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Now, we know all about TutuBox. It will be the best choice in case of downloading apps and games. Because it has all the features that a user wants. The app is available for various platforms. But if we talk about Android it is still not available. The developers are working on it. The app will be available for Android soon. Once it will be available for Android platforms. You will be notified and you can easily download it from this website. I hope, you enjoyed this article and found it informative. But, if you still facing any issues or have questions related to TutuBox and its alternative. So, feel free to leave a comment. I will try to solve it as soon as possible.


these forms are live and I need this sorted out ASAP.
I used Google Chrome. Are these the right forms, where you are experiencing this error? I kindly ask you to share with us the forms' url so we can test the forms.
From my research this might be connected with the Google Spreadsheet Integration. Do you have it active in the problematic forms? If so please try removing the Google Spreadsheet Integration as described in this thread.


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A SOUND IN THE MAKING — A new series by Bluesound dedicated to spreading sonic enthusiasm whilst sharing our obsession with audio engineering and high resolution sound reproduction. Designed to showcase inventive and creative sound makers through exclusive access to studio rehearsals, mixing sessions and on-site venue sound checks — we uncover unique insights into the processes, inspirations and vision that goes into making their unique sound — a parallel journey to our own quest for perfection in sound. Come along for the ride.
October 5, and not yet 12 hours after Zara McFarlane has returned from her most recent trip to Jamaica, we're in studio 1A at RAK Studios in London, England – getting ready for a very special 30-minute live set being broadcast in real time – in studio master quality – to multiple locations around the world. This is history in the making and a technological first.
It's an unusually warm and sunny day for early October – especially in London. It feels a lot more like early summer than the middle of fall – but we'll take it. We hop off the tube at St. John's Wood station and walk towards RAK studios. As we arrive, the history of the place immediately begins to set in.
The walls are covered with awards for recordings by some of music's biggest names. Even a quick trip to the 'loo' finds any available hallway space covered with mementoes of iconic songs that are burned into our collective memories. There's even a vintage Wurlitzer Americana sitting in a corner – just begging to be played.
As Spencer Chrislu – MQA's content director – checks mic's and begins fine tuning the massive mixing board's sea of knobs and dials – Zara and her bandmates begin arriving, catching up and unpacking their gear. Wearing a long and bright mustard yellow coat, the sun, it seems has definitely followed Zara back from Jamaica.
To warm themselves up, Zara and the band run through the entire set, giving Spencer and his team the chance to finesse the recording and broadcasting equipment just perfectly for the main event. As the sound check wraps up, we go for a short break before taking places.
It's one thing to witness a live performance up close. It's another altogether to be one of a handful of people inside one of the worlds best-recording studios, getting a near 1:1 performance sitting 10 feet from the band.
The set kicks off with 'Peace Begins Within' – a fresh cover of Nora Dean's 1971 Jamaican original and then moves through the majestic and harmonic 'Pride,' the funk-and-ska vibe of 'Freedom Chain,' the smooth and rich feel of 'In Between Worlds,' and the solo bass and vocal scatting exchange of 'Allies and Enemies.' The set then wraps up with the reggae-fueled 'Fussin' and Fightin' – giving us an intimate tour of the deep range of sounds and emotions Zara's explored in her new album Arise.
We then sit down with Zara in the studio to ask a few questions…
Bluesound: So this is an unusual type of performance that you're doing here. It's actually a live performance, and it's being listened to on multiple occasions throughout the world; London, New York and Denver, but you don't see the audience. Are you going to approach this differently from a normal live performance?
Zara McFarlane: It is strange for me to be doing a performance in front of nobody in that regard [laughs]. But just to know that there are other people in different parts of the world listening in is quite strange but… I don't think I'm going to approach it differently. What I'll be focusing on is really listening to the sound and what I'm trying to create vocally from my point of view and honing in with the band. When you've got a live performance in front of an audience you get a certain kind of energy back as well–there is a give and take from this experience of the performance–so that obviously won't be there in that same way. So I think, yeah I'm going to be really honing into the sounds and trying to convey a particular kind of emotional message through the music.
"When you've got like a performance in front of an audience, you get a certain kind of energy back as well as a give and take…"
Bluesound: What is your favourite song to perform live at the moment?
Zara McFarlane: My favorite song to perform live is always a hard question, but there's one that I sing from time to time called "Ode to Cyril," but I do need a live audience there for that one because I get them to repeat what I'm saying. So it's got a lot of call and response, and it's danceable which many of my songs haven't been in the past with my previous albums. I really enjoyed performing this record because it's got much more rhythm going on.
Bluesound: Is it the rhythm in particular that you like?
Zara McFarlane: I think that you can really communicate with the audience to get them involved in the show. Like I said before a lot of my other records didn't have that much more "ballady" or more traditional jazz sounding which just doesn't allow for it as much as when you've got more rhythm. People relax a bit more. They don't feel so exposed. And just to have some fun between the audience is really nice.
Bluesound: Do you think about the instrumentation of the songs when you are actually writing them or does that come later?
Zara McFarlane: In regards to writing songs, sometimes I can hear very clearly a sound that I want or the instruments I want. Sometimes the melody comes first and then I write the lyrics and then the instrumentation comes later. But actually, a lot of the time when I'm writing I often start with basslines. So I have a really strong idea of what I want the bassline to be, and then I work a melody around that or the rhythm around that. So this last record's basslines came and then the rhythms came because I knew that I wanted to have a lot of rhythmic influence on this record.
Bluesound: The bassline seems particularly important in Jamaican music. Why is that do you think?
Zara McFarlane: For me, the bassline in Jamaican music is the most important bit–it's like the heartbeat. More so than even the rhythm. More so than even the one drop, this particular one drop rhythm that they have in reggae music.
The bass is the thing that gives it the pulse, you know I don't know if you've ever been to a carnival in London. That is the thing that instigates the music the most. You know you could actually feel your heart moving with it. Sometimes it feels like it's taking over the rhythm of your heart because it's actually so strong and that it's making the whole body vibrate in a certain kind of way. So I remember as a kid being in Jamaica and hearing the sound systems just up the road from where my grandmother lived and that's all we can hear really, to be honest, in that part of town.
"You know you could actually feel your heart moving with it. Sometimes it was like taking over the rhythm of your heart because it's so it is making the whole body vibrate in a certain kind of way."
Bluesound: I believe you do production for your own records as well?
Zara McFarlane: Yeah I often produce a little bit before I show the band the music. I do some easy kind of production on Garage Band or something–a lot of midi-kind of sounds–but then also in the studio. The last two records… The first two records that I did were self-produced, but this last record I had a producer I was working with called, Moses Boyd, who used to be my drummer actually.
"I often produce a little bit before I show the band the music. I do some easy kind of production on Garage Band or something–a lot of 'midi-kind' of sounds–but then also in the studio."
Bluesound: When you're producing, are you actually thinking about what the sound of the record is going to be like, in different sources?
Zara McFarlane: Yes. So with the first two records, we performed a lot of it all together in the studio. Similar to how we were today in the studio, so it's got that kind of more live feel. We do a couple of takes, like three or four takes, and then we choose the better one. So in regards to that, the sound, I was always trying to keep it quite clean sounding as close to a live recording as possible. But this last record, Arise, was slightly different because we had a lot more instruments. We had like a horn section, I was doing multiple vocal harmony parts for guitar and stuff, so there's a few more overdubbing things that needed to be done compared to normal. So the sound then, how you approach it, is a bit different.
"I think people are always travelling with music as well as listening to it on their headphones, in the car… So music is very important, actually, I think maybe more so than ever before."
Bluesound: What is your musical process?
Zara McFarlane: How is my musical process? It varies all the time. It just depends. This last record I really knew that I wanted rhythm to be very important to the music and I often start with basslines. With this one, we kind of created the shape of the music around the bassline, the chords, the rhythm. Previously, I've done things where I start with the melody and I start with the lyrics – normally melody and then lyrics rather, and then mess around with some chords afterwards. I have no firm process. It just depends. And with regards to inspiration. I tend to be inspired by things that are non-musical, so like going to the theatre or going to see dance or something like that. Reading a good story or hearing a weird story in the news or something like that I don't really get inspired by other music – to write music.
Bluesound: Arise sounds like it's been thought through from the beginning to the very end. Are albums relevant today do you think? You know, when we've got streaming and you can just listen to one track at a time.
Zara McFarlane: That's a good question. I don't know. There's a rise now again in vinyl so I feel it has become relevant again; the idea of listening, sitting down and taking time to listen to music and even amongst younger generation people–they're kind of coming back to that idea.
"I suppose the sound quality–what the sound requires, what the artist requires will be different depending on the artist or depending on the music."
Bluesound: Do you listen to streaming or do you like vinyl?
Zara McFarlane: A bit of everything, really. These days I mostly listen to streaming because when I'm travelling a lot it's quite handy to have that there. But it's nice to listen to certain vinyl as well sometimes, at different studios as well I can get to go to, CDs a little bit as well.
Bluesound: There's something that is quite important for us. In the hardware part of the industry, we try and have a real connection with musicians, because I think too much of our business were talking about specifications of boxes and what's inside them and that's not really what it's all about. It's about the music. I think we're interested in making connections through musicians.
Zara McFarlane: Yeah, I suppose the sound quality–what the sound requires, what the artist requires will be different depending on the artist or depending on the music. Jazz, obviously, can be very soft and eloquent sounding. But it can also be quite harsh. Like some of the tracks that we had here where the sax is going – it's very different – can be very dynamic – from one extreme to the other – whereas perhaps a folk singer with just a guitar – what they require from sound is very different.
LISTEN TO PART ONE OF THE STUDIO INTERVIEW WITH ZARA MCFARLANE.
Tags: a sound in the making, mqa live, zara mcfarlane / Category: Culture

redpajama_set_name: RedPajamaCommonCrawl


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"Mommy, I am in Syria." Parents whose children left for Jihad relate how it happened
On October 7, 2015, a public campaign to support the parents whose children went to participate in jihad was launched in France. It was initiated by four families who had gone through this drama and who still cannot understand their children's choice, reports RFI.
Parents are looking at the image of their daughter made by a surveillance camera at a train station on October 2, 2014. On the following day she left for Syria. Photo: AP
The French Ministry for Internal Affairs has supported this initiative and one-minute videos in which such parents relate their stories and have been broadcast by all the French radio and TV channels since October 7. None of these parents suspected their children had any such plans. And none of them have seen their children since they disappeared.
Batiste: "On the day of Lea's departure, the weather was fine. She took only a rucksack and a scarf along. And we have not seen her since then. We did not notice and did not understand anything."
"Then she herself called us. She said: 'Mommy, daddy, I know that it will hurt you, but I came to Syria and joined jihad.' And we felt we were losing the very ground under our feet. She gave birth to a baby since then. Our daughter has chosen a life amid war. She looked for a better life, but I believe she has found hell. They have stolen our daughter from us. We are not parents of terrorists, we are their victims."
That was Batiste Boirolen, Lea's father. The girl's mother, Valerie, has written a book on how her daughter over several months changed from a cheerful teenager, who used to dance to the music of Rihanna and Beyonce, to a radical Islamist.
Lea, 17, met a radical Islamist via a social network. The name of this jihadist was Abdul Wadud, a speaker of the "Islamic State" terrorist group. After a short period of communication she decided to move to him and live in Syria. The parents did not notice how their daughter changed. Later they learned that the girl hid her paranja in the rucksack and wore it only when she left her house. The director of Lea's practical training course saw the sudden change in the girl but told her parents nothing about it.
After the publication of her book, Valerie Boileron met with other parents who got in the same situation in spite of themselves. For absolutely all of them, their children's departure was a great shock. Likewise, for Veronique her 23-year-old son had been an antiglobalist, but by no means a terrorist… Until they received the sad news from Syria.
Veronique: we do not know exactly where he is now and what he is doing. We cannot come and take him either. I cannot embrace or kiss him any more.
Veronique: "Our son lived in a considerably privileged environment. He liked music, sports and always joked. And this is very hard to understand. We had spent a splendid weekend before he disappeared. I fried pancakes, and all the family sat at the holiday dinner.
His brother was near him, we all laughed. He said he was going to Germany. So he left the following morning and never returned. And it was only a month later that we learned that he was in Syria. We do not know exactly where he is now and what he is doing. We cannot come and take him either. I cannot embrace or kiss him any more. That is terrible. It is very difficult to express what we feel now. Presently we can hardly say the truth: others do not understand us properly and take us negatively. But we cannot stay alone in such a situation. The worst thing now is to be silent. We need help because we are in bitter grief."
The producer of these short videos Fabienne Servan-Schreiber has said that anyone could end up in these parents' situation.
Fabienne Servan-Schreiber: "In these reels we wanted, first of all, to show the suffering of families, suffering of parents whose children have gone to fight in Syria.
Because it is terrible: to be unaware of what is happening with them and to know that they are in permanent danger and are suffering very much as well. Also we wanted to show that these parents are not alone. The whole country is thinking of them and trying to support them. In one of these videos a father says: "We are not parents of terrorists, we are their victims." This is what is taking place in reality. The youths who have gone to Syria are of various social and religious backgrounds. There is no universal profile here. It may happen to anybody, to any family from our milieu. That is why we need to be vigilant and to grasp this phenomenon."
At the end of each clip a telephone number appears on the screen that parents are expected to call if they fear that their children have been converted to radical Islam. Over the first year of its existence, over 3000 families appealed to this service. Furthermore, 20 percent of 3000 applications referred to underage children, and the majority of them were girls. According to the French Ministry for Internal Affairs, around 1,500 French citizens are linked to the network of jihadists of the "Islamic State", more than 500 Frenchmen are currently fighting in Syria and Iraq, and over 100 French fighters have been killed there.
"We are fighting a very hard battle," admits The Interior Minister of France Bernard Cazeneuve regarding the launching of the "counterpropaganda campaign" against ISIS, which is spreading it call on the Internet every week. How can we identify the teenagers who believe these calls? How can we understand what is happening to them, if they do not inform their parents at all? This is also a part of the campaign launched in France on October 7.
"To prevent it while it is still not too late," says Saliha Ben Ali who lives in Belgium. She has established in her country "The Society against Violent Extremism" of the parents who have undergone the same tragedy.
Someone called Saliha's husband from a Syrian number. He was happy: at last his son was calling! But an unknown voice "congratulated" him that his son became a shahid.
Saliha Ben Ali: "He (her son) got involved with people whom he should have never met. These individuals are constantly searching for new victims."
Saliha Ben Ali: "My son Sabri went to Syria in August 2013. When I read these words of his, written on a piece of paper: 'Mommy, I am in Syria', I had only one thought: His words mean: "Mommy, I am dead". I said to my husband: 'Our son has died'. He replied: 'No, he is in Syria'. But I knew that it meant death. He got involved with people whom he should have never met. These individuals are constantly searching for new victims. My son did not reach the age of 19. One day my husband went out for a walk on the street. Someone called him from a Syrian number. He thought: 'At last my son is calling!' The husband answered, but it was a Syrian man who congratulated him that his son had become a martyr. And when you learn about your child's death, they do not even tell you his or her name because they are given the fighters' new names. It is as if you are no longer the parents of your own child. It does not matter where you are from or what your religion is—this can happen to anybody."
Translation by Dmitry Lapa
Terror by the minute Terror by the minute
Across Europe, Africa, and the Middle East terrorist attacks unfolded seemingly simultaneously in January, a product of bigger, better-financed Islamic jihadists driven by a singular ideology. 'The West is duly terrified. But it should not be surprised'. Elder Paisios on the Rise of Islam in France Elder Paisios on the Rise of Islam in France
Elder Paisios said the following in November of 1988, and it is recorded in the book Elder Paisios of Mount Athos, Spiritual Counsels I: With Pain and Love for Contemporary Man. Philosopher Pierre Manen: France has become violently anti-Christian Philosopher Pierre Manen: France has become violently anti-Christian
"The civil war in France. The republic against Christianity," is is the title of the interview, given by the philosopher to the Italian weekly, Il Foglio.
J Clivas10/13/2015 2:59 am
These parents are pathetic, but not in the way you might think. They lost their children long before jihad became
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Back to Local News
Kalispell woman pleads to role in hit and run fatal
September 10, 2019 at 5:00 am | By SCOTT SHINDLEDECKER Daily Inter Lake
William 'Bumps' Winter
A Kalispell woman accused of running over an 89-year-old man in the street last fall has pleaded no contest to the offense.
Heidi Marie Long, 46, entered the plea to one misdemeanor count of careless driving involving death or serious injury Monday morning in Kalispell Municipal Court.
According to a report by Kalispell Police Officer Jason Parce, Long was driving north on First Avenue West when she struck and severely injured William "Bumps" Winter at about 8:12 p.m. Thursday, Sept. 27, 2018, as he attempted to cross the street in the crosswalk at the intersection of First Street West.
Winter died the next day at Kalispell Regional Medical Center.
Also part of Parce's report was an eyewitness statement by William Sirl, who said he saw the Long's vehicle hit Winter without slowing or braking and he saw Winter "roll off" Long's vehicle. Also, the incident was partially captured by video surveillance from a nearby business.
Long avoided jail time with the plea agreement, but she was sentenced to six months deferred, with 30 days of formal house arrest. She also must pay of fine of $1,500. If Long remains law abiding in the next six months, the charge will be dismissed from her record.
"Good luck and I hope I don't see you again," Municipal Court Judge Lori K. Adams said to Long.
Long's attorney Sean Hinchey replied "You won't, your honor."
Adams also addressed members of Winters' family, saying "nothing can bring back your father, but this is the resolution that has been agreed upon.
"I'm not 100 percent in favor of this agreement, but I've known both attorneys in this case a long time and I'll trust their judgment," Adams said. "But we can't forget that this is a serious offense and a man's life was taken."
Long initially accepted a plea agreement March 21 from the Kalispell City Attorney's office. The deal indicated Long would plead guilty, pay a $2,500 fine and receive a one-day deferred sentence.
But, according to Lori Nelson, one of three daughters of Winter who wanted to see Long prosecuted for their father's death, said Judge Adams didn't accept the plea agreement because jail time wasn't included.
Adams said that because the plea agreement wasn't what the family was in favor of, namely jail time, she rejected it.
"The family wanted some jail time, even just one day, and because the plea agreement called for one day deferred, I didn't think it was appropriate," Adams previously said.
After the plea deal was rejected, Long changed her plea to not guilty. A jury trial was scheduled for July, but later negotiations resulted in the plea agreement.
"I don't know if it's fair, but we needed closure," Nelson said. "This has been going on for nearly a year. I still don't understand how the county attorney, city attorney could have so much sympathy for her. It was too much."
The family believed the sympathy they thought Long received was due to the fact one of her grandchildren had died in a vehicle mishap earlier this winter.
"But it still didn't mean that she should have received the treatment she did," Winter's daughter Tammy Bohland said. "She made a lot of excuses, changed her story. It wasn't a victimless crime.
"It shouldn't be that hard to get a little justice." Bohland said.
Johnna Preble, the assistant city attorney prosecuting the case, previously acknowledged the tragedy.
"It's a terrible thing that happened and we try to take the family's thoughts into consideration, but at the same time, we can't let emotion rule what we are trying to do," Preble said.
Long was required to register with Compliance Monitoring as of 5 p.m. Monday, Sept. 9, as part of her house arrest.
Scott Shindledecker may be reached at 758-4441 or sshindledecker@dailyinterlake.com.
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Water rights act seen as historic victory by some, disaster by others
January 19, 2020 at 5:00 am | Daily Inter Lake Since being introduced in early December by Sen. Steve Daines, R-Mont., the Montana Water Rights Protection Act has drawn strong opinions both for and against the landmark agreement. Lake County com...
Popular brewery, grocery store have new owners
January 19, 2020 at 5:00 am | Daily Inter Lake Great Northern Brewing Co. and Markus Foods in downtown Whitefish are under new property management, and while the new owners intend to retain Markus Foods as a grocery store, future plans for the br...
C-Falls, Libby and Eureka get state tourism grants
January 19, 2020 at 5:00 am | Daily Inter Lake The city of Columbia Falls, along with organizations in Libby and Eureka, are among the recipients of grants for tourism and outdoor recreation activities announced Thursday by the Montana Departme...


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Q: Email List Display i am trying to display emails from gmail in android using javamail api in a list but i am not able to print Message Type . how to display message type in for loop...
            inbox = store.getFolder("Inbox");
            inbox.open(Folder.READ_ONLY);

            MimeMultipart multipart;
            BodyPart bodyPart = null;
            String disposition = null;

    //Return result to array of message
            Message[] result = inbox.getMessages();

            for(int mail_num = 0; mail_num < result.length; mail_num++)
            {
              multipart = (MimeMultipart) result[mail_num].getContent();
              bodyPart = multipart.getBodyPart(mail_num);

              String from = InternetAddress.toString(result[mail_num].getFrom());

              t1.setText(result[m`enter code here`ail_num].getSubject());
              t2.setText(bodyPart.getContent().toString());
              t3.setText(result[mail_num].getSentDate().toGMTString());
              t4.setText(from.toString());
            }

A: Maybe following code can help you :)
  public static void receiveEmail(String pop3Host, String storeType,
  String user, String password) {
  try {
   //1) get the session object
   Properties properties = new Properties();
   properties.put("mail.pop3.host", pop3Host);
   Session emailSession = Session.getDefaultInstance(properties);

   //2) create the POP3 store object and connect with the pop server
   POP3Store emailStore = (POP3Store) emailSession.getStore(storeType);
   emailStore.connect(user, password);

   //3) create the folder object and open it
   Folder emailFolder = emailStore.getFolder("INBOX");
   emailFolder.open(Folder.READ_ONLY);

   //4) retrieve the messages from the folder in an array and print it
   Message[] messages = emailFolder.getMessages();
   for (int i = 0; i < messages.length; i++) {
    Message message = messages[i];
    System.out.println("---------------------------------");
    System.out.println("Email Number " + (i + 1));
    System.out.println("Subject: " + message.getSubject());
    System.out.println("From: " + message.getFrom()[0]);
    System.out.println("Text: " + message.getContent().toString());
   }

   //5) close the store and folder objects
   emailFolder.close(false);
   emailStore.close();

  } catch (NoSuchProviderException e) {e.printStackTrace();}
  catch (MessagingException e) {e.printStackTrace();}
  catch (IOException e) {e.printStackTrace();}
 }

 public static void main(String[] args) {

  String host = "mail.javatpoint.com";//change accordingly
  String mailStoreType = "pop3";
  String username= "sonoojaiswal@javatpoint.com";
  String password= "xxxxx";//change accordingly

  receiveEmail(host, mailStoreType, username, password);

 }
}

redpajama_set_name: RedPajamaStackExchange


text:
Mueller's Empire: Legions of Lawyers, Bottomless Budget, Limitless Jurisdiction
By Andrew C. McCarthy| 2017-07-12T14:48:26-07:00 June 21st, 2017|
So I've been wondering: Why on earth does a prosecutor, brought in to investigate a case in which there is no apparent crime, need a staff of 14 lawyers?
Or, I should say, "14 lawyers and counting." According to the press spokesman for special counsel Robert Mueller—yeah, he's got a press spokesman, too—there are "several more in the pipeline."
Concededly, none of Mueller's recruits requires Senate confirmation, as do Justice Department officials—notwithstanding that the former may end up playing a far more consequential role in the fate of the Trump administration. But does it seem strange to anyone else that, by comparison, the president of the United States has managed to get—count 'em—three appointees confirmed to Justice Department positions in five months?
A special counsel, the need for whom is far from obvious, has in just a few days staffed up with four times the number of lawyers. And all for a single investigation that the FBI has described as a counterintelligence probe—i.e., not a criminal investigation, the kind for which you actually need lawyers.
The way this is supposed to work is: the Justice Department first identifies a likely crime, and then assigns a prosecutor to investigate it. Here, by contrast, there are no parameters imposed on the special counsel's jurisdiction. Mueller is loosed—with 14 lawyers and more coming—to conduct what I've called a "fishing expedition."
Oh, and about those three Justice Department appointees: One of them, Attorney General Jeff Sessions, has already recused himself from the investigation in question—the department's most high profile undertaking. Another, Deputy Attorney General Rod Rosenstein, is reportedly weighing whether he, too, should bow out. Perhaps he figures he has already done quite enough, having sicced a special-counsel investigation on the Trump Administration by flouting both the regulation that requires a basis for a criminal investigation before a special counsel is appointed, and the regulation that requires limiting the special counsel's jurisdiction to the specific factual matter that triggers this criminal investigation.
The way this is supposed to work is: the Justice Department first identifies a likely crime, and then assigns a prosecutor to investigate it. Here, by contrast, there are no parameters imposed on the special counsel's jurisdiction. Mueller is loosed—with 14 lawyers and more coming—to conduct what I've called a "fishing expedition." But it is actually worse than that, as sagely observed in these pages by my friend John Eastman, the Claremont Institute scholar and former Chapman Law School dean. Mueller's probe is the functional equivalent of a general warrant: a boundless writ to search for incriminating evidence. It is the very evil the Fourth Amendment was adopted to forbid: a scorch-the-earth investigation in the absence of probable cause that a crime has been committed.
For now, Mueller appears utterly without limits, in his writ and in his resources. As the ease with which he has staffed up shows, it is not hard to recruit lawyers. All you need is money. Mueller has a bottomless budget, thanks to a bit of Treasury Department chicanery known as "permanent, indefinite appropriations."
Under the Constitution's Appropriations Clause, no funding is supposed to be paid out of the treasury unless Congress has approved it in advance. Under the Framers' design, with an eye toward limited, accountable government, every spending initiative must compete with every other one when Congress enacts a budget. Lawmakers must decide what we can and can't afford when they draw on what is supposed to be the finite pot of money confiscated from taxpayers. We are supposed to know what we are underwriting and what it will cost.
The Swamp, ever resistant to such restraints, has developed a scheme known as "indefinite appropriations." These are slush funds for future contingencies. A good example is the "Judgment Fund," which President Obama raided to underwrite nearly $2 billion in ransom payments demanded by Iran, the sweetener he needed to close the infamous nuclear deal. It is an Orwellian game. What makes an appropriation an appropriation is that Congress provides a definite amount of funding suitable to the task it has approved. If it turns out more is needed, the executive branch is supposed to come back to Congress—ask for it and justify why it should be prioritized over other needs.
These lawyers, overwhelmingly, are Democrats. Powerline's Paul Mirengoff and the Daily Caller's Chuck Ross have been tracking it: Mueller's staffers contribute to Trump's political opponents, some heavily.
Mueller's special counsel investigation is somehow under no such restrictions, according to the Justice Department. He unilaterally decides how much staffing he needs. And unlike a normal prosecutor's office, the special counsel does not have to apportion his resources over hundreds of cases. He can direct all of them at one investigative target.
In this instance, the target is Trump, and the resources—apart from what will be scores of FBI agents—include 14 lawyers (going on 15 … going on 16…).
These lawyers, overwhelmingly, are Democrats. Powerline's Paul Mirengoff and the Daily Caller's Chuck Ross have been tracking it: Mueller's staffers contribute to Trump's political opponents, some heavily. The latest Democratic talking-point about this unseemly appearance is that hiring regulations forbid an inquiry into an applicant's political affiliation. That's laughable. These are lawyers Mueller has recruited. They are not "applicants." We're talking about top-shelf legal talent, accomplished professionals who have jumped at the chance of a gig they do not need but, clearly, want.
The Democrats' other rationalization is that Mueller, whose integrity is well established, is ultimately responsible for all prosecutorial decisions. I agree that Mueller's personal probity entitles him to a presumption of ethical propriety. But a presumption is not a blank check.
Unlike many conservative commentators, I've contended that too much has been made of Mueller's close personal friendship and longstanding professional ties to former FBI director James Comey. In drawing that conclusion, I have relied on Rosenstein's description of the investigation assigned to Mueller. He said it is the same investigation Comey described in March 20 congressional testimony. That investigation is a counterintelligence probe—which is why I've never understood the need for a prosecutor. Since such investigations are not intended to build criminal cases, there seemed little prospect that Comey could become a critical prosecution witness. I reasoned that, in the unlikely event criminal charges became a possibility, Mueller could be trusted to consider the ethics of his participation.
Now, however, if reports are to be believed, Mueller is weighing whether the president is guilty of an obstruction crime. Putting aside my assessment that there would be no legal merit to such an allegation, there could be no doubting Comey's importance as a witness in such a case. Mueller would then have to consider an ethical dilemma that the National District Attorneys Association, in its National Prosecution Standards (third edition), has described in the section on conflicts of interest (Standard 1-3.3, at p. 7):
The prosecutor should excuse himself or herself from any investigation, prosecution, or other matter where personal interests of the prosecutor would cause a fair-minded, objective observer to conclude that the prosecutor's neutrality, judgment, or ability to administer the law in an objective manner may be compromised.
Notice that, consistent with the familiar ethical canon that lawyers must avoid even the appearance of impropriety, the standard here is based not on the lawyer's personal rectitude or his subjective belief that he can administer the law impartially. The issue is: What would this look like to fair-minded observers?
Consequently, if this boundless investigation careens into a criminal prosecution, Mueller could have some major soul-searching to do. I thus confess to being taken aback that he has exacerbated the problem, rather than trying to mitigate it, with his staffing decisions. Into an investigation that was already fraught with political tension, the special counsel has recruited partisans—donors to politicians who describe themselves not as a loyal opposition but as the Trump "Resistance." What are fair-minded people to make of that?
Not just one or two recruits, but 14 lawyers, with more to come.
Some personal perspective, if you'll allow me. I had the good fortune to be a prosecutor in two of the better known criminal cases in modern American history. The Pizza Connection case, which I believe remains our longest federal criminal trial, involved a vast narcotics and money-laundering enterprise, overseen for well over a decade by the mafia in Sicily and the United States. The years-long investigation required gathering evidence on three continents, coordinating with a parallel, massive Italian prosecution, and ultimately indicting 36 mafiosi. The subsequent 17-month trial of 22 defendants, starting in late 1985, featured hundreds of witnesses and more than 2,400 wiretap conversations (translated into English from Italian). I was the junior member of a five-prosecutor team, which many of our peers found to be excessive despite the prosecution's success.
Consequently, if this boundless investigation careens into a criminal prosecution, Mueller could have some major soul-searching to do. I thus confess to being taken aback that he has exacerbated the problem, rather than trying to mitigate it, with his staffing decisions.
I was the lead government lawyer in the terrorism investigation of the so-called Blind Sheikh's jihadist cell, following the 1993 World Trade Center bombing and an unsuccessful plot to bomb New York City landmarks. The case involved extensive undercover investigations. We also probed the history of overseas jihadist movements, as well as that of covert American aid to the Afghan mujahideen's war against the Red Army. There were classified-information challenges, including litigation over the admissibility in a criminal trial of evidence obtained under foreign-intelligence-gathering authorities. The eventual nine-month trial of 12 defendants, involved hundreds of witnesses and intercepted conversations (translated into English from Arabic).
We managed to get by with a team of three trial prosecutors and one appellate lawyer assigned to help us with the many novel legal issues. After all the defendants were convicted, I wrote the government's appellate brief with the assistance of a single appellate editor. Not much staff, but the convictions and sentences were nevertheless upheld.
Why does special counsel Mueller need 14 lawyers (and more coming) for a counterintelligence investigation, as to which the intelligence professionals—agents, not lawyers—have found no "collusion with Russia" evidence after over a year of hard work? What will those lawyers be doing with no limits on their jurisdiction, with nothing but all the time and funding they need to examine one target, Donald Trump?
Content created by The Center for American Greatness, Inc is available without charge to any eligible news publisher that can provide a significant audience. For licensing opportunities of our original content, please contact [email protected]
About the Author: Andrew C. McCarthy
Andrew C. McCarthy is a former chief assistant U.S. attorney best known for successfully prosecuting the "Blind Sheikh" (Omar Abdel Rahman) and eleven other jihadists for waging a terrorist war against the United States – a war that included the 1993 World Trade Center bombing and a subsequent plot to bomb New York City landmarks. He is a recipient of the Justice Department's highest honors, helped supervise the command-post near Ground Zero in lower Manhattan following the 9/11 attacks, and later served as an adviser to the Deputy Secretary of Defense. His several popular books include the New York Times bestsellers Willful Blindness: A Memoir of the Jihad and The Grand Jihad: How Islam and the Left Sabotage America. He is a senior fellow at National Review Institute and a contributing editor at National Review. He is a frequent guest commentator on national security, law, politics, and culture in national media, and his columns and essays also appear regularly in The New Criterion, PJ Media, and other major publications.


Home Design Is SuperAdobe in your future?
I'm often met with blank faces after mentioning SuperAdobe in general conversation. Even introducing the term 'Earthbag Building' doesn't help to alleviate the issue. It saddens me to know that such a beautiful, successful, cheap, easy to master Natural Building method hasn't yet taken a stronghold here in Australia. I hope to help change that over the coming decade, to hopefully introduce SuperAdobe and Earthbag building into the common vernacular.
SuperAdobe is a term coined by Iranian architect Nadir Khalili. After a fruitful life as a commercial architect in the US he traded it all in for a chance to discover something simpler. He began experimenting with the earth below his feet on a property in the Californian High Desert. With the help of his architecture students and volunteers, he began to build odd structures amongst the Joshua trees.
From his travels throughout Iran he had noticed a flaw in all of the traditional Adobe buildings of the native people; their inability to withstand earthquakes and heavy rains. He concluded that there was an element missing from these structures, and endeavoured to discover what that was, so that he could offer a cheap, strong alternative for people seeking shelter all over the world. The system he invented was incredibly simple, built from the earth, at an incredibly low price.
His system employs long, uncut polypropylene bags, traditionally used for grain storage. These rolls are filled with soil taken from the build site, often stabilised with a small amount of cement or lime, wetted, and filled from coffee cans.
Each row is kept circular by using 2 compasses. One central to maintain the rings circular layout, and the second to tell how far inward the rows must come to achieve the dome shape as it builds upwards.
A SuperAdobe workshop participant learning how to use the compass system.
Barbed wire is then laid in between each row of bag for tensile strength and to hold the bags onto one another. The circumference of the rings are then systematically lessened to bring the walls into the center, achieving the Dome form.
Each rows circumference is then systematically lessened to bring the rings inward toward the center of the dome, based off a compass made from chain. This is the key to these buildings' simplicity and strength, and the ability for anyone to be taught the construction technique in easily and quickly.
Once the desired height is achieved, the dome is gradually closed.
From this stage, plastering and rendering can begin. An art and process unto itself, this can be achieved in any way the owners wish.
Following in the Natural vein, a cob plaster with a lime finish can be used to achieve a beautiful breathable building, both inside and out. If located in a higher rainfall or humidity area, a more substantial waterproofing can be undertaken, with modern paints or sealants.
These buildings are tested against the stringent building codes of California, one of the highest residential earthquake zones in America, and have proved so successful that they had to stop the testing due to the risk of damaging the earthquake machines! An orphanage close to Kathmandu withstood the recent 7.2 earthquakes with only minor damage to the plaster work!
The strength of these buildings is thanks to their circular, dome shape. The Dome is in fact an arch, spun on it's axis 360 degrees. Given the arch is one of the strongest forms in architecture, these buildings are also some of the strongest you can build. Coupled with the huge mass of the walls, they make for a practically indestructible home, safe from hurricane, tornado, earthquake, flood, almost anything!
The buildings use soil dug from onsite to fill the walls, accounting for around 90% of the materials used (if the soil is adequate based off simple soil tests completed by the owners). This allows the possibility to cut material costs down considerably and to use renewable, safe materials. The main costs to the owner are the bags, the barbed wire, and plastering costs.
These buildings have been approved in Australia for residential construction in a flagship build headed by Jeremy Millington of 1:1 construction out of Adelaide SA. This build has paved the way for SuperAdobe to enter into the mainstream mindset of Australian builders and owners alike.
Currently, this technology is taught and shared through a few small groups running natural building workshops; a meeting of keen students who come to construct a building from SuperAdobe to learn all about how they can apply it to their lives and projects. The workshops are great weeks of skill-sharing and promotion of all things off-grid, healthy, and happy. Come and join in!
Hayden runs Curvatecture, a small business dedicated to sharing SuperAdobe skills in Australia and around the world.
After studying at SuperAdobe's birthplace, Cal-Earth, he returned home and began hosting local workshops for everyday Australians on how to take construction of your own home and spaces into your own hands, while also spreading communal living and natural life-style principles along the way.
Curvatecture's workshops are a time of wonderful energy, personal education and growth, welcoming people of all ages and cultures to share their knowledge and skills. We work alongside professional tradesmen to adequately give an all encompassing skill-set for any owner-builder, or backyard hobbyist, packed into a short 1-2 week workshop.
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It sure does like an alternative to conventional building but do you think it's worth the effort? I know that companies like Ikea have ready to assemble houses on the market for quite a while. With the methods from above you could not really build higher roofing or wider spaces or could you? My emotions are really contradictional.


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Private James Anderson
Biography of Private James Anderson
James Anderson was born in Cathcart in Glasgow, in 1897, son of Helen Beveridge Anderson and John Swan Anderson, an Ironmonger. They had been born in Tillicoultry but moved to Glasgow just before he was born and lived in 'Cambus' 58 Dixon Avenue in Glasgow.
He went to school at Shawlands Academy on the southside of Glasgow and by the time he enrolled at the University to study Maths and French, in session 1914/15, his father had retired.
James enlisted in the Highland Light Infantry (Glasgow Highlanders) as a Private, and he was with D Company in the 9th Battalion when he was killed in action at Clery on 28th February 1917. He is buried in the Peronne Communal Cemetery Extension.
As well as the University Roll of Honour, he is also included on the Shawlands Academy War Memorial and the City of Glasgow Roll of Honour. Although his parents had moved from Tillicoultry before he was born, he is also remembered in a memorial document 'Hillfoots Armed Forces Fatalities 1914-1919'.
View Private James Anderson's entry in the First World War Roll of Honour
Regiment: D Coy. 9th Bn. Highland Light Infantry (Glasgow Highlanders)
Degree: Student
Awards: N/A
Comments: Killed in action, 28 February 1917.
Note/Press Clipping: Ch 4/4/2/3/482
University of Glasgow Registry records.
Burial Place: Commonwealth War Graves Commission - Find War Dead


Of note in this c. early-1940s postcard is the depiction of a portico (right-hand side) that was never built.
Before the Bronxville Public Library was officially chartered in June 1906, Villagers had enjoyed the use of a lending library for thirty-one years. The embryonic library was housed in a small room that had been added in 1875 to the Bronxville Model School in the center of town. A group of residents petitioned the school board to open the reading room one or two nights a week and the men of the village volunteered their service once a month. A box was placed in the railroad station for book donations. Over the years about 2,500 volumes were collected.
In 1906 the contents of the old lending library were moved into two rooms in the newly erected Village Hall building at the corner of Pondfield Road and Kraft Avenue. The imposing classical structure, designed by William W. Bates and W. W. Kent, housed not only the Village offices and library, but also the police station, post office, firehouse, a large auditorium, gymnasium, a bowling alley, and swimming pool.
Support for the new Library grew rapidly. A Women's Auxiliary (a precursor to today's Library Friends) was formed for the purpose of awakening interest in the Library and to raise funds for purchasing books. As a result of these efforts, hundreds of books were added to the collection; circulation increased dramatically and, by 1913, Village Hall had to be renovated and the Library space greatly expanded. It was in the same year that local artist George Henry Smillie reflected: "I hope we shall see at no very distant day a beautiful combined library and art gallery located here" – a dream that would be realized some thirty years later.
As the Village grew, so did the needs of the Library and its patrons. A 1926 report indicated that the number of volumes counted 12,795 and annual circulation had risen to 35,572 (from 6,958 in 1906). At about the same time, Village officials and public-spirited residents began to think about a civic center for Bronxville that would eventually include Village Hall, the Reformed Church, The Bronxville School, and a separate Library building. Over the next dozen years land was acquired, building design debated, and financing sought – the Four Corners, as we know it today, just steps away from the business center, was about to be realized.
He went on to define the mission of the new building: "A library should not only be a storehouse for books and a shelter for readers but also an influence on the community. We hope the library will stimulate an interest not only in books and architecture, but also in art and the other cultural fields." Paintings that had been donated to the Library by residents were hung in various rooms. An art committee was formed to ensure the high standard of monthly exhibitions that were shown in a room dedicated to that purpose.
The Library has many odd treasures related to its own history. This architectural model, c. early-1940s, includes the portico that was never built.
For the next fifty-six years, the Library was enjoyed by many patrons from near and far. The Bronxville Public Library has always proudly served not just the residents of Bronxville Village but also the larger community of southern Westchester County. The meeting room was the site of lectures, poetry readings, and chamber music concerts; a dedicated group of volunteers mounted exhibitions ranging from Japanese prints to American quilts to a history of the bicycle. And the book collection continued to grow until, at one point, it became necessary to discard a volume for every new one purchased – a policy no longer in place in the present day.
As the twentieth century was drawing to a close, it became clear that the Library no longer adequately met the needs of its patrons. The modest building that had become Bronxville's de facto community center needed renovation and expansion. The Children's Room was over-utilized and under-sized. The 1942 structure was not capable of handling the twenty-first-century needs of the community. Most significantly, the Library did not comply with the Americans with Disabilities Act.
The Board set about identifying the needs of the Library for the coming years. With the cooperation of the Village Trustees and input from local organizations a plan was developed. Funding for the project came primarily from the December 1998 sale of Childe Hassam's Central Park, a c.1892 painting bequeathed to the Library in 1947 by William F. Burt. Though reluctant to separate such a beautiful painting from the Library's collection (a reproduction is displayed today above the staircase leading to the Library's lower level), the Board deemed the work too valuable to properly maintain and display in the Library. The proceeds from the sale of the painting significantly funded the expansion and renovation. Villagers and others were also very generous when asked to contribute to the Furnishings Fund.
Westchester architect (and former Bronxville resident) Peter Gisolfi was hired to present a design scheme that was not only sensitive to Harry Leslie Walker's original building but also ADA-compliant, technologically advanced, and innovative. Mr. Gisolfi added two brick-faced, slate-roofed wings, each with a light-filled porch or reading room at the ends. The Pondfield Road entrance no longer requires stairs for access to the building. The old basement meeting room was replaced by the Board Room, the Currier & Ives Gallery, and the 124-seat Yeager Community Room.
Bronxville resident William Q. Dowling's 2000 watercolor was adopted by the Board of Trustees as the Library's "official portrait." The renovation and expansion of the original 1942 building had just been completed when Mr. Dowling executed this work.
The second-floor gallery was enlarged to honor William F. Burt and to allow the display of works by Bronxville artists in the Library's collection. The Children's Library was doubled in size, and a separate space was designed with teens in mind. The enlarged staff spaces are significantly more functional and attractive than their earlier cramped counterparts. And throughout the building are well-lighted and attractive book stacks for patrons, comfortable chairs for in-house readers, data ports for internet users, paintings for art aficionados, and a wealth of ideas waiting to be tapped.
Bronxville's History Center, a treasure trove of material on the history of the Village, is located in the Bronxville Public Library. Supported by the Village of Bronxville and managed by the Village Historian, the History Center occupies over 800 square feet in the Library's lower level.
In 2001, the History Center was remodeled and expanded, and for the first time the collection was held in an archivally sound environment. A climate control system dedicated to the room is redesigned to maintain constant levels of relative temperature and humidity. In addition to a rich trove of print material, the History Center contains a map case, worktables for research and study, and a copier and computer.
The History Center is primarily a documentary archive of early Bronxville and its residents, although it contains a limited number of artifacts. Thousands of black and white photographs and negatives (including some rare glass negatives), supplemented by several hundred early black-and-white and colored postcards, and an extensive collection of modern colored images in print and digitized form, record the images of more than a century of Village life. Research files cover topics ranging from Artists and Architecture to Zoning and include Bronxville people, organizations, and events. An almost complete set of Bronxville's weekly newspapers, from 1902 to 2006, is available either on microfilm or in bound volumes. More recently the entire collection of ten different newspapers, including Tuckahoe and Eastchester publications that also covered Bronxville news, has began to be digitized and posted online at Hudson River Valley Heritage Historic Newspapers, news.hrvh.org.(link to page on this website about the historical newspapers) The entire collection will be available online during 2016. Researchers can access issues of "The Villager," a local magazine published several times a year by the Bronxville Women's Club, dating from 1923 to 2003.
The History Center holds more than a dozen different books written about Bronxville's past, as well as volumes penned by and about notable local residents. Its collection of Bronxville High School yearbooks dates from 1925. The History Center also houses an extensive collection of pamphlets and magazine articles, including a wealth of material on the Lawrence Park turn-of-the-century art colony.
The archive is constantly expanding. Recent acquisitions include early 20th century architectural sketchbooks of William A. Bates, Bronxville's most prominent early architect, as well as a 1917 studio photograph portrait of Bates, all donated by the Bates family. Also added recently: a 1909 Colliers magazine containing an illustrated article about the Westchester history pageant held that year in Bronxville; several 19th century advertising cards for Pain Killer, the patent medicine that launched the fortune of suburban Bronxville founder William Lawrence's; and a 1917 Gramatan Coal Company brochure detailing local war activities.
If you're clearing out your attic and find old material about Bronxville, don't throw it out! Contact the Village Historian. Tax deductible contributions are always welcome.
The History Center is an outgrowth of collections privately maintained by early Village Historians, including Bertrand Burtnett, a fourth generation member of the Masterton family who settled in Bronxville in the 1830s. His records include photographs of the Village dating from the 1880s and earlier. The History Center files have been housed at the Bronxville Public Library since the early 1980s, when then-Village Historian Jean Bartlett presided over its introduction to the public. Extensive cataloging, organizing and filing remain to be completed; volunteer help is always welcome.
The History Center is available to researchers by appointment.


There are many things that I love about spring. And today I realized something else that makes spring special. Its something small. Something that goes mostly unnoticed, but something that has haunted me ever since my sisters discovered it in the back yard.
Not only do I smell them and see them, but thanks to my two youngest sisters who have taken such a liking to them, I hear much about these smelly sprouts.
Just last night I was given one as a gift. My sister handed me a tiny box constructed of scrap paper and held together with lots of tape. A smile lined her face as she told me how to open the makeshift package. I peeked inside to find the tip of a wild onion with a wobbly smiley face drawn on it and roots flaring out like it had a bad hair day. Despite the smell of the gift, I was delighted with it.
So, yes, wild onions haunt me. They sprout up in my yard, they pester me with their smell, they smile at me with Sharpie marker faces, and they even accompany my writing. And some how, some way, they bring a smile to my face.


text:
Situated on nearly 1,200 scenic acres in Inland Southern California, UC Riverside's diverse, inclusive, and globally focused community is creating a new model for what a great public research university can achieve.
With more than 26,000 students and 1,100 faculty — including two Nobel Prize winners and 13 members of the National Academies of Science and Medicine — we are pioneering research with economic, scientific, and social impact on the real-world challenges we face in California and beyond.
The reach and importance of our work is gaining in prominence. We rank among the top 1 percent of universities worldwide by the Center for World University Rankings and one of the nation's top 12 public universities by Forbes. UCR was also named #1 in the US for Social Mobility by U.S. News.
But the benefits of being a Highlander don't stop with the stats — or within the bounds of our expansive campus. Being a part of the UCR community means you have access to the vibrant city of Riverside — near desert, mountain, and coastal destinations, as well as dozens of major cultural and recreational sites.
Swengler
ashley.swengler@ucr.edu
NYC, CT, ME, MD, MA, NH, NJ, NY, PA, RI, & VT


It is quite simple. Everyone in this game likes better gear. Some more than others, but we all like having good gear to show off about buy wow gold. If you do not, you are lying. It feels good to have something new that someone else does not, that stands as a testament to your achievement. Gear is also the source of an immense quantity of imbalance in this game, and anyone who has played Arena this sytem can speak to this to buy wow gold.
So why are not we all just given the gear? The question holds a lot of validity, but Blizzards claims of "rewarding your for your time" (however ridiculous they might often seem) are echoed every time a PvXer complains about gear from PvY being too easy to get. Remember how much people hated the idea of giving BT quality loot for badges about buying wow gold? Or how many people complained that players in welfare S3 got the same item models as their "harder to earn" T6?
Blizzard recognizes to some extent that the gap must close over time (hence that BT quality Badge gear). I think it needs to close sooner. Imagine the winners of the Stanley Cup were given sticks that were 20% better than those of the people they play against. It seems stupid because it is - the item that represents the trophy also gives an inherent advantage to winning future trophies. Why does KT drop weapons that are 13 ilvl higher than any other ones in the game? Why does Deadly gear have a requirement at all if it is the only one with an ilvl capable of competing with PvP loot about buying wow gold? Give people the best gear, or close to it, and find a way for them to show off their awesomeness in a way that does not destroy game balance about buy wow gold.


When A Country Defaults, Who Comes Knocking? We all know what happens when individuals stop paying their bills. It's an onslaught of angry letters, pestering phone calls and bankruptcy paperwork. But what about when an entire country can't pay the bills? Argentina's default in 2001 is a nightmare scenario for lenders warily looking at Europe's crisis.
Protesters in Argentina in 2001 wave national flags as they walk through tear gas and smoke from burning street fires set by demonstrators during the country's financial crisis.
We all know what happens when individuals stop paying their bills: angry letters, pestering phone calls and possibly getting property repossessed. In the end, you might declare bankruptcy and start again. That's how it works for a person up to his eyeballs in debt, but how does it work for an entire country?
Harvard economist Ken Rogoff says that it's not unusual for countries to go into default. In fact, he says it's happened hundreds of times.
"A lot of countries have gone bankrupt and they don't even know it; it's not even in their history books," Rogoff told weekends on All Things Considered host Robert Smith. "Most countries have gone bankrupt at least a couple of times."
The reason lenders continue to do business with a country is that, unlike businesses or individuals, a country can't go out of business and continues to pay at least something to its creditors, Rogoff says.
He says there are many ways a country deals with a sovereign default, but most often its finance minister simply declares it does not have the money to pay back lenders.
"There isn't unfortunately a pretty way to do it. It is a big event when a country defaults on it foreign lenders," Rogoff says. "That said there are times when there's just not a better direction to turn."
But what happens when a country chooses not to pay its debt and essentially tells its creditors to get lost? That's what Argentina did in 2001, when the country was in massive debt, there were no jobs and rioters had taken to the streets. What happened there is the nightmare scenario for lenders around the world.
Argentina's troubles began long before defaulting, as Paul Blustein recounts in his book, And the Money Kept Rolling In (and Out): Wall Street, the IMF, and the Bankrupting of Argentina.
It had tied its currency to the U.S., declaring that 1 peso equaled 1 U.S. dollar. But as the U.S. economy grew, there was no way Argentina could keep up, Blusteinsays. Policymakers couldn't devalue the peso, print more money or even increase government spending for fear investors would think they were running up excessive debt.
"They were just completely paralyzed from being able to do anything," Blustein says.
President Adolfo Rodríguez Saá eventually declared a suspension of payment of the country's debt, and said they would instead focus on "the state's internal obligation with its own people." After that declaration, no one would lend to Argentina; once it untied its currency from the U.S. dollar, because many were fleeing the banking system, the peso collapsed.
Labor union leaders take part in a protest with a giant banner reading "Basta" ("Enough") before the presidential palace in Buenos Aires in 2001. At the time, the country was mired in a three-year recession and facing default on its $128 billion public debt.
"If you're an Argentine worker and you're earning money in pesos but have to pay back your mortgage in (U.S.) dollars, you're facing a rather difficult situation," Blustein says.
The country crashed, the rioting got worse, and the banks closed to prevent capital flight. People who had hundreds of thousands of dollars in the nation's banks suddenly found they had nothing.
What happened in Argentina is part of the fear about what is happening in Europe today; that if Greece or another country defaults, there will be riots in the streets and runs on the banks. But there is another side to the nightmare in Argentina. How do creditors get their money back?
"The fundamental problem is that there is no international law for bankruptcy," says Robert Shapiro, formerly of the Clinton administration. But now, as co-chair of America Task Force Argentina, he represents all those who lost money lending to the country. And, he says, they aren't going away.
The issue is that Argentina didn't totally walk away form its debt. A few years later, it offered to pay back about a third of what it owed. Half the creditors agreed; the other half refused. Argentina still owes around $16 billion with interest, quite the motivation for the lenders.
"They hired lawyers and they went to court," Shapiro says.
Argentina has lost about 104 cases, Shapiro says, but the problem is it still refuses to pay.
"It's very hard to get a sovereign country to pay," he says.
But nations in default have to be careful because any new money they raise could be seized, Shapiro says. Lenders may also try to go after airplanes that are owned by the national airlines, or try to detain warships that dock in a foreign port. And, Shapiro says, it goes without saying that no one will lend you money for a long time.
"You cannot escape the basic rules of international capital markets," he says. "Over time, there's isn't any doubt the price Argentina has paid is much greater than any benefit."
Although it has been difficult in Argentina, many people think the default was the best thing to happen.
After the banks opened up and the peso was devalued, Argentine products suddenly seemed cheap on the world market. Soybeans and wheat exports rose. The money started to pour back into Argentina.
Blustein says, in the end, the default wasn't the problem. It was the sudden and catastrophic way Argentina did it. That's the lesson for a world on the brink of another spectacular collapse.
"What the international community needs to recognize about these cases is that, if the country really can't pay it back it's much better to do it an orderly way [with] creditors," Blustein says. "In the long run it will be better for the country than if they had tried to struggle on and pay debts that were too great a burden for the economy to bear."


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text:
NPNF-212. Leo the Great, Gregory the Great
« Prev How those who fear scourges and those who contemn… Next »
Chapter XIII.
How those who fear scourges and those who contemn them are to be admonished.
(Admonition 14.) Differently to be admonished are those who fear scourges, and on that account live innocently, and those who have grown so hard in wickedness as not to be corrected even by scourges. For those who fear scourges are to be told by no means to desire temporal goods as being of great account, seeing that bad men also have them, and by no means to shun present evils as intolerable, seeing they are not ignorant how for the most part good men also are touched by them. They are to be admonished that, if they desire to be truly free from evils, they should dread eternal punishments; nor yet continue in this fear of punishments, but grow up by the nursing of charity to the grace of love. For it is written, Perfect charity casteth out fear (1 Joh. iv. 18). And again it is written, Ye have not received the spirit of bondage again in fear, but the spirit of adoption of sons, wherein we cry, Abba, Father (Rom. viii. 15). Whence the same teacher says again, Where the Spirit of the Lord is, there is liberty (2 Cor. iii. 17). If, then, the fear of punishment still restrains from evil-doing, truly no liberty of spirit possesses the soul of him that so fears. For, were he not afraid of the punishment, he would doubtless commit the sin. The mind, therefore, that is bound by the bondage of fear knows not the grace of liberty. For good should be loved for itself, not pursued because of the compulsion of penalties. For he that does what is good for this reason, that he is afraid of the evil of torments, wishes that what he fears were not, that so he might commit what is unlawful boldly. Whence it appears clearer than the light that innocence is thus lost before God, in whose eyes evil desire is sin.
But, on the other hand, those whom not even scourges restrain from iniquities are to be smitten with sharper rebuke in proportion as they have grown hard with greater insensibility. For generally they are to be disdained without disdain, and despaired of without despair, so, to wit, that the despair exhibited may strike them with dread, and admonition following may bring them back to hope. Sternly, therefore, against them should the Divine judgments be set forth, that they may be recalled by consideration of eternal retribution to knowledge of themselves. For let them hear that in them is fulfilled that which is written, If thou shouldest bray a fool in a mortar, as if with a pestle pounding barley, his foolishness will not be taken away from him (Prov. xxvii. 22). Against these the prophet complains to the Lord, saying, Thou hast bruised them, and they have refused to receive discipline (Jer. v. 3). Hence it is that the Lord says, I have slain and destroyed this people, and yet they have not returned from their ways (Isai. ix. 13). Hence He says again, The people hath not returned to Him that smiteth them (Jer. xv. 6). Hence the prophet complains by the voice of the scourgers, saying, We have taken care for Babylon, and she is not healed (Jer. li. 9). For Babylon is taken care for, yet still not restored to health, when the mind, confused in evil-doing, hears the words of rebuke, feels the scourges of rebuke, and yet scorns to return to the straight paths of salvation. Hence the Lord reproaches the children of Israel, captive, but yet not converted from their iniquity, saying, The house of Israel is to Me become dross: all they are brass, and tin, and iron, and lead, in the midst of the furnace (Ezek. xxii. 18); as if to say plainly, I would have purified them by the fire of tribulation, and I sought that they should become silver or gold; but they have been turned before me in the furnace into 37bbrass, tin, iron, and lead, because even in tribulation they have broken forth, not to virtue but to vices. For indeed brass, when it is struck, returns a sound more than all other metals. He, therefore, who, when subjected to strokes, breaks out into a sound of murmuring is turned into brass in the midst of the furnace. But tin, when it is dressed with art, has a false show of silver. He, then, who is not free from the vice of pretence in the midst of tribulation becomes tin in the furnace. Moreover, he who plots against the life of his neighbour uses iron. Wherefore iron in the furnace is he who in tribulation loses not the malice that would do hurt. Lead, also, is the heaviest of metals. He, then, is found as lead in the furnace who, even when placed in the midst of tribulation, is not raised above earthly desires. Hence, again, it is written, She hath wearied herself with much labour, and her exceeding rust went not out from her, not even by fire (Ezek. xxiv. 12). For He brings upon us the fire of tribulation, that He may purge us from the rust of vices; but we lose not our rust even by fire, when even amid scourges we lack not vice. Hence the Prophet says again, The founder hath melted in vain; their wickednesses are not consumed (Jer. vi. 29).
It is, however, to be known that sometimes when they remain uncorrected amid the hardness of scourges, they are to be soothed by sweet admonition. For those who are not corrected by torments are sometimes restrained from unrighteous deeds by gentle blandishments. For commonly the sick too, whom a strong potion of medicine has not availed to cure, have been restored to their former health by tepid water; and some sores which cannot be cured by incision are healed by fomentations of oil; and hard adamant admits not at all of incision by steel, but is softened by the mild blood of goats.


text:
WTF Is Going On With Wayne Coyne?
By Tom Hawking
I remember the first time I saw the Flaming Lips. It was at the Big Day Out festival in Melbourne in 2004. It was the first time I'd seen Wayne Coyne in his gray suit, smearing blood on his face and pulling his balloon-into-the-crowd stunt. The show was… I hesitate to say "spiritual," but it was a profoundly beautiful and moving experience in a way that very few rock shows are, a demonstration of how music can be a force that's inspiring and healing and uplifting.
That was 2004. This is 2014. The man who held the crowd in the palm of his hand that night has spent the last five years in a quest to apparently become the worst person in rock 'n' roll, culminating in yesterday's report on Gawker that he fired his drummer of 12 years for objecting to one of Coyne's friends wearing a Native American headdress on Instagram. Wayne Coyne, what the fuck?
Clearly, we tend to project expectations onto our favorite musicians that they can rarely live up to. Wayne Coyne is just a man, as imperfect and flawed as any other, and perhaps anyone who saw in him any more than that was reaching for something that was never there. But still, there's something singularly depressing about Coyne's ongoing and increasingly successful quest to be crowned The Worst. He used to be a man who stood in opposition to the hollowness of rock 'n' roll mythology, a man whose songs preached compassion and love, rather than hedonistic destruction — that night in Melbourne, his songs kept getting drowned out by Metallica playing on another stage, but when Lips fans started booing Metallica, Coyne admonished them, telling them to have respect for their fellow patrons, even if they have different tastes.
It's hard to believe that the man who stood on stage that night is the same guy responsible for the ceaseless litany of douchery over the last few years. Most of this has been cataloged before: the grenade at airport security, the Erykah Badu video fiasco, the working with Amanda "Fucking" Palmer, the constant nude photos on Instagram, the endless publicity stunts: Gummy skulls! Painting in his own blood! Doing drugs with Kesha! Getting stoned with Miley Cyrus! Still, it all pales in comparison to what Gawker reported yesterday.
The story goes like this: Coyne is friends with one Christina Fallin, the daughter of Oklahoma governor Mary Fallin. (If the latter name rings a bell, it's because she's been in the news lately for ordering executions to go ahead with untried drug combinations, resulting in the ghastly botched execution earlier this week.) The younger Fallin posted a photo of herself on Instagram in a Coachella-esque native American headdress. Native Americans were predictably unamused — and so was Flaming Lips drummer Kliph Scurlock, who apparently called Fallin out on it. She complained to Coyne about this, and the singer sided with his new friend over his drummer, resulting in the latter's firing from the band.
Coyne hasn't said anything publicly about this, but Scurlock is quoted here as saying, "I was fired for telling Christina to go fuck herself after her lame-ass 'apology' when people got upset at her stupid headdress photo." This afternoon, he went further, issuing a long statement to Pitchfork that confirmed he was fired for challenging what he saw as Fallin's deliberate appropriation and mockery of native American culture, and claiming that he got a text message from Coyne telling him to "go stick up for your Indian friends if its [sic] so important to you!!"
It's also probably worth noting here that Gawker's original source for the story was a comment thread on Brooklyn Vegan, which means it should probably be taken with an entire shaker of salt. Still, the thread makes for interesting reading, not least because it contains fairly convincing comments from a bunch of people who claim to know Coyne. The consensus: he's off the rails, and has been for some time.
Again, you can't believe everything you read on the Internet, but it's been clear for the last few years that something is going on with the singer. He was always an oddball, of course, but there's been a thoroughly depressing cast to his antics of late — a sort of determined craziness, a studied wackiness that comes across as narcissistic and contrived. His art used to mean something, but his approach in recent years can be summarized in what he told Erykah Badu about the ill-fated "The First Time I Ever Saw Your Face" video: "It doesn't mean anything. I just want to make a great video that everyone is going to watch."
The change first became apparent toward the end of the '00s, so much so that local Oklahoma website The Lost Ogle has taken to referring to post-2010 Wayne Coyne as "New Wayne Coyne." The easy conclusion to draw is that this is a big ol' mid-life crisis, especially since the change corresponds roughly to the time when he broke up with his wife and started seeing a girl in her 20s (who's also friends with, yes, Christina Fallin).
But look, I don't know and ultimately I don't care. Coyne's hardly the first rock star to have a mid-life crisis, of course, and whatever happened between him and his wife is entirely their own business. All I care about is what he does. And dear god, he's hanging out with people who think it's hilarious to piss all over the culture of a people who've been screwed from pillar to post ever since Europeans set foot on this continent? He thinks it's perfectly OK to publish a photo of a dog in a Native American headdress in response to their concerns? (Because, yes, he did.)
And look, that's him with Mary Fallin. Barely six years ago, he was campaigning for Barack Obama, and now his political connections include a woman who ran roughshod over the decision of the Supreme Court for political capital, who thinks it's perfectly acceptable to try out untested drug combinations in the service of killing human beings?
What the fuck, Wayne Coyne? What the fuck? Whatever happened to the fearless freaks? What happened to the man who claimed that you didn't need drugs to have psychedelic experiences? What happened to the sincere songwriter who wrote "In the Morning of the Magicians" and "Waitin' for a Superman" and "Do You Realize???" What happened to the man who wrote "The Spiderbite Song," perhaps the most beautiful and compassionate song that you'll ever hear about seeing a friend fight addiction? What happened to love and empathy? What happened to this guy? Will he ever come back? And if not, was it all worth it?


Beginning at 12:00 p.m. on Thursday, June 14, 2018, Stage 2 Fire Restrictions will be implemented on the Uncompahgre and Gunnison National Forests, including designated Wilderness areas. Fire managers base decisions about fire restrictions on specific fuel moisture measurements in vegetation and other risk factors such as predicted weather and amount of current fire activity. Fire danger is increasing and these restrictions will be implemented to protect public health and safety due to the current and anticipated elevated risk of wildfire. Fire restrictions on these lands will be in place until rescinded.
FIRES, CAMPFIRES, OR STOVE FIRES, including, but not limited to, CHARCOAL GRILLS, HIBACHIS, and COAL or WOOD-BURNING STOVES. Exceptions allowed: Stoves, grills or lanterns that use gas, jellied petroleum or pressurized liquid fuel and include a shut-off valve are permitted when used in an area at least three feet or more from flammable material such as grasses or pine needles.
SMOKING, except within an enclosed vehicle, trailer or building.
Operating or using any INTERNAL COMBUSTION ENGINE including, but not limited to chainsaws, generators or ATVs without a USDA Forest Service or SAE approved spark arrester. Chainsaw operators must be in possession of a chemical pressurized fire extinguisher with a minimum rating of 2A and a round-pointed shovel with an overall length of at least 35 inches.
EXPLOSIVES, including fireworks, tracer bullets, and exploding targets. Please note the usage of fireworks on National Forest System lands is ALWAYS prohibited.
Possessing or using a MOTOR VEHICLE off established roads, motorized trails or established parking areas, except when parking in an area with at least 10 feet of clearance from flammable material such as grasses, shrubs or pine needles.


A mass followed by a celebration of her life for Margaret (Peggie) Steele, age 77, will be held on Saturday November 18th at noon at St. John Vianney Church and Father Kline Center located at 7575 Bellflower Rd, Mentor.
After fighting a heroic and courageous battle with cancer for the past 7 years, Peggie became an angel on Tuesday, October 24th surrounded by her husband, daughters (husbands), sister and niece. Throughout her battle she remained active, she was a member of the Willoughby High School Class of "57 Reunion Committee, member of F.O.E. Willoughby, had monthly luncheons with her previous "Xerox" girls and was an active member of the St. John Vianney Cancer Support Group. Peggie loved Bingo, Bowling, Bunco, visiting Casinos and traveling. She is survived by her husband of 41 years, Ronald Clyde, her daughters, Nikki (Jarrett) Domoracki, Tammy (Ricardo Jr.) Villarreal, and Lesa (Dave) Kempert. Grandchildren Dr. Nicole Craker, Gabrielle (David) Gann, Ricardo III, Dominique, Danielle, and Kirsten Villarreal, Courtney, Lauren, Josh and Amber Kempert, sisters Doreen Zanghi and Lynn (David) Brinkman, Brothers-in-law and many nieces and nephews. Peggie was a beloved friend to Kathy Riley. Peggie is preceded in death by her parents, Howard and Rose Morenz, brothers Ronald and Ralph Morenz and sister Sherry Zurinsky.