biota that characterize it, and the human culture that arose in it. This has involved contact and friendships with native peoples who have called these watersheds home for millennia.Reinhabitory Institute would like to facilitate the Third Wave of Bioregionalism in the watersheds where we operate. We envision the concept (if not the term) being understood and practiced in every neighborhood, church and school on this continent.Currently we are operating in two bioregions: the Shasta Bioregion which includes San Francisco Bay watershed and the Longhouse Bioregion which is comprised of several closely related watersheds including the mighty lakes and rivers of NY and PA: the Saint Lawrence, Hudson, Delaware, Susquehanna, Genesee and Allegheny Rivers as well as the Finger Lakes and eastern Great Lakes. Headwaters of these watersheds within a few miles of each other drain to the Atlantic and through the Mississippi to the Gulf of Mexico.


Even though enjoyable, the slippery bats that some individuals use lower their experience in many ways. When striking balls, for instance, their slippery designs impair their techniques and thus performance. Slippery bats are also dangerous projectiles that have hurt players and spectators alike on many occasions. Do not let such problem dampen your spirit. With high-grade lizard skin bat tapes now available in stores, you can improve traction and strike better. Most models are also comfortable to hold and are made of skin-safe materials that work well in dry and wet condition. All you have to do is find the best online or offline.
Made of a soft polymer material measuring approximately 0.5-inches thick, Lizard Skins DSP is a valuable lacrosse wrap for professional use. Perfect for heavy-duty gameplay, it holds up well over the years. Its non-slip surface improves the performance of users, while its ease of installation appeals to both novices and professionals. Once fitted, you do not have to worry about its sticky residue slipping and compromising your control when playing. Lizard Skins DSP is aesthetic (patriot camo) and attainable in a long 36-inch design with pre-cut ends for stability.
Available in blue, Easton is a stylish bat wrap with a premium hyperskin grip that betters the performance of users. Measuring approximately 0.6mm thick, its padded design is comfortable. It also has a softer feel that most users appreciate and a textured surface that enhances grip in all weather. If you have sweaty hands, it will also benefit you immensely when training or playing a competitive game. This wrap measures 34 inches and has a thick adhesive that betters grip and its overall performance further.
Polymer bar wraps are popular accessory because of their durability and functional design. This 5mm Lizard Skins Durasoft model, for instance, is a professional-grade model with a non-slip ultra-light design. Its comfortable feel maximizes control. It also absorbs and reduces vibrations and works well for months in both wet and dry environments. Instead of letting your bat to compromise your performance or the safety of spectators, order an original one. It is easy to install and available in numerous colors and sizes.
Do you enjoy baseball? Are you shopping for a padded non-slip wrap for everyday use? Authentic Baseball Shop Bat Grip is a specially designed model that ranks among the best. Made of a top-grade Durasoft polymer, it is soft, comfortable, and has a non-irritant design that individuals appreciate. Installation is a breeze, while its light slip-resistant design betters the performance of users. In training or when playing a competitive game, for instance, you will enjoy better control. You will also experience less vibrations and have an enjoyable time overall outdoors. Authentic Baseball Shop Bat Grip is easy to clean using a soft towel, isopropyl alcohol, and water.
Featuring a stylish black and red theme, Easton VRS is a versatile bat wrap made of a dual-density 1.8mm thick polyurethane. Popular for its ability to reduce vibrations and shock, it is an ideal day-to-day wrap. It is also comfortable and has a non-slip multi-layer design that grips efficiently in hands. Whether you are a professional or novice, you will have a memorable experience with this wrap. Ultra-light, Easton VRS Grip is very easy to setup on most types of gaming bats.
This Tape and Plugs Bar Tape from Lizard Skins never disappoints. Weighing a paltry 56 grams, it is light and very easy to install. Simply make tight concentric rings on your bat of choice to have a valuable gaming accessory in minutes. The dura soft polymer fabric used to make it is super comfortable, while its superior performance in wet and dry weather is notable. This tape is approximately 2.5mm thick and a textured non-slip outer surface that improves control.
Purchase this bat grip from Lizard Skins to get a well-built soft polymer wrap measuring 1.1mm thick. Black-themed, its stain proof design is admirable. Weight is significantly low, while its non-irritant slip-resistant outer surface performs well dry or wet. Whether you want to better control or prevent your bat from flying off without warning, this is one of the best products to use. It is affordable and recommended for use on both youth and adult-sized bats of all types.
Top on our list, Lizard Skins Bat Grip is a comfortable and incredibly textured bat wrap with a thin 0.5mm design. Available in black and green, it has a charming outlook. It is also light and has pre-cut ends that ease its installation on most types of bats. Lizard Skins Bat Grip is ideal for wet and dry use. It improves controls and feel and has a low maintenance design that reduces shock and vibrations well.


Almost five years ago, I decided to write for real. I had always written in journals, blogged, tried my hand at stories, poems, even a novel that never got past ten thousand words—but on May 24th, 2014, three weeks after my wedding, I decided that I would not feel whole if I did not make the writing a thing that I did for real. I had an idea for a novel, a very basic one. My grandmother had died the previous year and I was in grief. I had suffered the panic and anxiety attacks of the early "what am I going to do with my life" twenties and had started seeing a therapist. I wanted to write. More specifically, I wanted to be a writer, if only because I didn't want my life to come to its end without having really tried for it.
So, I started to write. For a year, before the sun came up, 500 words before my day job at the library. My novel stayed very basic. I wrote, re-wrote, tore up pages, re-wrote again, read about false starts and gnashed my teeth. The story changed and changed again. I was learning—but I was also completely and utterly alone.
No one knew how important this was to me. Why I couldn't stay out late with friends because I needed to wake up early and work on this project no one knew about. I didn't even really tell my husband what I was doing—oh, the shame of him knowing I was trying at this! And that was exactly it—that I was trying. I was unsure of my work. Nothing I produced felt like it was that great, though it definitely felt good in the making-my-life-whole sense. But if I were really to make my life whole, I needed someone to know I was doing this. So after a year of writing alone, I joined a local critique group.
Nauseous as I was, they finished the piece and declared it worthwhile—beautiful even. Sure, it had some things to improve on—all drafts do. But the bones were there and that was what mattered. I was hooked.
All of this is to tell you the first secret of becoming a writer—put yourself out there. Find your fellow writers and share your work. Get used to sharing things you know are not ready because you need to learn and you must be in the student's seat to do so. Tell your loved ones this is a thing you want and that it is important. Because until you can admit this to the world, you won't be able to convince yourself.
After a year of struggling alone with the book, I declared to my husband and my closest friends that I was writing. I finished the first draft mere months after joining the group.
Finishing a draft is well and good. So is editing that draft. But if a novel is to become published in the traditional sense (which is what I wanted), then I needed to do more. I needed to know how to query agents. I needed publishing credits. I needed to expand my network (we had just moved to Nashville so my lovely critique group was now gone). I needed to become a professional. And to do all this, I needed to become accountable.
Finish the novel and begin querying.
Submit three new pieces to journals.
Receive more than 100 rejections.
Each of these goals required planning. Finishing the novel required I actually work on the novel. Submitting new pieces required I write them. Receiving that many rejections meant I needed enough pieces to submit widely.
Let me digress here to share a real trade secret: Duotrope, an international database of publisher, agent, and literary journal listings and statistics.
None of us come with a head full of great journals perfect for our work. We may have a few dream places—Glimmer Train and Tin House to name my two, and yes, I am still grieving the announcement of their upcoming closures—but everybody must start small on their path to greatness. There are literally thousands of wonderful journals out there just waiting for your work. The world is your submission oyster—and Duotrope is your path to the acceptance pearl.
I got obsessive about my goals. Probably too obsessive. I noted daily word counts and watched them grow. The more I worked, the more I wanted to work, the easier the words came, until the end of the year when I had a novel on query and stories on submission. The rejections came on their own. I finished out the year with 99 rejections, seven requests on my manuscript from agents, and three published pieces in journals I was extremely proud to be in.
Secret, the second: understand that art is work and work is art. It's magical, it's allowed to be—but it requires professional diligence only earned by committing time to the task. You have to do the work every day, even on the bad days, and even on the really bad days. All the talent in the world can't override the fact that you must get up early or stay up late, you must forgo seeing friends, watching TV, you must keep your mind clear, you must put your hands on the keyboard and type. The more time you invest in the work, the more inspiration can find you. Like Pavlov's dog and the ringing bell, only your work is the bell and you, my friend, become the drooling dog. This is the magic of the work. This is how you welcome the spirit.
The thing about hustling is that the personal becomes professional. Creative writing of any kind means the world sees you very intimately. You have to be okay with people you don't know and people you love dearly seeing you in a vulnerable state on the page. Which is why it's so hard to be rejected.
But that's why hustling is so important. That thick skin they talk about only callouses up when more rejections and more edits are received. It doesn't make you love the work any less. I've found it makes me love it more because I care about it enough to advocate for it. That's all hustling is anyway—advocacy.
Which brings me to secret number three: Advocate for yourself by showing up.
The single most important thing I do for my writing is to show up, especially when I don't want to. I showed up when I joined that first critique group. I showed up when I made my writing public. I showed up every morning in front of the keyboard, when I submitted work, when I went in search of a new writing community once we moved.
In this singular year of showing up, I have become known in my community as a writer to be respected, someone who can be counted on, as capable and competent, as talented, yes, but also as a hustler.
Ultimately, this is a business. Only you are going to bring yourself success (as you define it). Only you are going to advocate for yourself. The more you produce, the more you submit. The more you submit, the more acceptances you will receive. The more acceptances, the more confidence you gain. The more confidence, the more you will produce. And so on and so forth. It's a vicious cycle. Vicious and delicious.
So show up. Hustle. Tell the world what you want. Ask for help. Ask for celebration. Give help when asked. Give help without having to be asked. Your dream writing life awaits—no special instructions required.
Lisa Bubert is a writer and librarian based in Nashville, Tennessee. Her work has appeared or is forthcoming in Washington Square Review, Carolina Quarterly, wildness, South 85, Barnstorm Journal, Spartan, and more. Her story "Formation" was named a finalist in the Texas Institute of Letters Kay Cattarrula Award for Best Short Story. She is the leader of Lit Mag League, a literary journal reading club organized though The Porch, Nashville's lead writer's collective, and now also leads Draft Chats, the Porch's new group for critique and writer support. See more of her work at lisabubert.com.


Bradley has an epic gargoyle mascot named Kaboom!
Bradley plays Michigan State basketball in the NCAA tournament. The coolest thing about the Braves is their gargoyle mascot, Kaboom!
As Michigan State's basketball team prepares to face Bradley in the first round of the 2019 NCAA tournament, you might notice something else besides the players and fans on the sidelines.
Kaboom! has to be one of the most unique mascots in March Madness.
In fact, Kaboom! was recently ranked No. 1 mascot by USA TODAY's For the Win.
Kaboom! comes from Dave Snell, the assistant director of athletic communications and radio play-by-play announcer for the men's basketball team since 1979. He uses the term, Kaboom!, to describe slam dunks during the games.


text:
Derviş Kemal Deniz (born October 2, 1954) is the former Turkish Republic of Northern Cyprus Minister of Economy and Tourism. He was appointed to these portfolios on April 28, 2005, in the 19th cabinet of TRNC under the prime minister Mehmet Ali Talat.

Deniz is a graduate of London Guildhall University, from where he obtained his Accountancy degree in 1977. He became a member of the Institute of Chartered Accountant in England and Wales in 1981. Deniz has 2 children.

References

Living people
1954 births
Government ministers of Northern Cyprus
Türk Maarif Koleji alumni
Turkish Cypriot expatriates in the United Kingdom
Alumni of London Guildhall University


In the 1990s, the San Francisco Museum of Modern Art (SFMOMA) was the first major cultural institution to move south of Market Street to an area that was full of low-income residential hotels until a government-funded redevelopment demolished them in the 1970s. Mario Botta designed a fortress for art in a neighbourhood that was slowly being developed with tourists and convention-goers in mind. It greeted visitors with patterned brick walls and mirrored doors in a recessed opening behind large columns. Capped by a monumental oculus in bands of light and dark granite that drew light into a central full height atrium, the museum was closed to the city but open to the sky.
Now, 20 years later, the transformation of the neighbourhood is complete. Expensive hotels and luxury residential buildings flank the museum and galleries are moving in across the street. The reborn $305 million (£209 million) museum by Norway's Snøhetta prides itself on transparency and openness. The firm won the commission from a 2010 shortlist that included David Adjaye, Diller Scofidio + Renfro, Steven Holl, OMA and Renzo Piano. Emphasizing a 'connection with the city' was a key part of Snøhetta's sales pitch, which sought to build on its recent success with the blending of interior and exterior at the Oslo Opera House.
The acquisition of the Doris and Donald Fisher Collection in 2009, a massive holding of postwar art compiled by the founders of the Gap clothing empire, meant the museum needed to grow. Gallery space in the new building rose from 6,500m2 to 15,800m2, and the overall building slightly more than doubled in size to 42,700m2, making it the largest modern art museum in the US (until MoMA in New York finishes its expansion).
Snohetta's wing is easily noticeable when passing through the neighbourhood, but it is nearly impossible to see in its totality from ground level because of its proximity to surrounding buildings. The structure sits between Howard Street, a busy east-west artery, and lightly travelled Minna Street, a narrow alley-like road to the north. The ground floor back of house is very successful – clad in black lava stone and responding to the scale of surrounding buildings and the side of the brick facade of the Botta building.
The mass of the building bulges in the middle and tapers to each of the street edges, where it is clad is smooth back-painted white glass. The broad east facade of the building features a rippled white surface, said to be inspired by the local geology and the mists that blow over the city on summer afternoons, as observed by Snøhetta principal Craig Dykers. However, despite the design energy expended on this facade, it is mostly visible only from the upper levels of surrounding buildings.
At first look this rippled surface could be stone, but on closer inspection it reads as panels with large caulk joints between them. It is a curtain wall made of 700 uniquely-shaped one centimetre thick FRP (fibreglass-reinforced polymer) panels, the first of its kind in the US and fabricated by local firm Kreysler & Associates. It's a dramatic effect from afar, but feels cheap in the few places you can actually touch it. The surface is already attracting a noticeable amount of dirt, which makes it look more like a snowbank at the end of winter than a weightless fog.
Throwing aside the rigidly symmetrical and processional entry of Botta's building, Snøhetta kept the entrance on Third Street and added a second at the base of the wall on Howard St around the corner. Behind floor to ceiling glass at the new wing is a huge room with two new commissioned Richard Serra sculptures titled 'Sequence' inside and a Roman stair at the back – an informal wood-clad amphitheatre. This contiguous space between the two entrances makes up the 'free area' of the building, accessible without buying a $25 ticket, stretching over 4,200m2 on the lowest two levels.
The free area has five works of art on offer and a lot of empty floor space, presumably to accommodate large weekend crowds. The best feature of Botta's original building, a monumental stair in dark banded granite that ran up the back of the five storey atrium, has been replaced by an asymmetrical angled stair in light wood that takes visitors from an empty ground floor lobby up to the ticketing level. The stair's absence is impossible to ignore if you've visited the space before the renovation, and the hole it has left is filled by a glass railing in front of people drinking coffee in the overflow area for the café upstairs.
This café also dominates the experience of visiting the third floor. Within seconds of entering the ticketed area of the museum, the robust smell of light-roasted coffee overwhelmed my senses. The symmetry and monumental sense of procession enforced by Botta's stair has been replaced by an experience more akin to visiting the food court at a high end shopping mall. There is something to be said for making an art museum a place for contemplation that does not look (and smell) like the rest of the world around us.
The galleries stack on levels three to seven, with staff offices on the three highest floors and the Fisher Collection displayed on four to six. Each level has different ceilings, designed around lighting, climate control and aesthetic requirements of the artwork on display. Floor levels align with the original building up through level five, creating contiguous floorplates with multiple vertical circulation points and few load-bearing walls to allow for maximum curatorial freedom. Light-coloured wood floors from the original building continue into the extension to a relentless degree, as the blonde wood marches up stairways and into the handrails.
The rear exterior wall has a collection of 'City Galleries' with window seats and views over surrounding buildings. Stairs between levels stack along the outside wall, which functions as a north-south circulation spine on each floor. It's an odd strategy – while it's said the stairs were inspired by San Francisco's public outdoor stairways, their narrowness mostly reveals maple floors and white-painted walls instead of sweeping city views. The City Galleries struggle to organise the space in plan; they are too similar in feel to the surrounding galleries to function as a separate space or even a place to regroup.
Building on a tight site behind an imposing existing museum was a significant challenge. A stronger organising concept and a more varied materials palette would have given the extension its own identity, but instead it feels as though fitting in the required amount of floor area on a very small footprint was the priority. It's pleasant enough and puts viewing of the expanded collection front and centre, but in the end it is too much homogenous space in a wrapper that doesn't have a clear connection to the building's content or the context of the neighbourhood. The idea that the building 'connects to the city' is hard to grasp – yes, there are places to view your surroundings, but truly connecting to the city required a more rigorous intervention of how to relate a necessarily vertical museum to its context.


Analysis from the Tax Policy Center shows the effects of the tax plans proposed by the top Republican candidates and Hillary Clinton. Pretty big difference, no? The Republican plans all give huge tax breaks to the top 1% and blow up the deficit; Clinton's raises taxes on the 1% and brings the deficit down. For wholly irrational reasons, voters who say they are worried about the deficit still believe that Republicans will work harder to bring it down, even though that has been completely untrue since 1980.
I have to wonder if maybe people just imagine that, as the American Dream™ has ostensibly promised them, they too can one day be among the absurdly rich elites, and then they'll wish they'd supported politicians who favored tax breaks for the 1%.
Because it's either that, or people just don't understand money and taxes on a fundamental level, and rely on pundits and spin doctors to form the most basic foundations of even their simplest opinions on the matters. Which is probably the case, but it's a depressing notion.


Does a great army make a person great, as Hilda says? Is this really a piece of wisdom?
Is the Prince of Calden right when he tells Emma girls should not dabble in strong magic?
Is he saying this because she is too young, or because she is female?


text:
Music From St. Mark's
St. Mark's enjoys a great tradition of music in worship and in concert. Our choirs include children and youth of all ages, adult volunteers, staff singers, and choral scholars (high school and college students who commit to spending a year of musical formation in the St. Mark's music program). Together they provide music for the many services that are offered throughout the year.
We invite the San Antonio community to experience the beauty of worship and creativity through the Music from St. Mark's offerings. The St. Mark's choirs sing music that spans centuries from chant and Tudor motets to traditional Anglican cathedral repertoire and new compositions by living composers. An extensive range of organ music is offered weekly on the Austin-Kegg pipe organ both in worship and in concert.
Contact the music program Music from St. Mark's 2021-2022 Support the St. Cecilia Series
The St. Cecilia Series Presents: Second Sundays with SOLI Chamber Ensemble
Choirs at St. Mark's
St. Mark's Choir
Treble Choir
Novices
The St. Mark's Choir (adults and youth), under the direction of Jon Johnson, Director of Music and Organist, sing at the 10.00am Eucharist. The choir also sings Choral Evensong several times a year, the All Saints' Requiem Service, the annual Service of Advent Lessons and Carols, Holy Week, and the annual Spring Concert. The St. Mark's Choir rehearses late August to May on Thursday evenings from 6.30-8.45pm. Rehearsals during summer months are on Sunday mornings at 9.00am.
We welcome new singers any time of the year with a brief audition and meeting. If you read music, sight-read decently, have experience singing in a choir, and would like to know more about joining the adult choir, please email Jon Johnson with any inquiries or to set up an appointment.
Contact the Music Program
The Treble Choir (grades 4-12, led by Jon Johnson and Samuel Gaskin). Entry into the Treble Choir is through a brief audition.  This choir is committed to the more rigorous demands of singing anthems and larger choral works throughout the year.  In addition to singing on Sunday mornings, the Treble Choir regularly joins the St. Mark's Choir to sing Evensong, the annual service of Nine Lessons and Carols, and other musical offerings during the academic year.  The Treble Choir rehearses Wednesdays, 5.30–6.15pm, and Thursdays, 5.30–7.00pm.  RSCM training is offered Thursdays, 5.00–5.30pm. They sing each Sunday at the 9.00am service, September–May.
The Junior Choristers (grades 2-5, led by Kathy Kelly) program builds on the foundation nurtured in Novice Choir. Choristers are introduced to rhythmic and melodic elements in A Young Singer's Journey curriculum where they learn to read and notate music. Junior Choristers also learn about proper breathing techniques, singer posture, and are introduced to sacred choral music through the hymnal and anthems. They become a vital part of the 9.00am Sunday morning church service when they wear choir robes, process, and lead the congregation in worship.  No prior experience is necessary, just a willingness to learn and participate. The Junior Choristers rehearse Wednesdays, 5.15-6.00pm. For those who would like to enrich their choral education and work towards a medal, they can stay after rehearsals for RSCM (Royal School of Music) training, 6.00-6.30pm. Junior Choristers sing each Sunday at the 9.00am worship service, September-May.
The Novices Choir (grades K-1, led by Kathy Kelly) curriculum concentrates on three basic areas of development. These are vocal exploration and development of the singing voice, feeling the pulse of music, and moving to that pulse, and expression of oneself through music and movement. These foundations of musical development are nurtured through carefully selected children's song repertoire, singing games, percussion instruments, and movement activities. The Novices rehearse Wednesdays, 4.30–5.15pm. They wear choir robes and sing the second Sunday of the month during the 9.00am worship service, September-May.
Grades K-1 | Wednesdays | 4.30-5.15pm
Grades 2-5 | Wednesdays | 5.15-6.00pm | RSCM training 6.00-6.30pm
Grades 4-12 | Wednesdays | 5.30-6.15pm | | Thursdays | 5.30-7.00pm, preceded by RSCM training 5.00-5.30pm
Adults and Youth | Thursdays | 6.30-8.45pm
Meet the Music Staff
Samuel Gaskin
Assistant Organist and Choirmaster
Kathy Kelly
Children's Music Assistant
Marsha Kimura
Music Department Admin


text:
Q: What does p and e denote in exec family of calls? l and v in exec calls denote whether the arguments are provided via list or array(vector). I read it somewhere that p denotes the user's path and e denote the environment but did not understand what that means?

A: Check this Wikipedia link on Exec function and this link on Starting a process with the exec() calls
e – An array of pointers to environment variables is explicitly passed to the new process image.

The "e" suffix versions pass an environment to the program. An
  environment is just that—a kind of "context" for the program to
  operate in. For example, you may have a spelling checker that has a
  dictionary of words. Instead of specifying the dictionary's location
  every time on the command line, you could provide it in the
  environment:

l – Command-line arguments are passed individually (a list) to the function.

For example, if I want to invoke the ls command with the arguments -t,
  -r, and -l (meaning "sort the output by time, in reverse order, and show me the long version of the output"), I could specify it as
  either.

p – Uses the PATH environment variable to find the file named in the path argument to be executed.

The "p" suffix versions will search the directories in your PATH
  environment variable to find the executable. You've probably noticed
  that all the examples have a hard-coded location for the executable:
  /bin/ls and /usr/bin/spellcheck. What about other executables? Unless
  you want to first find out the exact path for that particular program,
  it would be best to have the user tell your program all the places to
  search for executables. The standard PATH environment variable does
  just that.

v – Command-line arguments are passed to the function as an array (vector) of pointers.

The argument list is specified via a pointer to an argument vector.

As mentioned in the other answer, this link on Unix System Calls is also equally awesome for further reading.

A: According to http://www.di.uevora.pt/~lmr/syscalls.html, the suffixes indicate the type of arguments:
    l  argn is specified as a list of arguments.

    v  argv is specified as a vector (array of character pointers).

    e  environment is specified as an array of character pointers.

    p  user's PATH is searched for command, and command can be a shell program


Sculpted two colored jacquard, 100% cotton, 550 g/m².
In the shade of a natural cabin-like structure, made from branches braided with sun-bleached fibers, a white light filters through. The jacquard design, Ombrage takes inspiration from this sort of natural shelter that produces effects of light and shadow.
Men's Robe: available in 4 sizes: M - L - XL - XXL.


It's time for the second in our series of trip reports from more unusual weekend breaks. This time we were a little closer to home (home being Trondheim in central Norway) at Oppdal – a world class ski resort and popular summer destination for adventure sports enthusiasts, hill walkers and climbers. It's also a natural place to stop on the road south to Oslo if driving further. Again we wanted to have enough to do from Friday to Sunday for all of us.
I contacted the Skifer Hotel which is Oppdal's finest and the manager there was kind enough to invite us to stay for the two nights in a family room in order to review the property and also managed to arrange a couple of activities to demonstrate what you can get up to in town.
Again the plan was to leave town after school on Friday and return on Sunday afternoon/evening with enough to do to keep us all occupied while away. This time it was just the three of us travelling so it was important that we were kept busy.
Oppdal had been on our radar for a long time, both as a summer and winter destination. Indeed we had planned to visit last winter but had to cancel at the last moment after Rebecca hurt her ankle. I had wanted to test out the bike park but this has now been closed down (apparently it wasn't making enough money to justify the damage it caused to the slopes, which sounds odd but is the story I heard).
We were guests of the hotel, but the rate would have been NOK 2790 for two nights for the three of us with breakfast in a family room (maximum 2 adults and 2 children). For an extra child the price is NOK 300 more.
With just a two hour drive from Trondheim to Oppdal there was no need to leave so early; indeed we didn't hit the road until about 1800. It was an easy journey and even with a couple of short breaks we got to Oppdal in just over two hours. The Skifer Hotel is right in the middle of town and impossible to miss.
There are a number of car parking spaces in front of the building and a large car park at the rear with direct access to reception. Check-in was quick and we were soon on our way to our second floor room.
After bringing in our gear from the car and unpacking it was time to eat. Your options are fairly limited in Oppdal; there are two hotel restaurants (this being one of them) a couple of pizza places and a number of cafes. We opted to test out the Skifer Hotel restaurant for our first night. We all chose the locally-sourced lamb served with creamed carrot, baked onions, mushrooms, salt-baked potatoes and a rosemarine sauce. Perfectly cooked and wonderfully tender, it was excellent together with an Italian red as recommended by our waitress. From the varied dessert menu we chose a 'homemade Snickers' (far better than one from a shop) while Rebecca had the home-made ice cream.
The family room contains a large and very comfortable double bed – with a rather neat bed cover as you can see. I know these serve no purpose but at least it fit the alpine setting. There was also a bunk bed with two good sized mattresses which folded down from the wall. We also had a flatscreen TV but the room was otherwise minimalist in its fittings; which is no bad thing. It's better for the environment to dispense with a lot of the rather superfluous items often found in hotel rooms – but we'd have appreciated a minibar as we do like to indulge in a cold beer on arrival.
A minibar is also handy if you need a little fridge space – we noticed we were not the only guests who resorted to hanging a shopping bag containing some food for the next day out of the window – most of the neighbours had found the same solution. There is free, high-speed wi-fi throughout the building which sets an example for other hotels who are holding back on this service.
The bathroom had a bathtub with shower curtain and was small but well-designed. Soap was in dispensers both over the wash basin and the bath, which is another good green move.
After a great night's sleep we woke up to a crisp early winter Saturday morning. It was cold, perhaps a few degrees above zero, but the sun was out and the mountain air was fresh. Our first appointment for the day was at 1000 when we were to be picked up by the manager of a local activity provider, Opplev Oppdal. We had enough time to make the most of the excellent breakfast buffet, which was one of the bets we've had the pleasure of enjoying in Norway. Most tastes were catered for and there was a good selection of both hot and cold food.
We had time to visit the local crafts shop (rather a sight in itself with its traditional grass roof) and check out the car outside – a cool way to show off the knitting skills of the experts who sell their wares inside.
At ten we met Flemming who was driving the company car (a minibus) so we let him take us out to the adventure park (Villmarksleir) which is about a ten-minute drive from town. It occupies a large area of the forest on both banks of a river which they use for rafting in the summer. At the moment the park is set up for group activities only; in the future they may expand to be able to accomodate individual visitors as well.
A trail in the forest connects different obstacles such as tyres to clamber over (rather tricker when covered in ice as they were for our visit) and more cerebral challenges involving puzzles and tower building.
We also got to see the banqueting hall which was spectacular and would be a great place to have a birthday dinner or other such event.
While I've never had any burning desire to try rafting the river setting is beautiful and who knows, I may just give it a go one day. We also had a look at the two ziplines crossing the water – at which point it became clear that those harnesses had a different purpose – we were going to have a go on both the wires.
The benefit of having this kind of activity thrust upon you without warning is that there's little time to back out. Naturally Rebecca was keen but Mari Anne had a few reservations. But we all went for it – the first wire over the gorge was a little steeper than the second one back but both times we felt secure and in some degree of control.
Of course it was great; the zipline we took back over the river was positioned in such a way that necessitated actually running and jumping off the cliffside to clear the rocks – I can tell you that felt very wrong but was very exhilarating!
After a tour of the climbing park with its various towers we got lift back to the hotel and took it easy for an hour or so to allow our pulses to return to normal.
The next activity on the list was more sedate – celebrating the hotel's 2nd anniversary. Indeed the Skifer Hotel had opened at 2010 on the 20th of October and was laying on coffee, cake and excellent music courtesy of a local guitarist/singer in the lobby. It was a popular event drawing a lot of the locals as well as us guests.
After this it was time to visit the curling hall to see a group being given an introductory course in this rather odd sport which appears to combine bowls with frantic brushing. It was enough of a challenge for the participants to remain upright while sending the stones down the ice, let alone worry about aiming. Still, they probably got better during the 2-hour training session – and we didn't even try so can hardly criticize. This also seemed like a fun group activity and Oppdal is in fact the cradle of the Norwegian curling scene – nearly ten per cent of the resident population are involved at some level.
But time was against us as we had to make it to the public pool before it closed at 1800 and have enough time there to have fun. The pool is located in the same building as the cinema (which was showing back-to-back horror movies as part of a film festival) and just a few minutes from the hotel. There is a water slide, three pools and sauna facilities, and the whole place is modern and well maintained. Of course a hotel pool would have been free (usually) but they are generally very small; it's well worth spending a couple of hours here. We stayed until they closed then got ready for dinner.
The plan was to try the Perrongen restaurant at the other large hotel in Oppdal a few hundred metres from the Skifer, but we got there to find that the restaurant was closed after the summer season, so we returned to eat at our hotel once more. This was not a problem, as the food once again was excellent and there was a 20% discount in honour of the 2 year anniversary. On that basis it would be worth returning in 8 years for a free meal but I can't guarantee they'll keep this system going so long…we were luck to get a table as the place was full but they squeezed us in so we could enjoy veal with mushrooms, spring onion salad, creamed celery, potato fondant and port sauce with a home-made fruit yoghurt dessert to follow.
When we woke on Sunday it was a little overcast but we had decided that no matter what we would drive to Dovre to walk up to the new Viewpoint Snøhetta which had received so much praise.
We packed our gear together and headed down for another feast. The Skifer Hotel is part of the Rica chain which is really making a name for itself with its award-winning hotel breakfasts – and from our experience they are consistently excellent, making good use of local ingredients and specialities.
It was with a slightly heavy heart that we checked out, but we'll definitely be back. Winter is just around the corner and the hotel would make a perfect base for skiing in Oppdal. There is a large ski storage room in the basement of the hotel and warming up by the fire in the bar area would be a great end to a day on the slopes.
A rather unique attraction, Viewpoint Snøhetta is located about 45 minutes drive south of Oppdal at Hjerkinn, not far from Dombås on the road to Oslo. It is essentially a cabin in the mountains overlooking the peak of Snøhetta, which also gives its name to the architectural firm that designed it – and is also famous for the Oslo Opera House. About half an hour out of Oppdal we were greeted by a layer of snow about a foot deep; the road was clear but when we turned off the main E6 it soon became clear that we would not be able to drive all the way to the car park from which the trail starts since we still had summer tyres on the car. We found a place to leave the car and walked the rest of the way.
We'd already been told it was unlikely we'd see any but it's good to know when to start running. The trail up to the viewpoint is about 1500m in length and is adapted so that wheelchair users can make the journey too – although not in the snow.
It's a pleasant walk up and on reaching the summit the cabin appears on the edge of the mountaintop. It's a spectacular construction of mainly wood and glass (no nails, screws or glue used – only wood plugs) affording stunning views.
You can warm yourself by the fire (bring a little wood) and sip your coffee while contemplating the Norwegian landscape. It would have been even better on a clear day but since the cabin closes at the end of October we were glad to have the chance to visit even if the conditions weren't perfect. Make sure you stop here if you are on the road between Oslo and Trondheim.
As you'll have gathered by now we had a great time at the Skifer Hotel and a weekend in Oppdal is another good alternative to a city break. If you are based in Trondheim or are driving north from Oslo then you shouldn't think twice about staying here for a few days. There's enough to do for the whole family both summer and winter (and as we found, even between seasons) and we look forward to trying out the pistes in a few months time.
We stayed as guests of the Skifer Hotel but as always, the opinions on Grown-up Travel Guide are our own – be they positive or negative.


text:
In 1949, a local forester named Fay Harrington was taking an inventory of tax-forfeited land in Cass County and came through the area that would eventually become Deep Portage. He was impressed by its ruggedly beautiful glacial hills, lakes, bogs, and its ecological diversity. Harrington recognized the land's unique qualities and became convinced that it had "greater potential and more significance than ordinary forest land."
In the following two decades, Harrington and others with an interest in conservation began to discuss how the land could be used. In 1973 they proposed that 6,307 acres set aside for public use, education, and responsible forestry. That May, the Cass County Commissioners unanimously endorsed Fay Harrington's proposal, calling the land the "Deep-Portage Conservation Reserve".
Deep Portage Steering Committe on Bass Pond, Spring 1973
The Deep Portage Foundation, a 501(c)(3) nonprofit, was established in 1975 to raise funds and develop education and recreation programs. With the construction of Nature Center Drive, visitors had easy access to the heart of the Conservation Reserve. Children and families started to pour in. The Interpretive Center opened in 1979, complete with informative exhibits and classroom spaces. Volunteers cleared eleven miles of hiking and skiing trails and built a firing range and sporting clay course. From workshops on forestry management to birdwatching tours, Deep Portage was a hub of activity.
Looking to expand its educational programming to include overnight groups, Deep Portage added the Resources Heritage Center in 1987. The new building included additional classroom space, dining facilities, and lodging for a hundred students. (A 2002 expansion included lodging for another hundred visitors as well as a state-of-the-art climbing wall.) Now that longer trips were possible, schools from all over the state started to visit Deep Portage. In 2003, the Foundation created the Deep Portage Learning Center to operate our school programs and summer camps. Today, Deep Portage welcomes nearly 10,000 students from over 100 schools each year. Our day visitors come from all over the world.
Nearly fifty years after Deep Portage Conservation Reserve was founded, the importance of conservation and environmental education is clearer than ever. We continue to provide extraordinary educational experiences to students and campers. Our trails, woodlands, and waters continue to inspire generations of curious visitors. And as we look ahead, we recognize the role of renewable energy in creating a sustainable future.
With this in mind, Deep Portage has made renewable energy a major focus of its educational programming, campus additions, and public workshops. Building and lighting retrofits, biomass furnaces, a wind turbine, a variety of solar arrays and a small fleet of electric vehicles not only reduce the Center's operating expenses, but also educate the public about many green energy applications. From innovative solar arrays to classes in which students design and test wind turbines, we are a resource for anybody interested in the future of energy.
A lot has changed in the past five decades, but some things remain true. The fruitful cooperation between the County and the Learning Center, first manifested in the Commissioners' endorsement of Fay Harrington's vision in 1973, continues to this day. And thanks to the support of countless individuals and organizations, Deep Portage remains a home to all who love and celebrate the natural world.


Hay Dobbs was recently selected by the University of Minnesota out of a competitive field of 13 submissions to design research support space on the Twin Cities Campus. The project will be done for the Clinical and Translational Science Institute (CTSI) https://www.ctsi.umn.edu/. The CTSI exists to support and advance the University's research mission, specifically in the areas of clinical and translational research. Hay Dobbs will work closely with CTSI and the greater university to design a new Support Center within the Phillips Wangensteen Building located in the heart of the Health Services District. The Support Center will maximize the efficiency of initiating and implementing clinical research studies. The Support Center will not only make it easier for faculty to engage in clinical and translational research but also create an infrastructure to support an increase in the number of feasible research studies being conducted. The project is scheduled to be operational in 2019.


text:
use std::io;

use crate::format_description::well_known::iso8601::{
    DateKind, EncodedConfig, OffsetPrecision, TimePrecision,
};
use crate::format_description::well_known::Iso8601;
use crate::formatting::{format_float, format_number_pad_zero, write, write_if, write_if_else};
use crate::{error, Date, Time, UtcOffset};

/// Format the date portion of ISO 8601.
pub(super) fn format_date<W: io::Write, const CONFIG: EncodedConfig>(
    output: &mut W,
    date: Date,
) -> Result<usize, error::Format> {
    let mut bytes = 0;

    match Iso8601::<CONFIG>::DATE_KIND {
        DateKind::Calendar => {
            let (year, month, day) = date.to_calendar_date();
            if Iso8601::<CONFIG>::YEAR_IS_SIX_DIGITS {
                bytes += write_if_else(output, year < 0, b"-", b"+")?;
                bytes += format_number_pad_zero::<6, _, _>(output, year.unsigned_abs())?;
            } else if !(0..=9999).contains(&year) {
                return Err(error::Format::InvalidComponent("year"));
            } else {
                bytes += format_number_pad_zero::<4, _, _>(output, year as u32)?;
            }
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b"-")?;
            bytes += format_number_pad_zero::<2, _, _>(output, month as u8)?;
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b"-")?;
            bytes += format_number_pad_zero::<2, _, _>(output, day)?;
        }
        DateKind::Week => {
            let (year, week, day) = date.to_iso_week_date();
            if Iso8601::<CONFIG>::YEAR_IS_SIX_DIGITS {
                bytes += write_if_else(output, year < 0, b"-", b"+")?;
                bytes += format_number_pad_zero::<6, _, _>(output, year.unsigned_abs())?;
            } else if !(0..=9999).contains(&year) {
                return Err(error::Format::InvalidComponent("year"));
            } else {
                bytes += format_number_pad_zero::<4, _, _>(output, year as u32)?;
            }
            bytes += write_if_else(output, Iso8601::<CONFIG>::USE_SEPARATORS, b"-W", b"W")?;
            bytes += format_number_pad_zero::<2, _, _>(output, week)?;
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b"-")?;
            bytes += format_number_pad_zero::<1, _, _>(output, day.number_from_monday())?;
        }
        DateKind::Ordinal => {
            let (year, day) = date.to_ordinal_date();
            if Iso8601::<CONFIG>::YEAR_IS_SIX_DIGITS {
                bytes += write_if_else(output, year < 0, b"-", b"+")?;
                bytes += format_number_pad_zero::<6, _, _>(output, year.unsigned_abs())?;
            } else if !(0..=9999).contains(&year) {
                return Err(error::Format::InvalidComponent("year"));
            } else {
                bytes += format_number_pad_zero::<4, _, _>(output, year as u32)?;
            }
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b"-")?;
            bytes += format_number_pad_zero::<3, _, _>(output, day)?;
        }
    }

    Ok(bytes)
}

/// Format the time portion of ISO 8601.
pub(super) fn format_time<W: io::Write, const CONFIG: EncodedConfig>(
    output: &mut W,
    time: Time,
) -> Result<usize, error::Format> {
    let mut bytes = 0;

    // The "T" can only be omitted in extended format where there is no date being formatted.
    bytes += write_if(
        output,
        Iso8601::<CONFIG>::USE_SEPARATORS || Iso8601::<CONFIG>::FORMAT_DATE,
        b"T",
    )?;

    let (hours, minutes, seconds, nanoseconds) = time.as_hms_nano();

    match Iso8601::<CONFIG>::TIME_PRECISION {
        TimePrecision::Hour { decimal_digits } => {
            let hours = (hours as f64)
                + (minutes as f64) / 60.
                + (seconds as f64) / 3_600.
                + (nanoseconds as f64) / 3_600. / 1_000_000_000.;
            format_float(output, hours, 2, decimal_digits)?;
        }
        TimePrecision::Minute { decimal_digits } => {
            bytes += format_number_pad_zero::<2, _, _>(output, hours)?;
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b":")?;
            let minutes = (minutes as f64)
                + (seconds as f64) / 60.
                + (nanoseconds as f64) / 60. / 1_000_000_000.;
            bytes += format_float(output, minutes, 2, decimal_digits)?;
        }
        TimePrecision::Second { decimal_digits } => {
            bytes += format_number_pad_zero::<2, _, _>(output, hours)?;
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b":")?;
            bytes += format_number_pad_zero::<2, _, _>(output, minutes)?;
            bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b":")?;
            let seconds = (seconds as f64) + (nanoseconds as f64) / 1_000_000_000.;
            bytes += format_float(output, seconds, 2, decimal_digits)?;
        }
    }

    Ok(bytes)
}

/// Format the UTC offset portion of ISO 8601.
pub(super) fn format_offset<W: io::Write, const CONFIG: EncodedConfig>(
    output: &mut W,
    offset: UtcOffset,
) -> Result<usize, error::Format> {
    if Iso8601::<CONFIG>::FORMAT_TIME && offset.is_utc() {
        return Ok(write(output, b"Z")?);
    }

    let mut bytes = 0;

    let (hours, minutes, seconds) = offset.as_hms();
    if seconds != 0 {
        return Err(error::Format::InvalidComponent("offset_second"));
    }
    bytes += write_if_else(output, offset.is_negative(), b"-", b"+")?;
    bytes += format_number_pad_zero::<2, _, _>(output, hours.unsigned_abs())?;

    if Iso8601::<CONFIG>::OFFSET_PRECISION == OffsetPrecision::Hour && minutes != 0 {
        return Err(error::Format::InvalidComponent("offset_minute"));
    } else if Iso8601::<CONFIG>::OFFSET_PRECISION == OffsetPrecision::Minute {
        bytes += write_if(output, Iso8601::<CONFIG>::USE_SEPARATORS, b":")?;
        bytes += format_number_pad_zero::<2, _, _>(output, minutes.unsigned_abs())?;
    }

    Ok(bytes)
}

redpajama_set_name: RedPajamaGithub


What is coming your way today is really eye catching and mesmerizingly beautiful. Wedding is a special ocassion when the bride and groom are the focus of everyone's attention. They are given royal treatment on their wedding day. Pictures of the very couple are captured to make each and every tiny moment– a worth memory. For this prospect highly professional photographers are hired to perform this task effectively.
Today my post is all about cute & beautiful professional Wedding Photography pictures by UPPERMOST Photographers. It is unfolding The UPPERMOST photographers, Sigit and Tito who have dedicated their lives in wedding photography and are accessible to go anywhere around the world if people get them hired. This time a cute and adorable couple has been captured by the Uppermost professional photographers in today's post. Hope it will find you taking pleasure and inspiration out of this beautiful wedding photography. Take it away!


text:
Penthouse apartment
A penthouse apartment or a penthouse (coined through French appentier)[3] is an apartment or unit on the highest floor of an apartment building, condominium, or hotel. Penthouses are typically differentiated from other apartments by luxury features. The term 'penthouse' originally referred, and sometimes still does refer, to a separate smaller 'house' that was constructed on the roof of an apartment building.
"Penthouse suite" redirects here. For the tune by Syd Dale, see The Penthouse Suite.
For other uses, see Penthouse (disambiguation).
Architectural definition
In architecture, the term penthouse is used to refer to a structure on the roof of a building that is set back from the outer walls. These structures do not occupy the entire roof deck. High-rise buildings often have penthouse structures called mechanical penthouses that enclose mechanisms such as elevator equipment.
While European designers and architects long recognized the potential in creating living spaces that make use of rooftops and such setbacks, in US cities, exploitation of these spaces began in earnest in the 1920s. It was a matter of news when the development of a rooftop apartment at the Plaza Hotel overlooking Central Park was announced in 1923, and this was followed by rapid development of luxury penthouse apartments in the following years.[4]
When used as private outdoor terrace spaces, setbacks can allow for significantly larger and more protected spaces than cantilevered balconies. Due to the desirability of this outdoor space, buildings may be designed with such setbacks on more than one of its uppermost levels to allow apartments on several levels to feature such terraces. Not all penthouses have such terraces, but they are a desired feature. One such space may be divided among several apartments, or one apartment may occupy an entire floor. A penthouse apartment/condominium may also provide occupants with private access to the roof space above the apartment, instead of, or in addition to, terrace space created by an adjacent setback.
Location and size
Penthouse apartments have not only the advantages of a regular apartment such as security and convenient location but also many of those of a house such as size and design.
Similar to other city apartments, penthouses are usually located in the heart of urban centers yet offer a sense of being situated far away from or above noisy and crowded urban life. Such locations provide easy access to hotels, restaurants, malls, and schools. On the basis of their sometimes larger size, penthouses also generally overcome the issue of small space in regular apartments.
Penthouses also differentiate themselves by luxurious amenities such as high-end appliances, finest materials fitting, luxurious flooring system, and more.
Features not found in the majority of apartments in the building may include a private entrance or elevator, or higher/vaulted ceilings. In buildings consisting primarily of single level apartments, penthouse apartments may be distinguished by having two or more levels. They may also have such features as a terrace, fireplace, more floor area, oversized windows, multiple master suites, den/office space, hot-tubs, and more. They might be equipped with luxury kitchens featuring stainless steel appliances, granite counter-tops, breakfast bar/island, and more.
Penthouse residents often have fine views of the city skyline. Access to a penthouse apartment is usually provided by a separate elevator. Residents can also access a number of building services, such as pickup and delivery of everything from dry cleaning to dinner; reservations to restaurants and events made by building staffers; and other concierge services.
For example: the top floor penthouse of Robert A. M. Stern's 15 Central Park West 20-story apartment building in New York has the following amenities:[5]
Set on a rooftop terrace, the penthouse has a view of the Midtown Manhattan skyline and at its feet is the whole geometry of Central Park.
Penthouse ceiling was constructed to be thirteen and a half feet high. Windows were made to be as high and wide as they could be.
Each section of the penthouse was furnished with unique materials. For the entrance gallery: marble floors and parchment panels framed in mahogany. For the library: Brazilian rosewood. For the dining room: Venetian stucco. For the master bedroom: reeded plaster. For the kitchen: Jaguar-green lacquer, bamboo, and textured glass. For the interiors of the fireplaces: long, narrow 19th-century bricks imported from France.
This penthouse has a very sophisticated technology system. An anemometer was installed on the roof to measure wind speed so the terraces' canvas awning can be retracted and does not get ripped off the penthouse's exalted façade. Moisture sensors were used to detect a leak, automatically sending an e-mail to the building managers. Temperature sensors, strapped to pipes, send an e-mail when the temperature deviates by as little as a single degree from the temperature set by the client.
Cultural references
Penthouse apartments are considered to be at the top of their markets, and are generally the most expensive, with expansive views, large living spaces, and top-of-the-line amenities.[6] Accordingly, they are often associated with a luxury lifestyle. Publisher Bob Guccione named his magazine Penthouse, with the trademark phrase "Life on top".[7]
Basement apartment
Jessica Dailey (July 28, 2015). "Peek Inside the Woolworth Building's $110M Penthouse". Curbed New York. Retrieved March 5, 2016.
Georgia McCafferty (November 20, 2015). "Asia's most expensive apartment sells for $66 million". CNN Money. Retrieved March 5, 2016.
Wedgwood, Hensleigh (1855). "On False Etymologies". Transactions of the Philological Society (6): 66.
Kneen, Orville "Manhattan's $300,000 Rooftop Apartments" Modern Mechanics and Inventions November 1929
Aronson, Steven M. L. "Rooms with a view: inside and out, a New York penthouse attracts attention." Architectural digest. 67.4 (2010): 62-69. Print.
Kim, Lauren Baier "Through the roof: Luxury -Penthouse condos" Wall Street Journal Real Estate (November 9, 2005)
"Life on Top" USPTO #77653907
Wikimedia Commons has media related to Penthouses.
Penthouse (architecture) at the Encyclopædia Britannica


Yasunoshin Morita wins ISCM Young Composer Award 2013. The Japanese composer Yasunoshin Morita has won the ISCM Young Composer Award 2013 for The History of Songs & Words. The work for choir was performed as part of the 2013 ISCM World Music Days on November 13 in the Mittlerer Saal of the Urania Observatory in Vienna by Camerata Silesia Katowice conducted by Anna Szostak. The jury, consisting of Stephen Lias, Alper Maral and David Pay, appreciated the witty and colorful writing, in which fragmented gestures of kinetic energy coalesced into forceful rhythmic patterns. Extended techniques and layered textures created an inherent velocity, and the power of the piece was reflected in the audience's enthusiastic response. For the first time, Music on Main from Vancouver, Canada, has teamed up with ISCM to present a commissioning award to a young composer.


text:
package org.apache.ambari.server.controller.jdbc;

import java.sql.Connection;
import java.sql.DriverManager;
import java.sql.SQLException;

/**
 * Connection factory implementation for job history postgres db.
 */
public class JobHistoryPostgresConnectionFactory implements ConnectionFactory {
  private static final String DEFAULT_HOSTNAME = "localhost";
  private static final String DEFAULT_DBNAME = "ambarirca";
  private static final String DEFAULT_USERNAME = "mapred";
  private static final String DEFAULT_PASSWORD = "mapred";

  private String url;
  private String username;
  private String password;

  /**
   * Create a connection factory with default parameters.
   */
  public JobHistoryPostgresConnectionFactory() {
    this(DEFAULT_HOSTNAME, DEFAULT_DBNAME, DEFAULT_USERNAME, DEFAULT_PASSWORD);
  }

  /**
   * Create a connection factory with given parameters.
   *
   * @param hostname host running postgres
   * @param dbname name of the postgres db
   * @param username username for postgres db
   * @param password password for postgres db
   */
  public JobHistoryPostgresConnectionFactory(String hostname, String dbname, String username, String password) {
    url = "jdbc:postgresql://" + hostname + "/" + dbname;
    this.username = username;
    this.password = password;
    try {
      Class.forName("org.postgresql.Driver");
    } catch (ClassNotFoundException e) {
      throw new IllegalStateException("Can't load postgresql", e);
    }
  }

  @Override
  public Connection getConnection() throws SQLException {
    return DriverManager.getConnection(url, username, password);
  }
}


Supplier Management, Purchasing and Inventory management.
To ensure all activities are conducted in a safe manner.
Preparation of reports to the Management Team.
Expertise in negotiating supplier contracts, creating and analysing bids.
Able to take ownership of situations to deliver results.
Ability to influence key stakeholders in the business.
Minimum 5 years running multi-faceted warehousing and logistics operation.


DUSSELDORF, Germany – Adamson Systems Engineering announced United Brands GmbH as its new exclusive distribution partner for Germany. Pictured here, from left: DV2's Didier Dal Fitto; Adamson's Jochen Sommer; DV2's Guy Vignet; Adamson Founder Brock Adamson; United B's Wolfgang Garcon; United B's Tobias Rengers and Adamson's James Oliver.
Adamson Systems Engineering is proud to announce a new partnership with United Brands GmbH, as it takes the position of exclusive distribution partner for the German market.
Based in Düsseldorf, Germany, the team at United Brands brings decades of expertise in the German pro audio market in addition to a well-established infrastructure and technical staff to support the Adamson brand.
This partnership was made possible by the recent acquisition of United Brands GmbH by Adamson minority owner and French and Belgian distribution partner DV2.
Like DV2, United Brands is a longtime and reputable distributor of Digico, making for an attractive union between one of the world's most respected and fastest-growing digital live mixing console manufacturers and Adamson's premium loudspeaker systems.


text:
Change your cat's bell to save birds
The age-old technique of attaching a bell to a cat's collar to warn birds of its approach is losing its effectiveness because cats are learning to walk without ringing them.
Photo: Ian Jones
By Jasper Copping
9:45AM BST 30 May 2010
Wildlife experts have told cat owners they need to regularly change their cat's bell to stay one step ahead of their pet.
They are also calling for owners to give their cats garishly coloured collars and to install sonic devices in their gardens to scare their pets indoors.
The advice is contained in a new guide produced by the British Trust for Ornithologists (BTO) which aims to reduce the impact of cats on garden birds.
Cats are believed to be responsible for the deaths of 55 million birds in Britain every year and have been blamed for contributing to the long term declines of garden birds like the house sparrow.
Populations of other garden birds, such as the robin and dunnock, are also said to suffer from predation by cats.
Tale of two pigeons: Woodpigeon blamed for demise of rival
Vets hit back over claims that fat pets comfort eat like Bridget Jones
Got a fat pet? It's just comfort eating: Cats and dogs diagnosed with 'Bridget Jones syndrome'
British pigeons racing for new homes in China
'CatCam' could vindicate pets accused of killing birds
Freak weather hits bird life
Dr Tim Harrison, from the BTO, said cats were able to reduce the effectiveness of bells through careful movements. By keeping their heads still as they stalk, the sound of the bell is reduced.
"It is fascinating that you have this animal that can try to compensate for this bell put round its neck. It also couldn't harm to try a colourful collar on the cat.
"Birds are predominantly visual foragers with keen eyesight so anything like that wouldn't do any harm."
He added: "Owners should also consider how much you let your cat outside at this time of year. And perhaps supervise their time, when they are outside.
"Predominantly, the daylight hours are going to be the most sensitive for the birds so better to keep cats in during those daylight hours.
"It will be difficult for cat owners. If not a blanket policy of keeping them in, maybe just try to restrict their time out and try to supervise them when you are in the garden, to keep some kind of tabs on them.
"We're not necessarily advocating this as a year round thing, but perhaps just for the next couple months.
"Public sentiment towards cats is very strong, as it is towards garden birds. There is great affection for both. We need to accommodate both with a bit of understanding on both sides."
But Maurice Melzak, editor of social networking website PetStreet, warned against measures that treated all cats as equally guilty.
"Some cats are voracious hunters and will bring in absolutely anything, but most do nothing. It is a disproportionate number of cats which do the damage. It is a minority who are responsible.
"I would warn against treating them all as equally guilty."
There are thought to be some nine million cats in Britain. The effect of cats on bird populations is a controversial subject, with some suggesting that predation by cats actually reduces competition for food for the surviving birds.
The BTO's new guide is the first time the organisation has drawn up such advice for cat owners.
It is being launched at the time of the year when there are many fledgling birds in gardens, which are particularly vulnerable to predation by cats.
The new guide provides other practical steps that householders can take to reduce the number of birds killed by cats. This includes spreading out bird feeders so that flocks can spot a preying cat more easily.
It also suggests using chicken wire and thorny vegetation to surround areas used by birds.
A copy of the guide is available from the BTO.
Earth News »
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1/2-Zip Jersey Pullover Sweater, Navy■説明文(英語)■ 色: NAVY Peter Millar solid knit pullover. Approx. measurements: 27"L from shoulder, 29"L down back. Stand collar; 1/2-zip. Long sleeves; 24.5"L. Pullover style. Banded hem. Cotton; machine wash. Imported.


When you miss your ferry on San Juan Island to go to Anacortes, you have some time to walk around Friday Harbor and discover beautiful things like this mural. Annie Howell-Adams is the artist and by painting these beautiful murals, she commemorated 100 years of commercial fishing in the San Juan Islands.
Look at these amazing aluminium panels on the wall of Ace Hardware Building on Nichols Street, Friday Harbor,WA.
What to do around Alki Beach?
If you have out of town visitors, there is a great view point above Alki Beach you may not know about. On your way to Alki Beach, take California Way SW just after the Water Taxi Dock on your left and a bit higher you'll find Hamilton Viewpoint Park. Click on the address below to get the directions.
If you are lucky, when wandering along the beach, you can say hi to the seals… but always from a distance.
And if like me, you have a thing for ferries, sit on the beach, you will be in the front row.
If you look for a more quiet Beach, pass Alki Point and the Lighthouse to go to Beach Drive SW.


Painting as well as the saddlery are confided to two partners with whom we collaborate for several years.
Classic Car Charolais, it is the assurance of a very high quality work.
Good visit on our site.
This passion, when you confide us the object of your dreams (whether it is in restoration or in maintenance ) guarantees you a work according to the rule book with the respect for the spirit of the epoque of your vehicle.
To bring to a successful conclusion our realization we have acquired skills over the years as the mechanics, the body and the electricity and a charming recent workshop equipped with all the equipments necessary.


Now busing from all CHCCS Schools!
Due to severe weather conditions expected this afternoon, Chapel Hill-Carrboro City Schools will operate on a two-hour early dismissal. This means that AfterSchool will be closed today 4/19. CHCCS Transportation will not be transporting students to the ArtsCenter today.
Registration is now open for our Spring Quarter of ArtSchool!
Our ArtSchool offers classes and weekend workshops for teens and adults in ceramics, painting, metalsmithing and more.
Contributions directly support The ArtsCenter's mission to educate and inspire creativity and enrich the lives of people of all ages.