text:
Couple in shock after cold case murder detectives arrest a man who would have been a teenager at the time of Rikki Neave's death
Gary and Ruth Neave being interviewed outside the Cambs Times newspaper office
A couple are in shock after police woke them to say they had arrested a man in his 30s for the murder of schoolboy Rikki Neave nearly 22 years ago.
Ruth Neave and husband Gary Rogers say they are still numb after officers arrived unannounced at 6.55am today (Tuesday 19).
The pair hopes it marks the beginning of uncovering the truth about how the six year old's naked body was found strangled and dumped in woods near Peterborough in November 1994.
A man from Peterborough, who would have been a teenager at the time of Rikki's death, is in custody - detectives have until Wednesday at 7pm to press charges.
Gary, 53, said: "It is not over until the fat lady sings but this is another step on the journey. We are in shock, numb, but happy.
"We won't rest until the person responsible for killing Rikki is found guilty and locked up.
"The visit came totally out of the blue. We always hoped this day would come but now it has it hasn't quite sunk in.
"Ruth has been through hell but she has always told the truth - she was never going to win mother of the year award but she was nowhere near as bad as she was portrayed.
"We know there will always be those who wont believe this no matter what is said, but hopefully people will now see that for 21 years the public did not know the truth. The evidence was all in the files.
John Elworthy, editor of the Cambs Times newspaper, being interviewed about this morning's arrest
"Finally we have been taken seriously, finally we are going to get justice for Rikki."
The news comes days before the couple celebrate the 8th anniversary of when they met on a blind date at Histon Football Club - the day when Gary promised 47 year old Ruth he would find her son's killer.
He said: "I made a promise to Ruth that I would get justice. Today we're half way to finding out what happened. Today is a massive boost.
"It will hurt Ruth and bring up a lot of emotions but we are strong together and get through this to find peace for Rikki."
Rikki Neave - the cold case murder enquiry appeared on Crime Watch,
Speaking at a press conference at the Oliver Cromwell Hotel in March, the pair thanked police for supporting them and spoke of the revolutionary 3D imaging and new DNA techniques used by a team of 30 detectives that led to today's arrest.
They also praised the hours of hard work put in by Cambs Times editor John Elworthy who went through interviews, statements and video evidence with a fine tooth comb.
Gary said: "Without John this case would never have been re-opened. He has gone above and beyond the call of duty, he believed us from day one, he worked hard, he took a lot of stick locally by fighting for justice for Rikki. We are incredibly grateful."
Arrest made in Peterborough area in the hunt for killer of six-year-old Rikki Neave - police reveal news to his mum in 7am visit

redpajama_set_name: RedPajamaCommonCrawl


text:
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Book Review: Understanding Open Source and Free Software Licensing
By Rick Moen
BKUOSFSL.RVW 20081029
%A   Andrew M. St. Laurent
%D   August 2004
%G   0-596-00581-4
%I   O'Reilly Media
%O   "Understanding Open Source and Free Software Licensing"
%P   224 pages
%T   Understanding Open Source and Free Software Licensing
Andrew St. Laurent's 2004 volume Understanding Open Source and Free Software Licensing is O'Reilly's attempt to fill a significant need for good resources on this subject. It joins OSI chief counsel Lawrence Rosen's similar volume from Prentice Hall, Open Source Licensing: Software Freedom and Intellectual Property Law, published at nearly the same time, and Rutgers School of Law professor Rod Dixon's hardcover volume from Artech House/Horizon, Open Source Software Law.
There's a vital need for such books because businesses have been dipping their toes into open source for the past decade and immediately stumbling over legal issues, both real and imaginary. As a longtime observer of the resulting fray, I've been longing for a good book on the subject.
St. Laurent's comes within spitting distance of being that book. As an attorney with an interest in intellectual property law, he is able to give a lucid run-through of about a dozen of the most common open source licences, explaining what each clause means in detail, and contrasting them with a typical proprietary-software licence, similarly scrutinised. That part of the book, which comprises the book's middle 70%, will be useful for people wondering how licences get their force, and how they operate in our legal framework. The book falls down in a couple of places. First and foremost, it lacks a coherent conceptual overview, failing to clarify the default rights conveyed by unaided copyright law and its provisions. It takes for granted crucial concepts such as "derivative work": if work A is derivative of work B, then the second work's owner's rights (and licensing) determine what can be done with (encumber) the derivative. The advantages of registering copyrights (and consequences of not doing so), revocation of licences by the licensor, collective works versus joint works, and many other details important to licensing get no coverage at all. St. Laurent also doesn't mention at all a key aspect of licences, that the copyright holder attaches them to instances of a codebase, such that different instances may bear completely different terms of usage.
Some of the very common licensing controversies within the open source community aren't addressed, either: Is it necessary or desirable to require a licensee to indicate assent, e.g., through a clickwrap agreement mechanism? (St. Laurent states without reservation that clickwrap licences have been ruled enforceable, but the judicial record on the matter is actually mixed.) How extensive should the reach of licences' patent-defence clauses (if any) be? (Some licences revoke the rights of users who bring any sort of patent action, regardless of the dispute; others are limited in scope to just patent actions concerning the licensed work.) Is it possible to donate a work of original ownership directly to the public domain, despite the lack of any legal mechanism for doing so? Is it desirable to have a choice-of-law provision in one's licence? Can you, as the primary maintainer and copyright holder of a collective-work project, "upgrade" the project's licence to a better one? These are important questions, with which the book simply won't help you.
I was disappointed that St. Laurent takes for granted that the GNU General Public Licence and Lesser General Public Licence can be evaluated only as contracts; their author, law professor Eben Moglen, has clarified many times that both contracts are intended as rights grants under copyright law only, and the licences themselves clearly so state. Thus, the question of their enforceability doesn't hinge on contract formation -- but even there, St. Laurent's coverage is lacking: given that GPL and LGPL would be unilateral contracts without any necessary obligation of payment by the licensee, how would the necessary contract element of "valuable consideration" be found? (Each side in a contract must give up something of value; otherwise, there can be no contract.) A more-thorough treatment would have discussed that issue and also the licences' intended status as "bare copyright licences".
These flaws notwithstanding, the book does include excellent, reasonably readable yet in-depth analysis of all primary open source licences in use today, and I do strongly recommend it to all interested audiences.
Talkback: Discuss this article with The Answer Gang
Rick has run freely-redistributable Unixen since 1992, having been roped in by first 386BSD, then Linux. Having found that either one sucked less, he blew away his last non-Unix box (OS/2 Warp) in 1996. He specialises in clue acquisition and delivery (documentation & training), system administration, security, WAN/LAN design and administration, and support. He helped plan the LINC Expo (which evolved into the first LinuxWorld Conference and Expo, in San Jose), Windows Refund Day, and several other rabble-rousing Linux community events in the San Francisco Bay Area. He's written and edited for IDG/LinuxWorld, SSC, and the USENIX Association; and spoken at LinuxWorld Conference and Expo and numerous user groups.
His first computer was his dad's slide rule, followed by visitor access to a card-walloping IBM mainframe at Stanford (1969). A glutton for punishment, he then moved on (during high school, 1970s) to early HP timeshared systems, People's Computer Company's PDP8s, and various of those they'll-never-fly-Orville microcomputers at the storied Homebrew Computer Club -- then more Big Blue computing horrors at college alleviated by bits of primeval BSD during UC Berkeley summer sessions, and so on. He's thus better qualified than most, to know just how much better off we are now.
When not playing Silicon Valley dot-com roulette, he enjoys long-distance bicycling, helping run science fiction conventions, and concentrating on becoming an uncarved block.
Copyright © 2008, Rick Moen. Released under the Open Publication License unless otherwise noted in the body of the article. Linux Gazette is not produced, sponsored, or endorsed by its prior host, SSC, Inc.
Published in Issue 155 of Linux Gazette, October 2008


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You are here: Home / Red Yarn Blog / Events / RYPB show on Saturday, September 17!
RYPB show on Saturday, September 17!
Red Yarn Puppet Band has its first show in a long time at 11:45am this Saturday, September 17, at the Slabtown Community Festival in the parking lot of Northwest Library (NW 23rd & Thurman). We'll debut a new show called "Hep Cats & Hound Dogs," starring a rockabilly feline named Hepcat Eddie and a hillbilly canine named Jim the Hound Dog. As usual, we'll be weaving together classic American folk songs to form a narrative. But this time around we're focusing on some strains of folk we haven't explored with RYPB–rockabilly, country, and hillbilly music.
Right before the show, at 11:00am, we'll gather in front of Chapman School (NW 25th & Raleigh) and lead a parade of costumed kids, parents, and pets to the festival site. Red Yarn Puppet Band will serve as marching band and pied pipers of the rowdy crowd. The parade is organized by Andy's workplace, Friendly House, who is also a co-sponsor and beneficiary of the Slabtown Festival.
We are excited to announce a brand new line up for Red Yarn Puppet Band! We just recruited four new members: Addy Kessler (high school art teacherand all-around amazing artist), Jonathan Owicki (clown, balloon artist, accordion player and Tears of Joy puppeteer), Kate Belden (actress, builder, trumpeteer, and former Tears of Joy puppeteer), and Kaician Kitko (mask man, dancer, and former Imago performer). Jessie Eller-Isaacs (middle school teacher, singer, and "hype woman") and Andy Furgeson (musician, puppeteer, teaching artist, and Red Yarn ring-leader) have stayed constant.
http://redyarnproductions.com/wp-content/uploads/2016/04/bright-red-logo-for-web1.jpg 0 0 Red Yarn http://redyarnproductions.com/wp-content/uploads/2016/04/bright-red-logo-for-web1.jpg Red Yarn2011-09-13 08:57:002011-09-13 08:57:00RYPB show on Saturday, September 17!
Red Yarn Puppet Band is recruiting puppeteers & musicians! Busy September for Red Yarn!


22/01/2007�� Best Answer: I've used everything under the sun over these many decades and haven't had a problem with flaring up except with some aerosols directly at the flame. I've never used bleach, it sanitizes, not very good at cleaning. Ammonia is far superior. Most oven cleaners have some degree of amonia. Once in... See more What others are saying "Many commercial and home gas stoves have cast iron burner caps and grates. Iron used in cooking needs to stay seasoned.
See more What others are saying "Many commercial and home gas stoves have cast iron burner caps and grates. Iron used in cooking needs to stay seasoned.
Find out how to effectively clean gas hob burner caps. Includes tips for cleaning burner caps with ammonia, oven cleaner, bicarbonate of soda and more. Includes tips for cleaning burner caps with ammonia, oven cleaner, bicarbonate of soda and more.


"he is just telling a lie to defend liar trump. guesswork is being very kind."
How many scientific studies do you have to back that up, creationist?
Well what if the father just left them?
Good;) hope you had a good day.
That's not what the article from Guttmacher said. STOP LYING!!!


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> Hi, I hope you're better already.
> I would like your help to customize softaware, I will be sending two images showing how I want the software customization.
> If I need to pay anything before I start the customization job, I can already make the payment!
> Thank you so much for helping me with this!
It will cost you (communicated by email).
> Can you start customizing Softaware?
> Do I need to make payment in advance?
> I wonder how many machines can I use the Phoyo system?
> Buy more licenses in the future, what would the license fee be?
> In the image has a part of the term number 9.
> Would you be interested in suspending the service interruption, for what reasons?
> I believe that this service provided by you is excellent, and I intend to have several booths in my city here in Brazil.
> If I interrupt my service, I would be without my income, but if I did, I would like to pay for a lifetime license for photo identification services, even without software updates.
> Good afternoon, I paid for the first part of the custom software.
> I am looking forward to seeing the custom software to use in my photo booth.
> I need another help, the first Sofwatare Phoyo System that I bought to do some tests before asking for customization, it does not have a license.
> Maybe in not having a license, the note validator is not communicating with the phoyo system.
> I tried to configure more I can not, I used the system "CASH-Interface2" and did not answer.
> Can you help me configure the validator? It works in pulse mode.
> No. It will overwrite the previous installation or create a new one if the edition is different. You have nothing to do by yourself.
> The development is ongoing.
Let me know if is OK?
> Sorry for the delay in a return. I was traveling.
> I have a question, I'll show it in the pictures!
> in the output does not show exactly the size I chose.
> I can not make an impression to check if everything is right, because I do not have the serial to release the softaware.
> more if the outputs of the prints leave exactly the chosen size and everything will be fine.


Switch phones on my account.
Hi, I currently have my account with a Samsung s2 and would like to switch it to my s4 can I get some help with this plz?
@lolivo1278 Hey, could you please PM me your account email along with both of your phones MAC ID/MEID's, thanks.


text:
10/27/2015 20:55 EDT | Updated 10/27/2016 01:12 EDT
Obama takes in Bulls-Cavaliers basketball game during overnight in Chicago
Darlene Superville CP National News
CHICAGO — The nation's No. 1 basketball fan is sitting courtside as the Chicago Bulls open the NBA season against the Cleveland Cavaliers.
President Barack Obama is a lifelong Bulls fan. He's also a fan of Cavaliers forward LeBron James.
Obama was joined by his friend Marty Nesbitt for Tuesday's game at United Center in Chicago.
Darlene Superville, The Associated Press
MORE: canada


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Obituaries » Eleanor Lieb
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Eleanor Lieb
March 6, 1921 - April 22, 2020
Services Date April 28, 2020
Obituary Viewed 1407 times
Eleanor was born in Springfield Massachusetts to Eastern European immigrant parents in 1921. About this time, women got the right to vote and the world was just getting over the Spanish flu. She vehemently hated the cold. Her father Aaron, moved the family to a small city called Los Angeles. There she thrived speaking English for the first time and going on to graduate from Los Angeles High School. She enrolled at a small university called UCLA and majored in math. Marriage and World War II interrupted her studies and, when her husband Al went into the Navy, she volunteered to chauffeur visiting dignitaries. After the war, she and Al started manufacturing TV antennas. She raised two kids Judy and Greg and ran the business office. When a call for help went out she adopted two teenagers Barbara and Alan after both their parents died from cancer. The business was sold in the '60s and before boredom set in she became a top-selling Realtor in the San Fernando Valley. Upon retiring she moved to San Diego and began volunteering in a public grammar school which she did for 20 years until they gave her a retirement party at age 90. Her husband Al died in 1997(thought 1996) and she became the leader of the Lieb clan. In the last years, she moved north to Lincoln California where she was active in her synagogue and social groups. She continued to travel, knit blankets for her great-grandchildren, read several books a week, and solve all the newspaper puzzles daily. She is survived by an extensive family of her four children, 9 grandchildren and 12 great-grandchildren. We know your hearing had been a challenge for many years, but we hope you can hear everyone clearly now say how much you meant to our lives and how much you will be missed.
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text:
Lawbite: let the client be the judge...
Orientfield Holdings Ltd v Bird & Bird LLP [2017] EWCA Civ 348
The Court of Appeal has dismissed an appeal from Bird & Bird LLP ("B&B") to set aside a ruling that it acted negligently by failing to disclose relevant information in relation to the purchase of a £25.75 million property for Orientfield Holdings Ltd ("OHL").
B&B provided a report on title ("ROT") to OHL, which did not highlight the existence of a Plansearch Plus Report (the "Planning Report") and plans identified in the Planning Report to build two schools nearby to the property. Prior to completion, OHL learnt of the development and purported to rescind the contract. Following settlement of a claim by the sellers, who were seeking to forfeit the deposit, OHL issued a claim against B&B for the remaining half of the deposit plus interest and costs.
The High Court gave judgment in favour of OHL and concluded that B&B had a duty to explain the results of the Planning Report by way of a summary of the contents in the ROT and it was a breach of that duty to say that the information provided did not reveal anything that adversely affected the property. HHJ Pelling QC did accept that B&B was not under a duty to obtain the Planning Report as it was not obliged to undertake investigations that were not requested by OHL. He found, however, that having carried out such a search, B&B had a duty to explain the results of that search to OHL.
B&B appealed the decision and argued that the trial judge had erred in (i) failing to explain what the terms of the summary should have been (ii) finding that a summary would have revealed the existence of the development and (iii) finding that OHL would have pulled out of the purchase.
Lady Justice Gloster upheld the decision of the High Court and despite conceding that the judgment ought to have "worked through the issue of causation more methodically and explicitly", concluded that "a non-negligent summary would have resulted in the detail of the development emerging" as it was obvious from the face of the Planning Report that the school development was potentially highly significant and "the conclusion that OHL would have withdrawn from the purchase at that time is unassailable."
this case highlights the scope of solicitors' duties and in particular their reporting obligations to their clients
a solicitor may not be obliged to undertake investigations that are not expressly or impliedly requested by the client but, if it does so, it must consider reporting on the findings
the duty to communicate matters actually known to a solicitor is to communicate information that may be material, which is an intentionally low threshold
a non-negligent solicitor would have prepared a summary of the Planning Report in the ROT which would have highlighted the existence of the development, explained its potential significance, and triggered the client to ask for further investigation to be carried out
it is for the client to judge the impact of the information and make the commercial judgments in relation to matters, not the solicitor
David McGuirk
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Eversheds Sutherland International
Antitrust penalties for individuals in Poland
Shacking up? You should have a Will or co-habitation agreement
UK Immigration: Right to Work check changes from 6 April 2022
Gove's new proposals on the cladding crisis
European Commission targets misuse of shell entities in its latest anti-tax avoidance directive proposal


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The two oil-producing platforms in Arctic waters.
The champion of Arctic oil
ENi's Goliat or Gazprom Neft's Prirazlomnaya?
The prices are low and the industry haunted by dismissals and shrinking revenues. But production is still proceeding with full steam both in Norwegian and Russian Arctic waters.
Norway and Russia each have one offshore Arctic oil field in production. The Goliat is located about 80 km northeast of Hammerfest, the Norwegian Arctic town, and the Prirazlomnaya in the Pechora Sea, about 60 km from the Nenets coast.
ENI Norway started production at Goliat in March this year, and the first tanker with Goliat-oil left the field late that same month. The field, which holds about 180 million barrels of oil, is run by a Sevan 1000 FPSO, a floating, cylindrical production facility.
Company representatives now say to NRK that tankers loaded with 850,000 barrels of oil every 8th day depart from the installation and that daily production has reached 100,000 barrels.
Norway's Oil Minister Tord Lien. Photo: Thomas Nilsen
That is significantly more than at the Prirazlomnaya. According to Gazprom Neft, the field now produces 6,000 tons (44,000 barrels) per day. That volume is gradually increasing. In year 2020, the company intends to reach peak production of more than 13,500 tons (100,000 barrels) per day.
That means that the two installations ultimately will produce about the same volumes of oil. However, Prirazlomnoye has far bigger reserves, 70 million ton (513 million barrels).
The Prirazlomnaya is operated by Gazprom Neft Shelf, a subsidiary of Gazprom. It started production in December 2013. Two specially designed ice-breaking tankers, the "Kirill Lavrov" and the "Mikhail Ulyanov" bring the oil from the platform to the floating terminal tanker «Umba» in the Kola Bay.
Climatic conditions at Goliat differ significantly with the ones in the Pechora Sea. While the waters are open all through the year in the Norwegian Barents Sea, they are covered by thick ice in winter in the Pechora Sea. Consequently, while the Goliat is based on the use of a floating production facility, the Prirazlomnaya applies a stationary, Arctic-class ice-resistant platform, the world's first of its kind.
The Goliat platform is manned by about 40 people, while the Prirazlomnaya has a personnel of about 200.
Both projects were significantly delayed. After a long period of construction at the Sevmash yard, the Prirazlomnaya was in August 2011 towed to the Pechora Sea. However, it took almost another 2,5 years before the installation could start production. The whole project is believed to have cost Gazprom Neft 90 billlion rubles (€1.24 billion).
Also for ENI, the Arctic adventure turned into a nightmare-like story. The Italian company originally planned to start production in the project in 2013. However, Norway's Petroleum Safety Authority formally approved the use of the Goliat platform only in January 2016.
Construction of the platform in South-Korea was long delayed and costs overrun are estimated to NOK 17 billion (€1,8 billion). The total price tag for the project is now NOK47 billion (€5 billion).
None of the two projects are making much money these days. Norwegian experts previously argued that ENI needed more than $95 per barrel to break-even. Likewise, Russian oilmen in 2014 argued that Gazprom Neft needed an oil price of a minimum of $80 per barrel to make profits in the project.
Eni writes down value of Goliat field
First oil to Europe from Goliat
Barents oil production has started
Green light to use Goliat
Two more wells drilled at Prirazlomnoye, production surges
Zenit footballers kickoff at Arctic platform Prirazlomnaya
Prirazlomnaya 'zero emission' system launched
One million tons from Prirazlomnaya


The Chicago Fed's National Activity Index pulled back in February, coming in at −0.29, down from −0.25 in January. The index is a composite of 85 economic data series. It is constructed so zero represents trend growth in the economy, with readings above zero suggesting above-trend growth and readings below zero indicating below-trend growth.
The index posted its third monthly negative result in a row and the fourth in the last five months. The three-month average, which helps reduce month-to-month volatility in the index, came in at −0.18 versus a neutral reading in January.
The overall index comprises four component indexes: production and income; employment, unemployment, and hours; personal consumption and housing; and sales, orders, and inventories. For February, three of the four component groups posted negative contributions as production and income made a −0.16 contribution compared to a −0.29 contribution in January, employment-related indicators made a −0.10 contribution in the latest month, down from a +0.07 result last month, and personal consumption and housing made a −0.06 contribution versus a −0.03 contribution in January. Partially offsetting the negative contributions was a +0.03 contribution from the sales, orders, and inventories segment, up from a +0.01 contribution in January.
For the February estimate, 45 of the 85 indicators were available. Estimates were used for the unavailable data. The diffusion index for February was −0.05 versus +0.12 in January. The CFNAI Diffusion Index represents the three-month moving average of the sum of the absolute values of the weights for the underlying indicators whose contribution to the CFNAI is positive in a given month less the sum of the absolute values of the weights for those indicators whose contribution is negative or neutral in a given month.
Despite the weaker performance in February, the index remains above levels historically associated with either recession or significant price increases. Readings below −0.70 for the three-month moving average of the national activity index have been associated with recessions while readings above +0.70 have been associated with an increasing likelihood of persistent price increases. Similarly, readings below −0.35 for the diffusion index have been associated with recessions.
The data support a cautiously positive outlook with results suggesting weak growth but not recession, and little risk of significant price increases.


Previously, each service had its own publishing system resulting in criteria being disseminated in different formats. UFC and UFGS documents have a uniform format and a standardized numbering scheme. Though unification of all DOD criteria is the ultimate goal, there are instances when a particular document may not apply to all services, or some documents may have not been fully revised to reflect all service requirements before being issued in the system. See the introduction to the UFC and UFGS document libraries for more information.
In 1989, DoD adopted the Construction Criteria Base (CCB) information system as the official distribution method for facilities criteria. Over the years, the military services have been instrumental in the advancement of CCB and in 2003 adopted its evolution into the Whole Building Design Guide (WBDG).


The Intensive English Programs support the internationalization goals of Southeast Missouri State University by preparing English language learners for success in undergraduate or graduate study through high-quality instruction in the English language and cultural orientation activities. The Intensive English Programs emphasize the linguistic skills, cultural awareness, and critical thinking skills necessary to succeed at an American university.
The IEP provides undergraduate students with instruction in 8 levels of proficiency. Students may be placed in different levels for each class (Reading, Writing, Grammar, and Listening/Speaking). Individual placements for each skill area help our students move quickly through the program as they practice each skill at exactly the right level.
At the graduate level, IEP students study literacy, research, and communication skills necessary for success in graduate coursework. Grad CAP consists of one level.
The Graduate Conditional Admission Program (Grad CAP) is designed to prepare qualified students in graduate level research and communication skills in the English language. Students take one semester-long reading course and one writing course. Upon completion of the Grad CAP coursework with a grade of "A" or "B" a student may enter the graduate school, and certain graduate programs, in lieu of satisfying a standardized language test requirement.


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text:
The Alabama Baptist
The Baptist Paper
Rural church shows God's love 'beyond the walls of the building'
Margaret Colson
Alabama News, Featured, Latest News
Photo courtesy of Randolph Baptist Church
From the rural backroads to the ends of the earth, Randolph Baptist Church has discovered joy in going "beyond the walls of the building" to share God's love.
Church member Kim Milstead said, "It is important for a church to show God's love beyond the walls of the building," even in something as simple as a shoebox. The more than 150-year-old church is located in a small community of around 1,000 residents in central Alabama about 50 miles south of Birmingham.
For several years Milstead had been actively involved in the church's collection of Christmas shoeboxes, which are distributed through Samaritan's Purse. Even community residents have participated in filling shoeboxes with gifts for needy children in the world. From 2015 until 2019, the church has donated between 150 and close to 300 shoeboxes annually.
Taking a different approach
"Then, COVID hit, and we had to take a different approach," she said. Prior to COVID-19, the church drew a regular attendance of about 120.
In 2020, Randolph Baptist Church rallied around a $20,000 goal to help construct a church building in Bolivia. (Photo courtesy of Randolph Baptist Church)
In 2020, when pandemic restrictions halted the church's collection of Christmas shoeboxes, the church rallied around a $20,000 goal to help construct a church building in Bolivia. The effort was a "monumental challenge" for the rural church with a post-pandemic worship attendance of about 80 people, said Pastor Tony Reynolds, who has served the church bivocationally for 11 years.
"It's not the size of the church, it's the size of our God that matters," Reynolds said.
If church members reached the goal, the church would match the funds collected. "God showed out," and church members gave $22,000, Reynolds reported.
Mighty things
This year, the church in Bibb Baptist Association is doing even more. In addition to collecting Christmas shoeboxes, the church is also collecting funds for construction of another church building and giving generously to the Lottie Moon Christmas Offering for International Missions.
"God does mighty things through the least likely vessel," Reynolds said. "It's not about us; it's about Him. It's amazing what God has done through our church."
Church member Judy Miller agrees. "I think this is a tremendous witness as to what a rural church can accomplish," she said.
"The dedication and generosity of Randolph Baptist Church are evidence of a church with a heart for God ready to help spread the gospel.
"We are the church. We are so blessed. Take the gospel to the people," she said.
As church members have been challenged in their generosity, they have been strengthened in their faith.
"It seems like God is working on us," Reynolds said.
One year, the number of Christmas shoeboxes was lower than Milstead's expectations. "That year was probably the year I learned the most. My focus was not on God but on the number of boxes. I was strengthened in my faith by learning that God was in control, not me."
Partner in the gospel
Randolph Baptist Church is "a great partner in kingdom work," said Bill Russell, associational missionary for Bibb Baptist Association.
"This body of believers is faithfully doing its part to fulfill Acts 1:8," using "its time, talents and treasures to reach, teach, win and develop" people in the local community and rippling out into the world, he said.
"This congregation is faithful to support Alabama Baptists' and Southern Baptists' efforts to make a difference in our world.
"It doesn't seem to be a matter of size as much as a matter of being obedient to the Lord and discovering what He will do with obedience," Russell said.
Alabama Baptists' Sexual Abuse Task Force ready for reviews
Canaan Baptist Church in Bessemer hosts "A Night of Encouragement and Evangelism"
4 tips for choosing a children's ministry curriculum that teaches truth from Scripture
Sign up for the Highlights
The eight members of Alabama Baptists' Sexual Abuse Task Force are organized and ready to start reviewing policies and practices
Ted Traylor, pastor of Olive Baptist Church, Pensacola, Florida, is slated to speak at "A Night of Encouragement and Evangelism,"
When deciding which curriculum to use for your class or children's ministry, it is important to be intentional and prayerful
As tensions mount, Ukrainian Baptists ask for prayer
As Russian forces amass near the border of Ukraine, Baptists there are preparing to aid fellow believers if the crisis
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Well they say Rome wasn't built in a day... Well, don't tell anyone, but I think I know why... !
Its been three months since the decision was taken in Chamber that the City of Edinburgh Council would work in partnership with us, on the feasibility of the business case we submitted for their consideration. Whilst we believe that our figures stacked up, there was no doubt that we had to test some of our assumptions and undertake some development of our ideas and plans. However what really swung it that day in Chamber was that finally the Councillors realised the social case for a leisure pool - both for those living locally in Leith, but also for children and disabled people who were ill-served by other pools and who loved the flumes, chutes and the opportunity to spend some good fun quality family time together.
"We own it to the community to give this a go" and "We could do something special here" were just two sentences spoken by Councillors that day as they debated whether to take the leap of faith. We glad that they did, and have since set out to work with us in co-operation. There is no doubt that this process is quite new for us and them, and throughout the three months we have been feeling our way through a process, which to be fair is a wee bit slower than our normal speed of operating, as campaigners.
That said we have made a massive amount of progress together. We have established a working group of Councillors, Splashback and officials to take the work forward. We are meeting fortnightly (at 8am to allow us to fit it in with our work and family commitments!) to discuss how we progress our vision of a community led venture, providing a hub of activity at the foot of Leith Walk.
Devised a structure that allows us to work on the various workstreams we need to develop: legal and governance, fiance, fundraising, marketing, pool operations, 'dry' operations and site development.
Engaged with a broad range of experts - from engineers, design companies, voluntary organisations, community sports companies - to discuss ideas and possibilities.
Compiled a fundraising plan and are actively speaking to funders whose aims and values match ours.
Continued to meet weekly as a campaign group to discuss our progress.
We do so, with the continued awareness that the needs of toddlers, young families, the disabled and the economically disadvantaged are currently ill-supplied by pools in Edinburgh, since the closure of the much loved Waterworld. And we continue to press for remedying this through the provision of adequate and affordable swimming facilities, suitable for ALL members of our community.
So apologies for the radio silence on the blog as of late... Co-operation takes time! But, as we know Rome wasn't built in a day.
But boy, did it look good once they got there!!
Keep up the good work, will visit even if we move out of Leith and Edinburgh! Good luck. Took our kids and also a disabled service user, it was a joy to see them thrive their, could see disappointment when they went to boring and cold rectangular pools with much less fun involved sadly. Much needed in Edinburgh.
Keep up the good work! You have so much support from the community! We miss Leith Waterworld and can't wait to see it brought back again as a vital local resource!
Really miss Waterworld, especially now my daughter has reached an age to really enjoy the facilities there (I took her as a baby just before it closed). Look forward to it opening in the not too distant future (we hope)! Keep up the good work.
This will be a fabulous facility for the people of Leith and elsewhere. Hopefully the local nurseries may be able to have swimming lessons again which we have missed since Dr Bell's teaching pool closed. So keep up the good work and all the best.


A buyer listed as Evergreen & Prop Mgmt LLC has purchased an industrial property in San Diego's Scripps Ranch submarket for approximately $9.8 million, according to CoStar Group and public data.
The seller of the 67,681-square-foot warehouse building, at 10050 Scripps Ranch Ct., was Westcore Properties of San Diego. The seller was represented by Todd Murphy and Bryce Aberg of brokerage firm Cushman & Wakefield.
The property was built on approximately 5.4 acres in 1979.


text:
Laura Soares Abrantes ist eine osttimoresische Soziologin, Unabhängigkeits- und Frauenaktivistin.

Werdegang
Als Studentin auf Java war Abrantes bereits im osttimoresischen Widerstand gegen die indonesische Besatzung (1974–1999) aktiv. Sie schloss ihr Studium 1993 mit einem Bachelor-Titel in pädagogischer Psychologie ab. In Osttimor arbeitete Abrantes weiter im Widerstand mit Hilfe ihrer Tätigkeit bei den katholischen Pfadfindern und Mitarbeiterin für die Caritas und der Frauenrechtsorganisation Fokupers in Dili.

2011 erhielt Abrantes in Brasilien einen Master-Titel in Soziologie für ihre Arbeit über das timoresische Frauennetzwerk Rede-Feto Timor-Leste. 2012 war sie Beraterin in Gender-Fragen für die osttimoresische Frauenrechtsorganisation APSC-TL. Am 23. Oktober 2017 wurde Abrantes von Präsident Francisco Guterres in den Staatsrat Osttimors berufen.

Veröffentlichungen
 Interview für Buibere: Voice of East Timorese Women, East Timor International Support Centre, Darwin 1999. Ausgabe in Tetum: Buibere: Lian Feto Timor Lorosa'e Nian, Fokupers, Dili 2001.
 Hakerek ho Ran (), Dili 2003.
 Interview für Independent Women: The Story of women's activism in East Timor, Catholic Institute for International Relations, London 2005.
 Hau Fo Midar Hau Simu Moruk (), Dili 2007.
 Baseline Study on Sexual and Gender-Based Violence in Covalima and Bobonaro, APSC-TL, 2009
 Step by Step: Women of East Timor, Stories of Resistance and Survival, Charles Darwin University Press, Darwin 2011.
 Zusammen mit Isabel Beba Sequeira: Secrecy: The Key to Independence, 2012. Ausgabe in Tetum: Xave ba Ukun Rasik-An, Dili 2008. Mündlich überlieferte Geschichte von Frauen aus Timor.

Weblinks

Einzelnachweise

Mitglied des Staatsrats (Osttimor)
Frauenrechtler (Osttimor)
Soziologe (21. Jahrhundert)
Unabhängigkeitsaktivist (Osttimor)
Person der Pfadfinderbewegung
Osttimorese
Geboren im 20. Jahrhundert
Frau

redpajama_set_name: RedPajamaWikipedia


The Fokker Dr.1 was is an iconic fighter aircraft with many vices but, in the hands of an experienced pilot, it was a formidable weapon. This particular livery was flown by the most famous ace of WWI; the Red Baron.
The Dr.1 kit includes a vacuum formed plastic cowl, extensive laser cut light plywood parts and a replica Oberursel II rotary engine kit that actually spins with the prop!
The Microaces 'Dreidecker' comes complete with a vac-formed cowl and a spinning Oberursel Ur.II dummy rotary engine kit, that adds an incredible level of mechanical detail to this astounding model.
The dummy rotary engine requires an elongated prop shaft for your PKZ3624 motor/gearbox or use a 'rotary ready' Microaces Motor/Gearbox.
Parkzone/Microaces Flight Pack is recommended for a complete electronics solution.
Wing Area 3.32 sq dm / 51 sq in.
Wing Load ~9.9 g/sq.dm / 3.0 oz/sq.ft.


text:
Australian Premiere with Filmmaker Q&A
A diverse group of middle-school students compete in a nationwide tournament to code satellites aboard the International Space Station.
"It was such a pleasure to be involved in this film and to showcase the stories of students coding satellites aboard the ISS. Zero Robotics is an incredible opportunity for students and I love how this film puts a spotlight on three middle-schoolers on their own journey to space!" Cady Coleman, NASA Astronaut
"Zero Gravity is a breath of fresh air, reminding us of the power of collaboration and creativity. In the film, one young innovator says: 'When people says the sky's the limit...they're wrong. There's much more ahead of them...' We hope Zero Gravity soars beyond its highly successful premiere at Cinequest." H Hussey, Co-Founder & CEO Cinequest & Creatics Enterprises
Zero Gravity is a powerful and inspirational story about education, science, and the next generation that follows a diverse group of middle school students who compete in a nationwide competition to code satellites aboard the International Space Station.
Seen through the wondrous eyes of three young innovators and their first-time coach, they each embark on an intimate and personal journey to the final frontier as their team grows from amateur coders to representing California in the ISS Finals Tournament — the culmination of a summer-long adventure that sees their incredible accomplishment performed by astronauts in orbit.
Yeppoon Town Hall
25 Normanby St, Yeppoon
Adults: $22
Concession: $11
Children (Under 12): $11
Thomas Verrette
Haller Rice
Cinequest Film and VR Festival
Fort Lauderdale Film Festival
IndieFest Film Awards
New Jersey Film Festival
Boston Film Festival
Annapolis Film Festival


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text:
Q: Traditional Open Source Java Application I've been using Java for my "home projects" for a while and now there's a need to make some of my projects available through the repositories like github or Google Code.
As long as I'm the only developer for the project and as long as I always work in Eclipse, there are absolutely no questions about building and running it. Everything just work fine. The question is basically, what do I do if someone asks me to share? :-)
The first thing to do is, making the project buildable with tools like Maven. In this case, no matter if someone has Eclipse installed, or prefers IDEA, he may just download my project and build using Maven. Or, import to Eclipse/IDEA and build.
So, to clarify the question, here are 2 points:

*

*What should my directory structure look like? Folders like src, bin, anything else?

*What is the way my application should run? For instance, my application requires log4j in order to run. Maven resolves this dependency, when building the package. But when the package is built, you should manually provide the path to you log4j (with java -cp ...) - what's the way to eliminate this requirement if I'd like to just provide .sh and .cmd scripts for user's convenience?

A: If you and your peers just want to keep using Eclipse then share the projects including .project and other hidden files, and avoid from referencing external jar-files and other resources.   If you need log4j.jar then put it in your project and add it to the build path.
This works very well, even for multiple programmers and is the fastest way to get up and running.

A:
What should my directory structure look like? Folders like src, bin, anything else?

If you are on maven, it is taken care of. (src/main/java, src/test/java et al.)

What is the way my application should run?

I think maven exec plugin should help you here. Take a look at http://mojo.codehaus.org/exec-maven-plugin/java-mojo.html and see whether it fits the bill.

A: Buddy if anyone wants to work on a public or oss project they are probably capable enough in Java to get the environment setup on their own. That being said, your options are:
a) Maven (super simple, I have a GitHub project setup using this, just download with Git and import using IDE Maven Option). I've tried to use this option with every major ide and never had any issues. This is especially useful if you have a lot of dependencies.
b) Check in your eclipse project files, I know this sounds stupid, but most IDE's let you import Eclipe projects.
c) Write a README file! (obvious I know).
d) Write an ant file to do all the heavy lifting (initialize everything) if there is some processes to setup the project.
I would not worry about project structure. Again, if anyone wants to work with you, they are probably smart enough to get things up and running without bothering you much. I would not worry about compiling and running the project either, but if you really want, you can setup Ant or Maven to do it.

A: As Maven aficionados like to say, Maven is opinionated software. By this they mean that Maven will do more things for you with less effort if you adhere to the conventions it imposes. Directory structure is probably the most important one. I don't advise you to adopt Maven without reading about it first, you can start here.
Once you have sorted out building your project with Maven and adopted the m2eclipse plugin to get Maven to work with Eclipse, you may want to check out the Maven assembly plugin, with which you will be able to produce a zip file that packs together your project with all its dependencies and possibly a launch script that takes care of setting your CLASSPATH without invoking your project's startup class.

A: From my personal experience, maven is the best available tool for building and managing dependencies, so my answers for your questions are all about maven. Also, with maven you need to provide only pom.xml file containing definition of dependencies and project build configuration. Project you share does not need to contain any JARs inside, as it used to be with ant based projects.

What should my directory structure look like? Folders like src, bin,
  anything else?

As in a standard maven project :) (http://maven.apache.org/guides/introduction/introduction-to-the-standard-directory-layout.html)

*

*src/main/java application sources (Java classes)

*src/test/java application tests (unit test for class com.company.Foo
should be also in the com.company package, it introduces some order
and sometimes makes testing easier)

*src/main/resources application resources, for example message.properties file serving internationalization

*src/test/resources resources for tests, for example dumps of websites if you would like to do integration tests with http server returning some content.

There are also other directories, such as src/main/webapp - all of them are described in the maven docs.

What is the way my application should run? For
  instance, my application requires log4j in order to run. Maven
  resolves this dependency, when building the package. But when the
  package is built, you should manually provide the path to you log4j
  (with java -cp ...) - what's the way to eliminate this requirement if
  I'd like to just provide .sh and .cmd scripts for user's convenience?

Maven takes care about all of these things, following your configuration defined in pom.xml file. If you program requires some extra-libraries, maven will download it for you, and place in the package containing your application. If, for example some dependencies will be provided by your application server (log4j JAR), you can also set that dependency is gonna be provided and then, it will be available for running application, for unit tests, but it will not be places in the final package.
What is additional great feature provided by maven is build profiles. You can for example use some setting in the day-to-day development mode, but in case of building package for production, other settings will be used.

redpajama_set_name: RedPajamaStackExchange


Ergo Pers is primarily a publisher of artists books, first editions of Dutch poetry and editions of French or English poetry in translation. Since its founding in 1995 Ergo Pers has brought together writers and artists to explore verbal and visual relations, such as Pierre Alechinsky, Armando, Jürgen Partenheimer, Hanns Schimansky, Ronald Noorman, Jacques Dupin, Hugo Claus, Reinier Lucassen, Dan Van Severen, André du Bouchet, Yves Bonnefoy, Pierre Reverdy and Jerome Rothenberg.
Krijtdiertjes (Otwornice) with poetry by Wislawa Szymborska, and lithography by Ronald Noorman Ergo Pers published a livre de peintre with John Ashbery, one of America's most innovative and influential poets—an exceptional artist whose work stands alongside the finest of Whitman, Dickinson, Stevens, and Hart Crane.
In fall 2012 Ergo Pers published Giotto's hemel (Giotto's heaven), a livre de peintre with poetry by Stefan Hertmans and etchings by the Flemish painter and draftsman Karel Dierickx. Dierickx created a series of etchings inspired by early Renaissance sinopia drawings, in response to Hertmans' poems about Giotto, Piero della Francesca, Luca Signorelli and Fra Angelico.
In March 2012 Ergo Pers published an artists' book with Nobel Prize winner Wislawa Szymborska.
Krijtdiertjes is a limited edition artist's book with poems by Wislawa Szymborska and prints by Ronald Noorman. Ronald Noorman is, beyond a doubt, a draughtsman at heart, being an artist who makes full use of the qualities and potential of his medium. Aside from intimacy and transparency, terseness is a particularly striking characteristic of his recent work.
In Krijtdiertjes, the minimalism of Noorman is juxtaposed to the wit and deceptive simplicity of Szymborska's poetry.
Krijtdiertjes is published in a limited edition of 40 copies.
Armando, De stilte | Die Stille. Bilingual edition (Dutch -German) with poetry and lithography by Armando.
In 2009-2010 Ergo Pers published a double volume artists' book with John Ashbery, Franck André Jamme and etchings by Hanns Schimansky.
John Ashbery, The Recital, translated by Franck André Jamme and La Recitation de l'oubli | Les gués, les passes, by Franck André Jamme and translated by John Ashbery.
For both books Hanns Schimansky created a series of five etchings.
John Ashbery has achieved a unique status among American poets. Even though much of his work is difficult to read, avant-garde, and post-modernist in character, Ashbery has become revered and beloved by many readers. Three Poems consists of three lengthy and highly intense prose poems called The New Spirit, Theme and The Recital. The three long prose poems ravel and unravel philosophical questions about language's ability to represent the world and about how best to apprehend reality – but these dense matters are leavened with Ashbery's characteristic wit. The third and shortest of the Three Poems, The Recital,' written in April 1971, is now translated into French by Franck André Jamme, and published in a bilingual limited edition by Ergo Pers.
John Ashbery, The Recital, translated by Franck André Jamme is published in an edition of 40 copies in December 2009. For this limited edition, Hanns Schimansky created a series of five etchings.
The Recital /Le Récital, a prose poem by John Ashbery, bilingual edition in a French translation by Franck André Jamme, in close collaboration with the author and MarieFrance Azar, published in October, 2009, by Ergo Pers, Ghent. Each copy includes five original etchings by Hanns Schimansky and is further accompanied by a suite of five loose prints of the same etchings, signed and numbered by the artist. All forty copies are signed on the colophon page by the author, the artist and the translator.
The Recital /Le Récital is printed in a limited edition of forty copies, numbered in Arabic numerals, with an additional series of twelve reserved copies for the author, the artist and the translator, numbered I-XII. A separate edition of six copies, reserved for participating collaborators and numbered A-F, consists of six original etchings, instead of five. The etchings were printed in Berlin by Fritze Margull. The text is set in Garamond and printed on 230-gramme Hahnemühle paper. Typography, design and printing are by Rein Ergo.
Franck André Jamme, La Récitation de L'oubli, translated by John Ashbery, is published in an edition of 40 copies in December 2009. For this limited edition, Hanns Schimansky created a series of five etchings.
La Récitation de l'oubli / Les gués, les passes / The Recitation of Forgetting / Fords, channels, poems by Franck André Jamme, bilingual edition in an English translation by John Ashbery, published in October, 2009, by Ergo Press, Ghent. Each copy includes five original etchings by Hanns Schimansky, is signed on the colophon page by the author, the artist and the translator, and is further accompanied by a suite of five loose prints of the same etchings, signed and numbered by the artist.
Les gués, les passes / Fords, channels, is printed in a limited edition of forty copies, numbered in Arabic numerals, with an additional series of twelve reserved copies for the author, the artist and the translator, numbered I-XII. A separate edition of six copies, reserved for participating collaborators and numbered A-F, consists of six original etchings, instead of five. The etchings were printed in Berlin by Fritze Margull. The text is set in Garamond and printed on 230-gramme Hahnemühle paper.Typography, design and printing are by Rein Ergo.
Negende Eeuw, with poetry by H. H. ter Balkt and etchings by Ronald Noorman, is a limited edition artist's book, in which the refined drawings of Noorman is juxtaposed to ter Balkt's poetry. The book contains five etchings, a continuous lithograph on the front cover, and a suite offive signed etchings.
Negende Eeuw is published by Ergo Pers in a limited edition of 36 copies, signed both by the author and the artist. Letterpress printing and manual binding by Rein Ergo, Gent; the etchings were printed by Henry Hemelsoet, the lithograph was printed by Felix Bauer, Cologne. 30,5 x 25 cm., slipcase. Price: € 750.
In 2011 Ronald Noorman is showing new drawings in Stichting De Pont Tilburg.
The cover lithograph was published in a separate edition, Tourniquets.
Tourniquets, with two lithographs by Ronald Noorman was published in April 2009 by Ergo Press, in an edition of fifty copies. Both prints are numbered and signed. The lithographs were printed by Felix Bauer to Cologne.
Ronald Noorman, Tourniquets, Ergo Pers 2009. 30,5 x 25 cm. Inslipcase. Price 350 Euro's.
Armando, Hemel en aarde. Het Gevecht [Ciel et terre. La bataille]. Bilingual edition (Dutch - French) with poetry and lithography by Armando.
Edition of 50 copies, numbered and signed by the artist. Three lithographs in the book + a suite of three loose prints, signed and numbered by Armando.
Hemel en aarde. De schepping [Ciel et terre. La création]. Bilingual edition (Dutch - French) with poetry and lithography by Armando. Edition of 50 copies, numbered and signed by the artist. (Three lithographs in the book + a suite of three loose prints, signed and numbered by Armando). Red slipcase.
• De slapende goden | Sueños y otras mentiras, with poetry by Cees Nooteboom and lithographs by Jürgen Partenheimer, is a limited edition artist's book, in which the refined minimalism of Partenheimer is juxtaposed to Nooteboom's overwhelming 'poetry of place'. The book contains several images, partly in color, a continuous etching on the front and back cover, and a suite of two signed lithographs.
De slapende goden | Sueños y otras mentiras is published by Ergo Pers in a limited edition of 48 copies, signed both by the author and the artist. Letterpress printing and manual binding by Rein Ergo, Gent; lithographs printed by Felix Bauer, Cologne. The entire edition was printed on Waterford Saunders 190 g. 38 x 28 cm, slipcase in crystal clear perspex. Price: € 1300.
Jürgen Partenheimer has produced more than 70 artists' books since 1970. These books are the quintessence of an encounter between visual arts and literature.
De slapende goden | Sueños y otras mentiras is the result of Partenheimer's most recent collaboration with Cees Nooteboom.
• Sur Place, with text by Hans Faverey and etchings by Ronald Noorman. Ediion of 36 copies.
• Exil de peintre with text and etchings by Philippe Vandenberg. Edition of 33 copies. Each book includes two volumes : a first volume with 53 etchings and an additional second volume with a suite of 11 echings, signed and numbered by Philippe Vandenberg.
• Jürgen Partenheimer, À la rêveuse matière.


Fonterra has announced this week that it will expand its organic milk business to help meet growing demand. This decision follows Fonterra's recent review on how best to position this speciality business for sustained growth.
At meetings with farmers this week, Fonterra's global business manager for Organics, Craig Deadman, said the Co-operative is committed to developing its organic milk supply over the long term to meet escalating demand.
1 June 2015. This reflects a new farmer payment of an additional 45 cents per kgMS to contribute to the costs of maintaining organic certification, in addition to the certified organic milk premium of $1.05 per kgMS.
Mr Deadman said that, while organic dairy remains a speciality product, more people are choosing organic dairy products and he expects this trend to continue, particularly in South-East Asia, China and in the United States.
Mr Deadman said that Asian consumers also favour organic milk powders, especially infant formula and fortified milk powders.
He said that growing Fonterra's Organics business is all about developing and selling higher-value speciality products at premium market rates.
"This approach enables all Fonterra farmers to benefit from heightened returns," he said.


text:
Helix Ideascale Community Submissions
By TheRealZap,
June 24, 2015 in Helix
molul
Not to sound disrespectful, rizzy (I get what you'd like to do), but IMHO, the Helix Native plugin would be way more handy for what you want to achieve. You wouldn't need to reamp, just apply the plugin and automate whatever you want, press play and listen. And if you didn't like something, you can change whatever again and not having to record again thru the hardware (it would already be in the mix).
Helix Native is a blessing for me. It's only $99 if you own a Helix device, and you can even grab it for less money if you wait for a sale. I think mine costed $60-something with the summer discount. Having the ability to create a preset on either my Helix LT or the Native plugin, and exporting/importing them when I'm sure it works as I want, is just too good.
Also, if HX Edit was released as a plugin, I guess it would cost something. Not as much as Native, but I doubt it would be free if they have to program all the automation stuff.
My honest advice: get Helix Native whenever possible. It's a great plugin for guitars and basses. And it should make things way easier than reamping through a Helix device.
Last Reply Jan 19
hideout 41 posts
PeterHamm 52 posts
d0stenning 41 posts
HonestOpinion 78 posts
TheRealZap
Figured I would put these all in one place to help people find and vote for the ones they like. Dual Screen Mode: http://line6.ideascale.com/a/dtd/Big-Screen-Dual-Mode/740269-23508 DT Amp com
autay622
Midi Sync has to be prioritized higher. If the Helix can't sync tempo with other devices (like ableton) it is FAR from the command center it is marketed to be. Please vote this up! http://line6.i
olivierthibaut
Hello, I would like to have a block "feedback generator" like the Digitech Freq Out pedal or like the Feedbacker of the Boss GT100 to play with feedback at low sound level.
datacommando
Location3rd Stone From The Sun
3 hours ago, rizzy said:
I don't own the Native software and would like to be able to automate things while reamping through the hardware unit using the HX Edit GUI as a Plugin. I don't want to buy HX Native and think this way would be easier than to set up dedicated MIDI controllers in a DAW. It would be like doing automation you'd do within Native but using the Hardware unit. This possibility does not exist in the suggested way right now.
Ah! now it becomes a little clearer. You don't have a copy of HX Native, and as you say in the comment above, you "don't want to buy it"!. Therefore you must think that Line 6 should drop everything else they are working on, and devote time, energy and other resources to come up with a variation of software that they already have created - then give it to you for FREE! Good luck with that one.
Anyone who owns a HX product ( Rack, Floor, LT, Stomp or Effects) can buy HX Native for $99.99. Sometimes there are deals when even that price may be dropped by 30%. Maybe it's time to invest in something that can do what you ask, and more - but free - it ain't gonna happen.
LocationGermany
51 minutes ago, datacommando said:
I never said it should be free. I said I don't want to buy Helix Native as I have the hardware unit and it would be cool to automate it using a plugin dedicated to that. How you are getting to the conclusion that I think Line 6 should drop everything else and whatnot is beyond me.
3 hours ago, molul said:
All good. I totally get where you guys are coming from. I just thought it would be cool to have another option on the table for the non Native users.
57 minutes ago, rizzy said:
I don't think you realise quite how strange this all sounds.
"I don't want to buy Helix Native as I have the hardware unit and it would be cool to automate it using a plugin dedicated to that."
What I, and others, have been trying to get across to you is that the dedicated plug-in is already available, but you don't want buy it?
What is anyone supposed to think when you state that, even though you have the Helix hardware (and therefore qualify for the discounted price) you still "don't want to buy Helix Native"?
As you don't want to pay for an already existing solution, and as HX Edit is free, it might seem to indicated that you are asking for a modified free version of HX Edit. Where would that come from? Somebody has to spend time on it, it wouldn't just drop out of the sky, and there would be cost implications.
"I just thought it would be cool to have another option on the table for the non Native users."
Er... hello, why? Non of this makes sense. All this to re-invent the wheel.
Jeez, it's like banging your head against a brick wall.
zappazapper
I'll chime in here and say that I agree with rizzy. It's not simply about the additional cost. Native takes up DSP headroom in your recording app. Freeing up DSP is one of the main reasons why using outboard gear is still part of the typical workflow in the age of plugins. For example, I have a outboard Lexicon unit that I use all the time because it saves me a bit of DSP headroom, and it has a VST plugin that does nothing but control the Lexicon so that its settings can be recalled when I load up a project, and so I can automate it. It's not a foreign or new concept (I bought it over a decade ago), and yes, there are Lexicon plugins that are available, and that I have, and use all the time, but I still use the hardware unit in almost every project because it allows me to use DSP headroom elsewhere (often for Lexicon VSTs).
And yes, I have Helix Native, and use it often, but if there was a VST plugin that could be used to just control my LT, then I could fully integrate my LT into my recording workflow the same way I do with the Lexicon. As it stands now, the LT is a great tool for tracking, and can certainly be used during the mixdown phase as long as you're mindful of saving your presets, but if there was a VST that just controlled the LT, then it would just automatically recall the right settings when I load up the project.
I'm all for it.
10 minutes ago, zappazapper said:
I still think it's nonsense, and as it probably isn't going to happen anytime soon, I was simply making "rizzy" aware of the current option.
As for Native guzzling DSP in your DAW, I have seen a comment from Digital Igloo about one of his projects running over 20 instances of HXN without any issues. Your mileage obviously varies. Each to their own.
Hope this makes sense.
PeterHamm
LocationMaineville, OH
It would be super cool. It will cost a lot of money and only 12 people in the world are going to pay money for it. So... Probably should find those 12 people and split the cost... oh... that means it won't be cheap.
Well, I have no doubt that the person most responsible for developing the Helix Native plugin would have some sort of obscenely powerful computer at his disposal for the purpose of testing and removing DSP headroom from the equation when troubleshooting problems. And what are his 20 instances doing? Even a far below average computer can run 20, 50, 100 instances of a plugin that isn't doing anything. His computer might be able to run 20 instances of Native, each with Poly Capo and 2 Amp/Cab blocks, but mine certainly can't. Mine could probably run 100 instances of Native with just a Pan block though.
As for the likelihood of such a plugin ever actually being made, sure, it probably won't happen. But I thought this thread was for Ideascale submissions, and you're trying to give him a workaround. DI said he wants any and all ideas to be submitted, and this is the place for them, along with Ideascale. You made your point that there are options available to essentially achieve the same thing (there's more than one way to bake a cake), but his suggestion isn't nonsense, especially when your solution involves a $99 purchase. Sorry, not everybody has $99 to spend on music gear, even when they just spent $2000 on music gear. I think the point is, I just spent $2000 (or whatever he spent), do you think it's possible to make it so that I can use the thing I bought without having to spend another $99, which doesn't actually use the thing I bought anyway? Your workaround suggestion is fair but I think his suggestion is also fair.
17 minutes ago, PeterHamm said:
When most people buy a cell phone, they buy it to have a phone to make phone calls. But then you see that there's Google Maps and you use it even though you didn't ask for it and you never thought you'd need it. I think if they made such a plugin that controls a Helix hardware unit, you'd be surprised by how many people start using it. I bought my Lexicon for live use. Never planned on using it for recording because it would be a hassle keeping track of settings. But then I found out that there was a plugin that would automatically recall settings on the unit upon project load, and it became a regular part of my workflow. The same thing could happen with such a plugin. Any BTW, I don't think such a plugin would be a major investment in man hours. They've already done the bulk of the work developing Edit and Native. I'm not saying it would take A DAY but it's essentially just a melding of the two.
By the way, rizzy, I noticed that I was the only one that had voted for your Ideascale, which means you didn't even vote for it yourself. Might wanna do that XD
I can definitely see the DSP advantage, but nothing else, and don't think the audience for this HX Edit Plugin would be very big (might be very wrong, of course), so I don't think it's becoming a priority for Line6.
You can record 20 guitars, then once you've fine tuned all of them, just render/freeze track for the rest of the mix and DSP won't be a problem.
Again, not trying to be bitter. I get that it would be useful for you (even though to me it would be worse spending time on reamping than applying the plugin and going a bit slower for a small amount of time, and also with the plus of fixing possible errors without having to record again), but I wouldn't hold my breath for it :( Hope you're lucky anyway! I mean, I wouldn't be harmed if this product existed XD
shawnt113
On 7/28/2020 at 4:07 AM, moonman079 said:
I really want some diezel models. Lack of them are why I am considering moving to an axe fx.
Herbert!
1 hour ago, zappazapper said:
When most people buy a cell phone, they buy it to have a phone to make phone calls. But then you see that there's Google Maps and you use it even though you didn't ask for it and you never thought you'd need it.
It's like comparing apples and oranges, only really, you are comparing apples and baseball.
The economies of scale.. and the purpose... are totally different.
Most people bought a smartphone so that they COULD use it to do non-phone things. And when they come up with a feature like "maps" they do it to sell more products because LOTS of people want it. They make those things to sell more phones to more customers, and the market segment is huge, the entire world.
If there are 100,000 people who want a feature on a smartphone it makes sense to make that, even though that's less than 1% of the 100,000,000 people who buy cell phones. That's why those apps exist. And they end up not being money losers, because 100,000 is a lot of people, even if it's <1% of users.
There are not nearly as many people who want this feature on their Helix, which compared to cell phones is a minuscule market, as evidenced by the ONE vote that this feature has received.
24 minutes ago, molul said:
Again, that solution assumes that the user owns Native. Native is another product that costs money, even if it is discounted for owners of a hardware unit. Helix Edit is something that is available for free for anyone who owns a hardware unit, and I don't think it's that much of a stretch that there be a VST version of it for full integration with a DAW, especially since all the marketing literature for the hardware units focus to some degree on its use as a full-featured recording/reamping tool, not simply as a dongle for Native or a prerequisite for a discount.
4 minutes ago, zappazapper said:
and I don't think it's that much of a stretch that there be a VST version of it for full integration with a DAW,...
I am rather certain that those who actually would have to do the work to create this VST version you speak of would tell you that you are mistaken about the complexity and cost of such a venture.
8 minutes ago, PeterHamm said:
That would be my vote XD
But ya, I have absolutely no expectation that this would ever get done. I'm not trying to make a case that you and everybody else should vote for it, I was just chiming in on the idea that this was somehow nonsense, when I own a piece of equipment that works exactly how the OP was describing and is an essential part of my workflow. I would totally use a Helix Edit plugin, even though I own Native and even though I use the hardware unit to great effect without a plugin. I'm just saying it makes more sense to me because I've actually used a hardware unit like this and maybe those of you who haven't are having a hard time seeing the benefits.
Again, I'm sure there's work involved, I'm not denying that. I'm talking about the concept - it's not that ridiculous as it's being made out to be.
Oh. I didn't even know I was allowed to vote for my own idea, thx for the hint - and for your vote of course.
Guys, thx for your opinions and input.
4 hours ago, zappazapper said:
there's more than one way to bake a cake
Could be, but if you don't follow the recipe, you might end up with something that has a similar texture and taste as sh!t on a shingle.
I'm still not convinced.
Cute comeback, but I've had the cake being described and it's quite tasty, thank you.
https://lexiconpro.com/en/products/mx200
Just in case, Helix Native has just started a 30% sale until 31st using the code LUCKY30 when purchasing :)
lou-kash
LocationEurope
On 3/16/2021 at 12:20 PM, rizzy said:
would like to be able to automate things while reamping through the hardware unit
Um… is there anything wrong with sending MIDI messages from DAW to Helix hardware?
1 minute ago, lou-kash said:
Nothing wrong with it. But sorting through implementation tables can be somewhat tiresome. A plugin that handles all that for you would just make the whole process that much easier. Why not take advantage of EVERYTHING that modern technology offers us, instead of just "accurate amp modeling". Why not also "streamlined automation"?
2 hours ago, lou-kash said:
Well, if you use HX Native, you can do the automation within the DAW, thus saving the tiresome process of sorting through those implementation tables. It just could be the "plugin that handles all that for you, and would just make the whole process that much easier".
Don't mess around with those old fashioned MIDI commands, get streamlined and take advantage of EVERYTHING modern in automation.
Plus, as noted by "molul", there is an extra 30% off deal for those (rizzy) who don't want to spend $99!
It's like deja vu all over again!
A plugin that handles all that for you would just make the whole process that much easier
Frankly, I had no experience with this exact scenario yet, so I had to look up a few details in the manual… But in Logic, such a plugin is already built in, and its name is External Instrument. It's under Utilities. I won't necessarily need it for reamping because I bought Helix Native the last time it was on sale. But it will be useful while overdubbing with HX Stomp: I can automate changing snapshots a pushing footswitches during the recording process while I'll be using the Stomp for latency free hardware monitoring – while recording just the dry signal.
Just tested it, it works. (Just don't pull the USB cable while the antique MIDI is doing its thing: kernel panic caused by Line 6 driver…)
5 minutes ago, datacommando said:
Well, if you
… see above. :)
Edited March 18, 2021 by lou-kash
Well, if you use HX Native
Again, you're talking about another product than the one the OP owns.
Listen, I bought Native myself because it was the right decision for me, but if a hardware unit owner doesn't feel like he should have to buy a plugin to do what his hardware unit is supposed to do, then I think that's reasonable. And I think that initiating a discussion on possible ways to make using that hardware unit more functional, especially in a thread dedicated to discussions on ways to make the unit more functional, is also reasonable. And if it makes more sense to you to use a plugin instead of the hardware unit you bought, then I think that's reasonable too.
But what I don't think is reasonable is repeatedly trying to shut down discussion (on a discussion forum, no less) by suggesting that the only solution that can ever exist is buying a completely different product. This discussion never was and never will be about Helix Native. We all know what Helix Native does. We're talking about something else. It doesn't seem to be the kind of thing that appeals to you. Fair enough, but just go find something to talk about that is interesting to you then. Nobody's telling you to use a plugin to control your Helix and nobody's telling you to stop using Native, so stop telling everybody not to come up with new ideas on how to do what THEY want. I'm here talking about it because it's something I want. ME. MEEEE. Not you. Me.
LocationMinneapolis, MN
There's not really not many implementation tables to sort through. If you want to automate parameters via MIDI, you just use the Learn function, and you assign whatever CCs you want for that parameter. You can also automate snapshot changes via MIDI very easily (CC#69, values 0-7).
I agree with the other here... The chances of Line 6 developing a specific automation plug-in are nil... Not saying that to be mean or shut down conversation, just saying it as someone who's familiar with how Line 6 work and how they're development resources are being used. It's simply wouldn't be a high value item for them.
9 minutes ago, phil_m said:
I agree with you also, Phil. I don't see it happening either. But I distinctly recall reading DI say he wanted any and all ideas expressed in this discussion forum and on Ideascale, so that's what we're doing. And "Native does that" is a perfectly reasonable response, once. After that it's pointless. Like, we get it. Can we just discuss the merits of THIS idea? Because it's like someone asking how to install a turbocharger in their car and the response being "why not just take the bus? It's only $3." I mean, you're right, but that's not what we're talking about.
I'm here talking about it because it's something I want. ME. MEEEE. Not you. Me.
Man, u alright? :(
I personally think it's good to comment that HX Native is a good solution for this case, not for you who want the other approach, but for newbies that might realize there's a plugin like HX Native. Have we reached the point that we can't say something is not quite a good idea?
I mean, I wasn't aware of how useful native could be for me until I read a bit about it in other topics.
But again, I'm not against Line6 developing what you want. It would affect none of us.
6 minutes ago, molul said:
Ha. Ya I'm fine.
It's not a matter of me not getting something I want (this wouldn't even be at the top of my list), it's the type of discourse that goes on around here sometimes. This specific thread is intended to be a place where ideas are expressed and the merits discussed, and there are some users on this forum whose only ammunition in such a discussion is to say "No. That's not the way I do it. Stop talking about things I'm not interested in." He made up his mind that such a plugin isn't something that interests him, and fair enough, but can't the rest of us discuss the matter without every point being responded to with "Nope. Helix Native"? It's not even what we're talking about.
Thx for the hints about the discount on HX Native.
It is possible to configure MIDI controls for automation in a DAW. Since HX Edit has all the controls preconfigured, I thought it would be easier to use those as compared to setting them up and dealing with MIDI implementation charts - especially for non experienced users.
I see that this idea led to a partly heated discussion here. It's just an idea. If it doesn't make it no one will get hurt and life will go on.
it's like someone asking how to install a turbocharger in their car and the response being "why not just take the bus? It's only $3."
Once more, your analogy is rather odd - somewhat like looking down the wrong end of the telescope (that's another)
It would possibly be better to say:
"It's like telling someone, who already has a turbocharger installed, to 'take the bus' as it's way cheaper. Better yet, walk - that costs nothing".
You also ask - "Can we just discuss the merits of THIS idea?"
Well, yes, but as it doesn't appear to have any, and as "phil_m" pointed out, the likelihood of this ever appearing are somewhere south of nil - then all this is rather pointless.
Furthermore, it really is not a matter of:
"No. That's not the way I do it. Stop talking about things I'm not interested in."
I'm very interested in the Helix and it's ongoing development, as I was an early adopter and jumped onboard right at the start, way back in 2015. Lots of interesting and useful things have been added over the years since and I love all of them, but Line 6 have also said that there are lots of things requested on IdeaScale that are unlikely to ever happen. This could be one of those.
As you are such a fan of analogies - how's this.
If someone told you that pi$$ing on an electrical socket was not a good idea, would you still do it?
I pose that as a question, because it appears you like to have the last word.
Done and done!
Hatman777
Personally I'd love to see the FreQout pedal, as 1) it's different and 2) can have a lot of use, i mean there are already 15+ delays in the Helix, do we really need more delay effects?
i'm pretty sure many have suggested this Effect/pedal, but can't see any hint of this being implemented, i could be wrong though, but Id hate to have to buy an external pedal :(
5 hours ago, datacommando said:
It's not really your place to judge whether the things that other people talk about on this forum are pointless or not. Nobody is asking you to discuss a topic you're not interested in, but you're asking us to not talk about it because it's something YOU'RE not interested in. Wouldn't it be easier to just not participate in this discussion?
15 hours ago, zappazapper said:
I agree with you also, Phil. I don't see it happening either.
On 3/16/2021 at 5:05 PM, zappazapper said:
But ya, I have absolutely no expectation that this would ever get done.
As for the likelihood of such a plugin ever actually being made, sure, it probably won't happen.
How many times do I have to concede to your point that it's unlikely that L6 would be interested in such a thing before we can just have a theoretical discussion on the matter? Does it hurt anybody to have a discussion on the merits of an idea that is unlikely to come to fruition anyway? Again, I don't understand why you can't just find something that you're actually interested in and talk about that.
Wouldn't that be nice...
acousticglue
I deleted this about simple pitch shift since newbie to Helix it has it.
I Wonder If the Dev's have considered some Black Sabbath Love, Like a few Laney Amps, Supergroup and Ironheart and as an OD/Distortion Pedal the Catalinbread Sabracadabra.
Tony Iommi arguably had the most influential tone in the history of electric guitar.
I mean we have a slew of Marshall and Fender amps why not give Laney some Love ?
Utility section:
Midside plugin with tilt, EQ control, bass layer for keeping mono below the line.
Stereo width control with tilt.
4 pole Apple filter
Slew control
Tape control
Filter for simple EQ notching and sliding right or left.
There may be others that could be added in this section.
Also easier way via computer interface to merge split anywhere.
line-6-user
It would be nice to have a GLOBAL IR loader in Helix Floor affecting only the headphone output.
I have managed to calibrate my headphones using a VST plugin and now have an IR which I can load in my DAW when playing with it.
It would be nice to be loading the same IR as a global block in the Helix so to creating new presets while using headphones.
This avoids loading the IR each time I create a preset, and then removing it when NOT using headphones.
HonestOpinion
On 3/28/2021 at 8:56 AM, line-6-user said:
Not sure if you are suggesting being able to load a global IR, if not please ignore the following. The Helix's current architecture is such that if you added a global IR the Helix would have to set aside the DSP for it in every preset. Whether it was active or not. That is a lot of DSP to set aside. Additionally Line6 would have to redesign the Helix so that it grays out your preset and makes it nonfunctional if kicking in the global IR takes the preset over the maximum available DSP. Seems unlikely that this will ever get added, but you never know.
It might be more useful to have a global setting that allowed us to route all presets' cab or IR block(s) to any single or combination of outputs. That would make it simple for example to have the cab/IR block active in an XLR out to the PA but bypassed when using the 1/4" output into the front of an amp. Or, in the case you are describing route it only to the headphones. I think there may already be IdeaScale submissions for this.
marshalsea
Couldn't find this listed anywhere, but find myself doing this a lot and would appreciate one of these approaches to speed up sound design process.
1) Add an Amp/Cab "A+C" block as part of a chain.
2) Get the Amp/Cab block setup and then realise I need to split between two cabs, or an IR block.
There's two possibilities to solve this and really add some time saving:
a) "Split Amp/Cab" - which would convert the A+C block into separate Amp and Cab blocks next to each other with all the settings transferred from original A+C.
b) "Copy/Paste Settings" - copy from one Block, apply to another overwriting any relevant settings.


It was a great weekend, both getting to spend time with family and celebrating Josh's special day. Even if it meant I was a little short on time to read and write.
Malala Yousafzai has been all over the news this week. A year ago, she was shot in the head and neck by Taliban soldiers for daring to speak out regarding her desire for an education. She has made a miraculous recovery and has continued her advocacy of education for all. At the age of 16, she is the youngest person ever nominated for the Nobel Peace Prize and even though it was ultimately awarded to someone else last week, her inspirational influence is expanding.
Because of her example, I try to be a little more courageous in speaking out and standing up for what I believe.
Watch her great interview with Jon Stewart here.
Neil Gaiman is a brilliant author. I love The Graveyard Book and Coraline. He creates deliciously spooky worlds for his quirky and substantial characters to inhabit, and articulates Truth beautifully.
"Delicatessen with love" is a project by Gabriele Galimberti. He photographed dozens of grandmas around the world, pairing a portrait of each of them in their kitchen or dining room surrounded by the necessary ingredients for their "best" dish with a picture of the completed meal. It's not only food photography at its best, it portraiture at its best. The differences between the women and their situations are fascinating; the commonalities are striking. I love looking at their faces. These women are beautiful!
And the food. Oh my goodness, I want to gobble it all up! (Except maybe the caterpillars in tomato and onion sauce from Malawi, though the Malawian grandmother's smile is delightful.) Gabriele also includes cooking instructions, so if you're interested in trying to replicate grandma's chicken vindaloo from India, or tolma from Armenia, or inkokt lax a from Sweden, or Honduran iguana with rice and beans from the Cayman Islands, you're in luck!


The third annual Children's Miracle Network radiothon at West Ridge Mall raised $105,205.59 for Children's Miracle Network's northeast Kansas hospital, St. Francis Health Center, said Chris Fisher, KTPK program director.
"Country Legends 106.9 is proud to announce that we had another record-breaking year raising $105,205.59 -- last year we raised just over $102,000 -- for St. Francis Children's Miracle Network," Fisher said in a news release. "One-hundred percent of money raised goes directly to kids in northeast Kansas who need it."
The radio station's on-air talents hosted three, 12-hour days to raise money. The event began Tuesday and ended at 6 p.m. Thursday.
Fifteen counties are served by the St. Francis Children's Miracle Network -- Brown, Clay, Coffey, Geary, Jackson, Jefferson, Lyon, Marshall, Morris, Nemaha, Osage, Pottawatomie, Riley, Shawnee and Wabaunsee. The St. Francis Children's Miracle Network provides a range of medically necessary items for children in need that aren't typically covered by insurance, Neill said.
Jim Littrell, director of Children's Miracle Network radiothons, said the organization has used radiothons as fundraisers for 12 years. Last year, more than 350 radio stations raised $55 million in the United States and Canada, Littrell said.