text:
Q: Call method in JPA I'm using ObjectDB with JPA. I would like to call myMethod(). For example:
entityManager.createQuery("SELECT ... FROM ... WHERE MyClass.myMethod() = 100")

Is it possible? Maybe any annotation is required before method in the class?
@Entity
public class MyClass implements Serializable {

    @Basic
    private int x;

    @Basic
    private int y;

    public int myMethod() {
        return x*1000+y;
    }
}

A: JPQL is not exactly an object-based query language. You can't define your own methods, and JPQL provides a very limited set of functions. So if you want to keep within the JPA spec then the answer is no; would have to be JPA-implementation specific - DataNucleus JPA certainly allows you to have your own methods in the query language (as a vendor extension), no idea about your quoted JPA provider - that said though, it would only execute such a query in the datastore if you put the code for that method in a query method implementation (as opposed to in the class)

A: Yes, you can! And no additional annotations are required.
ObjectDB is an implementation of an object-oriented database system (OODBS) and as a result allows you to interact with database items as objects, that includes calling methods, using inheritance and polymorphism, etc.
This is a simple working example I have. With a class like this:
@Entity
public class Person {
    private static final long serialVersionUID = 1L;

    @Id @GeneratedValue
    private long id;

    private String firstName;
    private String lastName;

    Person(String firstName, String lastName) {
        this.firstName = firstName;
        this.lastName = lastName;
    }

    public String getFullName() {
        return firstName + " " + lastName;
    }
}

This query returns correct results:
entityManager.createQuery(
    "SELECT p FROM Person p WHERE p.getFullName()='John Johnson'", Person.class).getResultList();

A: JPQL is translated into SQL, so you cannot include a Java method call, as your database (most likely) does not support Java.
In JPA 2.1 you will be able to use the FUNCTION operator to call "database" functions.  Some database do support defining functions in Java, but normally a proprietary database language is used (such as PL/SQL).
EclipseLink supports both FUNC and FUNCTION operators for calling database functions.  You can also define your own operators using the OPERATOR operator which allows you to define your own custom database function call in Java.
http://wiki.eclipse.org/EclipseLink/UserGuide/JPA/Basic_JPA_Development/Querying/JPQL#EclipseLink_special_operators

A: Not the way you are looking for. If you want to use custom method, you can create and register them before using them.
e.g. create a function as below:
        public int myMethod(int x, int y){
           return x*1000+y;
        }

Then register this function using registerFunction() with the dialect of your database. Once done, you can write a query as :
  from MyClass data where myMethod(data.x, data.y) =100;

Hoe this helps.

A: No you can't do that. Since JPA always works with prepared statement (parameterized SQL), you can only set parameters in the WHERE clause of the JPQL query like
entityManager.createQuery("SELECT .... FROM ... WHERE
someCondition=:someValue).setParameter("someValue", "parameterValue");

Make the method (myMethod()) return that value somehow and replace the second parameter  which is parameterValue of the setParameter() method by the value returned by your method, myMethod().


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Comparing old school rappers to Em is like comparing Muhammad Ali, Frazier, Foreman boxers like Tyson, Holyfield, Lewis and so on. You'll never know who is better. Also Eminem wouldn't battle any of those old school pioneers as he pays alot of respect to them and even mentions his top rappers who are still active today and were known before him like e.g. Andre3000, Jay-Z and Nas. Of course Will is a pioneer in music but similar toall the other rappers you mentioned like Moe Dee, Kane, Slick, Rakim amd Melle Mel he is irrelevant in the music world. He has a (very successful) history in the music industry but that's it. Same with a rap icon like 50 Cent. 50 is irrelevant. Nobody cares about his music.
When Em dissed Ja Rule, Rule was very relevant in the scene. Em ended Ja's career and he had a reason to diss Ja Rule.
I absolutely understand what you are talking about though. But still Will is irrelevant and nobody is asking for a album or single except us JJFP fans. Most of us are probably in their 30s. The kids around the world wanna listen to Justin Bieber and the rap fans around the globe do not wanna hear Will Smith on a record. Will would probably struggle to achieve gold status in the US. But I guess we will never find out.
Again I agree with you. I want that classic JJFP hip hop and if we do not get to hear any new material then I'll continue to listen to the old stuff. :D
i like ja rule but legal issues ended his career not eminem, clap back was a strong battle record he held his own.... record sales doesn't necessary prove how relevant you are either then vanilla ice and drake would be in the GOAT convo since they both sold millions and nelly ended krs one's career right? i'm not trying to bash eminem altogether cause i do respect his talent but i find a majority of his music annoying, will really sparred eminem and g unit in 2005 cause majority of us know he coulda easily said in the song "lost and found" and released as a single then and it woulda changed history, "lost is eminem and 50 cent/found is lauryn hill and rakim" which was 100% true then and now, the reason why 50 is less relevant than em is cause he's black and em's white but they're both the same annoying rappers ro me..btw i love lose yourself and wanksta but i could easily name 100 songs in hip hop better including summertime, brand new funk, and gettin jiggy wit it...btw at this point will will always stay relevant cause he has 10+ albums worth of material including his greatest hits, there's enough material out there, he has nothing more to prove, he's been in the game 30+ years, classic hip hop is more original so it'll always stay relevant since 99% of today's rappers are biters...
This is all waaaaaaaay off topic.
FP dropped a solo single. This is a good thing. I suppose the question is what he's trying to achieve with it. Is he just putting it out into the world and that's it? It he actually trying to get a buzz with it to lead into an album? If so, where is the music video? Where are the TV performances?
The Code Red sequel talk is tired. It's a dope album, but doesn't deserve a sequel...especially as a solo project. Code Red is a fan favorite, but commercially it didn't do that well. People outside of the JJ+FP fan base don't recall that album because it didn't have much commercial success. JJ+FP didn't tour with it and they did very few TV performances with it. "Boom! Shake The Room" got some video play, but "I'm Looking For The One (To Be With Me)" and "I Wanna Rock" got very little support. I used to watch MTV a lot back in the day and never saw the videos to the second and third singles. It wasn't until the JJ+FP Greatest Hits VHS came out in 1998 that I saw the entire videos. I had only seen a clip of "I Wanna Rock" on Beavis & Butthead. lol Dope album, but stop trying to bring it back to life in 2017.
It's good that he dropped the song and shared his energy and the positive message. At the same time, the song isn't doing much for his career, other than letting us know he's not done with music. The song is getting some love and fans are supporting it. However, a lot of music fans are being critical because of the production, which you'll see if you read the comments on any article online.
Let's support it and see what happens.
i guess i should be happy at this point will's doing any new songs musically cause after 30 years he's a hip hop icon that has nothing to prove, he's on the same level as LL Cool J, Dr Dre, Chuck D, Queen Latifah, KRS ONE, etc that could basically do what he wants at this point because today's new rappers ain't touching the old school! us fans should appreciate that they're here because we lost Pac Biggie Left Eye Heavy D and Guru etc, bottomline sure i wish that he'd do less movies and give a higher priority to his music but that's his peroggative not mine, i have to respect his career choice whether i like it or not...
DefCEM 4
JJFP Fan Forever
Location:Germany, Cologne
long time no see. hope y'all doing well. glad to see some of y'all got the chance to meet JJFP.
Here are my 2 cents about the new track. I think Will just doesn't care about what other people wish for. He probably did this track because he felt like it. I think theres no other oldskool rap veteran who experiments as much as Will with his music. They all keep it true to hiphop and to their own style to a certain degree. Personally i don't like the track, just because thats not my type of music. Born2Reign was similar in that aspect. He did a lot of experimental/non hiphop stuff on that album too. And his latest releases Caution in the Wild and the other one before that was the same. He tries to reach the mainstream Top 100 music listener of today, but the thing is, there are thousands of people who are better than him doing that type of music. Those recent tracks are forgotten already. Come to think, that he's very insecure about releasing music, this will just make it worse, if you look at the critics.
To tell the truth, i think he never really cared about his music career. He could at least do some fan service and release some oldskoolish hiphop tracks with Jeff. Honestly i would find it better, if he released nothing instead. This stuff is not really convincing.
TheFre$hPrince reacted to this
DevilsJim89 14
Location:NJ
1 hour ago, DefCEM said:
Hey man - I agree with all that you said.
I don't mind Get Lit as I do enjoy house and some EDM but he's not giving us what we want. We want BARS! Will needs to actually SPIT BARS. Once that happens, he'll get more attention online. I don't care if he wants to experiment, you have to as an artist. Caution in the WIld could've been so much better if it was a full song and if he didn't repeat the same 4 lines or so in both "verses". The Fiesta remix video was pretty dope - imagine if those visuals were used for a proper rap comeback song.
I've been saying it for years that he's super secretive and insecure about his music...but says one thing and then says something else. He drops L+F saying how much he loves music and then never drops another single or album. In the music industry, if you don't have some recent, it's out of sight, out of mind and in Will's case - 12 years?! Completely out of mind. There's a whole generation of people who didn't know he was a rapper before the movies.
Another example - back in 2005, he said he was going to do stuff online. Where's the website? He doesn't even have a legit website. How about a soundcloud? He's so out of touch. I don't think he's cared much either about his music career and truth be told - it shows.
One more example in 2015 - "Oh yeah Jeff and I are going to do a proper world tour because we've never done it and its going to be in 2016." ....We got 2 shows in 2016. Not exactly a tour.
I get he's the biggest movie star on the planet but give me a break - he doesn't have to make movies another day in his life. If you really wanted to do music - you do it. Don't say we're going on tour and then go sign on for another 2 movies....seriously. This is where my frustration sets in.
If he wants to be taken seriously again regarding music, he needs to drop bars. Plain and simple. You don't need to sell records anymore - just do it for the love and people will respond.
TheFre$hPrince and Hero1 reacted to this
All fair points Jim but I'm pretty sure the 30 or so tracks he's recorded he isn't dropping any bars.. unless he gets with Jeff and does some proper rap tracks I don't like our chances of getting some hip hop out of Will these days...
welcome back to the board defcem and welcome to the convo jim! now @DefCEM i think Will Smith is similar to my other favorite rapper LL Cool J in the fact that they both like to do the Prince/Michael Jackson experimenting with their music, all of their albums have a different sound to them, I don't see nothing wrong with it because I appreciate all kinds of music, a lot of these so called hip hop heads want to hear the same thing all of the time and that's boring, sure I wouldn't mind Code Red 2018 but at the same time like AJ said that wouldn't make much sense the more that I think about it, Code Red was great for 1993 but 25 years later calls for something original, each album is a time capsule... now @DevilsJim89 realistically speaking in 2017 is Kendrick Lamar, J Cole, and Chance The Rapper spitting original BARS on the level of KRS One, Big Daddy Kane, and Rakim???? HELL NO, compared to the original MCS of the 1980s and 1990s 99% of today's rappers are wack including them, NO EXCEPTIONS, I rather listen to Nastradamus than any album by a current rapper in the last 10 years, will doesn't need to worry about competing with any of them he's running his own race, will could say 99% of today's rappers are wack just like Michael Jordan could say 28 NBA teams are garbage cause nobody touching 90s legends, i'm not a bitter old head saying that either cause anybody with common sense at any age could see that today's music is disposable art, i can't picture many people listening to today's rappers 20 years from now when today's albums lose replay value in less than a week and as kids mature they'll learn to appreciate albums like LL's "Todd Smith" and Will's "Born To Reign", and yes i'd definately like to see "Code Red 2018" and "14 Shots To The Dome 2018" to knock out today's wack rappers but really anything that they come up with will do with me...
btw i'm so PUMPED to see more life on this board FINALLY, posting on JJFP.com always beats posting on social media to fake people anyday!
here's the get lit youtube audio, let's promote this if we want new music cause even though it's not brand new funk it's still better than 99% of what's out:
I'd rather have new music by Will than promoting this song. Honestly.
Great to see that some more heads joined the conversation.
i'd rather see this song get lit get airplay more than 99% of what's out now and it'll led to more music if it goes viral so promoting it is a win win!
I'm pretty much agree with everything Jim said.
I like the song for what it is. I'll play it from time to time. It's just not my preference of what I want to hear from him. The songs we've heard from recent years are good songs. He always brings great energy and the lyrics are fitting for what those songs were, but I'll be waiting for a Hip-Hop song.
There's no reason to expect it to be a hit unless Will fronts the money to make it one. When I was talking to Carvin Haggins, he said how the days of people requesting songs on the radio is long gone. It's basically like paying for a commercial. Labels pay to have the songs played. The more they pay, the more play it gets. For an independent artist to break through, something very unique would have to happen, such as astronomical success on YouTube or social media.
well in the sense of the concept of albums i'm basically living in the past since on the most part the highest selling albums sell between 500,000 to 1 million now when 10-15 years ago it was 3 million to 10 million +, back in 2002 eminem sold over 10 million with eminem show but in 2013 with marshall mathers lp it barely sold 1 million, basically now even established artists like Public Enemy give albums away for free and they tour(even Jeff gives away a lot of his mixtapes on his website), the internet ruined the concept of having multiplatinum success but you could still be successful other ways...
Yeah the music industry is basically dead these days. No one buys music. "Albums" don't even really exist anymore. Kids stream a song they like and that's about it. That's why I can't understand why Will even cares about a "hit song". Just do some JJFP for the longtime fans.
Jim hit the nail on the head with whats missing, bars. Will's a rapper but the last 3 songs hes put out barely have any lyrics in them. We know he can write them because he's wrote tonnes of incredible songs. Plus the world is so messed up right now, theres so much he could say.
I think Will has seen what Jaden and Willow do. They put music out all the time, they never chart, they just get attention from their fans. They seem to be ok with that and just do it to be creative. If Will isnt expecting to chart, he may as well make music that us guys wanna here and not try to fit in with the music scene right now.
I get the impression hes a bit lost, he wants to do it but hes not sure how. I get that, music is weird right now, its either EDM or a Spanish song and he doesnt seem to fit into any of that.
jeff seems to do it the right way as i said, that's the greatest resource, hang out for a week and get something done, FOLLOW JEFF WILL!

redpajama_set_name: RedPajamaCommonCrawl


I have a story in a new collection to benefit victims of the Superstorm that smashed the coast last year, entitled "The Story of O Street." The book is Oh Sandy: An Anthology of Humor for a Serious Cause, and it collects an amazing roster of authors, including Gil Hoffs, Lynn Beighley, and Thomas E. Kennedy. If you need a laugh and want to help, grab the book. It is available for Kindle and in paperback, and all proceeds benefit charities supporting victims of the storm. The stories include comics, and fiction from all over the globe. I'm proud to be a small part of it, and if you want to read my tale of a surly general contractor meeting his match with a unique Jersey character, you'll have to pick it up.


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redpajama_set_name: RedPajamaGithub


I won a scholarship to the prestigious London Drama School, The Guildhall School of Music and Drama, graduating in 1969 after two years of intensive training in all aspects of acting. The first part of my career as an actor, was mainly on stage, treading the boards of many of the UK's foremost Repertory Theatres playing major roles across all genres, Strindberg to Shakespeare, Aykbourn to Agatha Christie. Highlights include playing at the Old Vic in Jonathan Miller's 'King Lear' with Sir Michael Hordern, and playing Miss Julie at the Roundhouse Studio. In the West End I played Mollie Ralston, the Heroine in year 29 of 'The Mousetrap', which holds the record for the longest running play in the world, ever! Acting has always been my first love - I feel strongly that good training is vital for actors - even though I am not sure that acting can ever be taught - it can certainly never be pushed or forced - it is absolutely about being open and accepting and though an actor can be guided in his craft, but the inherent talent must be there to begin with.
Acting has been defined by many people and in many different ways. It has variously been described as impersonating, pretending, imitating, interpreting, feeling, creating, being, behaving, imagining, empathising, reacting, believing, doing, playing … and even as acting!
"Never lose yourself on the stage. Always act in your own person, as an artist. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated false acting. Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. To break that rule is the equivalent of killing the person you are portraying, because you deprive him of a palpitating, living, human soul, which is the real source of life for a part."
"The foundation of acting is the reality of doing"
"Honesty and moment to moment truth are the cornerstones of great acting. And once you learn how to fake that, you've got it made!'"
What acting definitely isn't, is a place to hide, though this is a common misconception and many would-be head into the profession because they are trying to hide - they dislike something about themselves and believe that by 'putting on' a character', their own character will be hidden behind the curtain of their performance. In fact, good actors actually reveal themselves to an extraordinary degree. Dig into the quotes above and they reveal the same truth. An actor creates a reality within an imaginary world; everything that happens during a performance is grounded in reality even though the world being created is not real. This is why great writing survives and continues to flourish. Shakespeare created situations and settings that were purely imaginary but the feelings and actions of his characters have a universal truth based on human emotion and experience.
Thus an actor creates and then inhabits a believable creature who feels, speaks, behaves with truthfully within the remit of the script (or improvisation) for the duration of a performance however long or short that performance may be. The actor cannot force a performance ... tension is or trying too hard absolutely kills the creation. You have to be relaxed and even vulnerable otherwise how can you accept what is going on around you and build on it? When playing a role, the actor is in' in that moment with the facade of being entirely real, he must be totally accepting of the moment making every decision, making every action and reaction as if with absolute spontaneity as though everything is happening for the first time; and as though every thought and action is fresh and new.
Of course, most performances have a script so you are speaking lines that have been written by someone else so acting is interpreting an author's words, and about communicating to the audience what has been written, devised or improvised. You do this by taking ownership of the character you are playing and by using your imagination and your own remembered experiences and emotions to make the character's thoughts and emotions utterly believable and truthful to that character, and then sharing them effectively and credibly to whoever is watching or listening. drawing the audience into the performance. You're not demonstrating anything - you just are!
What makes an actor's creativity unique, is the ability to do this amazing thing on cue. The audience arrives, the curtain goes up ... and there you are, in character, complete, compelling and credible - and you do this amazing feat night after night, performance after performance, retake after retake, no matter what else has happened during your day, no matter what mood you're in, or what stresses you've been under.
This calls on technique ... as do many of the actor's skills. Of course actor's stage technique is subtly different from the technique required on a film set or in a recording studio. On stage the element of artificiality is increased because projection is involved - both emotional and vocal, but otherwise, performance techniques are surprisingly similar across all platforms, stage, film, television, radio and voice acting.
A large part of my training at drama school centred around an actor's technique. It is complex and is not something that can be learned overnight. Before working on texts, we spent many weeks learning how to be 'truthful' within the totally artificial creation of an improvisation. To take what is given by your improvisation partners and to build on that while responding truthfully. (Accept and build). Slowly, scripts were added and we began to use what we had learned (including what we had learned about ourselves) when speaking someone else's words. We worked on motivation, interpretation and vocal technique - two incredibly intense years, five days a week from 10:00 to 18:00 of classes, tutorials, masterclasses, rehearsals, workshops and performances - and very often rehearsals or performances during evenings and weekends. So what I am sharing here is a tiny taste of what I learned from many wonderful teachers during the totally immersive experiences of my drama school training.
Probably most important thing I learned was that no matter what kind of performance you're involved in, no matter where the performance is taking place, no matter whether there is a live audience or a camera or microphone, every single thought, action and emotion you experience has to appear 'new' and must be 'truthful' within the context of the piece. This is the artifice of the actor, because nothing within a performance can ever actually be 'new' because you've already read the script, gone through a rehearsal process, you know what happens next, you know your lines and the lines of the other actors, so how can it be new? Each time you perform a piece you must be constant to some degree and you must be able to re-create and repeat that performance: In film, television and recorded media there will be retakes, pickups, cutaways, close ups, corrections all need to 'match' the original performance, but it must appear fresh and spontaneous every single time. Although a stage performance may appear to be more immediate, (there is no second chance, no retakes just the next performance) it must still be consistent. Imagine what would happen during a carefully staged fight if one actor suddenly changed all the moves.
So part of an actor's technique is the ability to re-create the moment afresh while still remaining totally aware of what is going on around him. The tempo and atmosphere of each particular performance will be subtly different from last night's or last week's - and will have certainly grown from the first read through and will change from the way it was during rehearsal. Thus each live performance takes on it's own life - it gathers energy from the audience and the way in which every unique set of circumstances affects those taking part (and those watching) will cause each performance to be subtly different.
Actors talk about the fourth wall ... this is the imaginary wall that separates the audience from the stage. What happens on stage is secure within that creative space, but the fourth wall is not solid, it allows the actor to be aware of the audience, almost subconsciously. You're totally involved in the creative space and the imagined world on stage, but you must also be aware of the audience's reactions otherwise you will 'tread' on laughs, kill moments of suspense by coming in too tightly on a queue, or talk through applause.
This heightening of the senses and awareness of what is happening alongside you and which is quite separate from what you're doing on the stage is a difficult concept to get to grips with ... especially to less experienced actors who often feel that they're only 'really acting' when they're totally lost in the role. While this may result in what appears to be a very 'effective' performance in which the actor truly feels every emotion and suffers every pain, is in my opinion, self-indulgence rather than 'acting'. The actor who comes off stage feeling wonderful because they have been 'feeling' it, crying real tears, who has been on the verge of losing control perhaps, is thinking only of themselves and their own performance. They are not involved in the play as a whole, they're not thinking of their fellow actors, the will of the author or the needs of the audience. Furthermore they will not be able to sustain their performance over a long period of time, nor repeat it night after night (or take after take).
The actor's job is to play the truth so that the audience becomes emotionally involved, experiencing the feelings that the scene dictates, thus the audience weeps - not the actor! It is not the actor's job to emote, to feel it themselves during the performance, that is what rehearsals are for, when you are finding your way around a script, becoming familiar with the words, learning about the character and their emotional journey. Rehearsals are the discovery period. When you get to the performance itself, whether that performance be a one-off (i.e. a recording for television, radio, film or voice over) a short run, or an extended one, that is when you reach back to the rehearsal period to remember and recreate your original discoveries.
A good actor re-creates 'the truth' - or rather 'an appearance of truth' - in performance after performance, take after take, so that each and every time they perform, what they are doing is totally believable, convincing and compelling - but, at the same time, is also absolutely under their control. I don't believe that the best actors ever totally 'forget' what is going on around them ... including what is happening to the audience. The actor remains aware: aware of where the focus of the audience's attention should be, aware of where the laughs are, aware of the demands of the author and of the ebb and flow of the script; they retain the ability to not only hear the other actors as if for the first time, but to react to them truthfully within that moment, as if afresh. Although each performance may appear to be identical, each is in fact subtly different.
However, consistency in certain areas is very important. You are 'in the moment' during a performance, responding to the audience, to the script, to the other actors … but certain things within that performance must be consistent. Obviously, your physical characterisation … your accent, your characterisation must be consistent from one scene to another otherwise your performance will not be believable. You must also be consistent technically. Changing the mechanics, moves, pace or positioning of a stage fight for example is potentially dangerous. Changing your performance to such a degree that it throws the other actors is selfish and unprofessional.
When working in film and television, you are often required to repeat a scene several times … especially on a single camera shoot … and your performance must be consistent across every single take … if you gesture on a certain word, you need to repeat that gesture exactly, on the same word, in the same way on every single take, otherwise the different takes will not cut together.
You have to begin the creation process with what you know ... and though you may well be a great observer ... what you are able to observe in others is only the outward manifestation of what is happening inside them. It is the same with creating a character ... the soul of a character has to develop from within ... and where better to start than with yourself?
Begin with yourself and find what you have in common with the character you are playing ... that is their centre, the stick in the middle of a candy floss - 'cotton candy' to my American colleagues. The centre is what holds a character together; the development growing outwards from that central core into a rounded and believable 'whole', is the sugar being spun, layer upon layer. Those layers are built during the rehearsal process as the character's emotional journey begins, as you find the character's unique voice; as you learn more and more about them, from the text, from their reaction to others, from other's reactions to them and from their actions, behaviour and understanding of the situations in which they find themselves; the conflicts and problems, joys and rejoicings, hopes and dreams that they encounter through the course of the script, layer upon layer of doing, understanding, imagining, knowing and creating. And at the centre, the foundation, is the actor himself.
People think that acting on stage at least, is of necessity, 'big' ... projected ... exaggerated, larger than life - that it must be so in order to fill a large space. Venues vary enormously in size, (I have played in theatres where the front row of the audience is only a foot or so away from the stage,) but also the content and context of a piece of work (as well as the fashion of the time) often calls for a much more intimate experience. Ultra realism seems to be one trend at the moment, and is spread across all type of production from Shakespeare to Pinter ... but that 'theatrical' realism is far from being real. At the heart of every successful naturalistic performance, is an actors' technique. The ability to make dialogue or lines that are incredibly familiar appear to be a spontaneous thought, to bring something new to even the most hackneyed speech, and to be 'in' that performance as if everything is happening now for the very first time, that is an extraordinary skill that actors spend years perfecting.
For me, what marks out the best actors is an emotional concentration and intensity, a kind of heightened yet controlled energy, a dynamism and focus that brings the performance alive. Great film actors demonstrate this intensity and concentration perfectly ... think of Al Pacino, Marlon Brando, Anthony Hopkins, Robert De Niro, French actors Jean Reno and Marion Cotillard, Ralph Feinnes, and in his more recent performances, Tom Hanks. Their performances are truthful and subtle yet have a stillness, an intensity, even a sense of danger that compels you to watch them and listen to them, while all the while appearing to be totally effortless. All of these cinema greats are renowned for their dedication and research, for going that extra mile and Pacino and Brando are known to be 'method' actors if you wish to use that terminology.
Reams have been written about Stanislavsky or 'the method': I don't intend to go into this in greater detail, but I do think it is worth placing 'method' acting in context. At time that 'the method' first came into vogue, it was against a background of a very stilted and formal style of acting, even in film ... think of Trevor Howard and Celia Johnson in 'Brief Encounter' ... Constantin Stanislavsky along with other practitioners of the time, Peter Brooke and Jerzy Grotowski and Antonin Artaud were hitting back, bringing a modern approach and were breathing a much need energy and honesty into acting, and although their approach has largely stood the test of time, I do think that we have moved into a new acting era, where 'the method' is combined with a new technicality that leads to a more 'theatrical' experience. Perhaps this has come about because of the proliferation of musicals, where 'the method' in its purest sense, isn't really an option; or to the more physical type of acting as in the wonderful National Theatre Production of 'War Horse' where puppetry has ascended to a whole new level.
I think it goes without saying that acting (and I include voice acting) is a precarious profession that it is vastly overcrowded; the majority of actors are out of work for long periods. Regional producing theatres are few and far between, and though there appear to be lots of opportunities for voice actors, for the jobbing actor the competition is fierce. Only a very few actors are able to earn enough from acting alone to live in any kind of comfort, few gain any kind of public recognition let alone fame, and it is a lonely, tough, depressing and difficult career path to follow. However, as long as you have the talent, are prepared to work your socks off, to train and work hard, and are willing to put up with not getting the job you auditioned for over and over again, and if you have the hunger, the desire and the feeling that there really is nothing else in life that you would rather do, then, who am I to try to dissuade you?
A caveat though - if you don't have that absolute determination and desire, that conviction that there is nothing else that you could possibly consider doing or being other than an actor, then my advice would be to look for an alternative career. Making this choice doesn't mean you have to give up on your dreams altogether, there are many 'part time' actors … especially in voice work. Lots of successful voice actors also have a 'day job'. It isn't a case of all or nothing. In theatre too, most professional actors have a second string to their bow - and in addition there are many part time actors who have a day job and are very successful members of community theatres or amateur groups many of which do excellent work.
If you're looking for a career in theatre, film or television, then I believe training is essential, preferably at an accredited drama school. The time is long gone when a stint as an acting ASM at a local repertory company was deemed to be sufficient training for a life as a professional actor as those opportunities simply no longer exist. Most accredited drama schools in the UK offer acting training as three year BA degree course. Every full time acting course involves much more than just acting. You will learn improvisation, dance, movement, period dance, stage fighting, choral speaking, microphone technique, singing, physical theatre, mask work, radio acting, singing, mime, voice work, technical skills, interpretation, theatre history, verse speaking and much more. There are even courses specifically for those with a talent for musical theatre … with a greater emphasis on dance and music. Most drama schools are in London, though there are some notable exceptions: The Bristol Old Vic Theatre School, the Royal Scottish Conservatoire (formerly the Royal Scottish Academy of Music and Drama) in Glasgow and The Royal Welsh College of Music and Drama in Cardiff.
Drama school is not an easy option and getting into drama school is extremely difficult. If you can successfully get through the rigours of the drama school audition against the immense competition that exists for a very limited number of places, you should congratulate yourself.
Secondly: Have another string to your bow … I promise you that there will be long periods of unemployment between acting jobs and you need to be able to support yourself.
Of course the whole idea of 'acting training' begs the question as to whether someone can actually 'learn' to be an actor. Without talent and ability I don't think truthfully that acting can be learned. You can be taught skills and technique that an actor needs, but the raw talent has to be there in the first place.
I'll be looking at voice acting in more detail in a forthcoming article.


Designation of Origin (DO): Rioja Alavesa. Wine especially selected by the D Luis R family from their best and oldest vineyard plots.
By allowing the grape to reach its perfect maturity on the vine until the end of October and with a controlled fermentation, we are able to extract all the potential richness of the grape.
After letting it mature in French oak barrels, repose temporarily in cement vats and rest patiently after bottling, we offer you a different wine which is complex and elegant.
Optimum serving temperature between 16ºC-17ºC.


text:
from swgpy.object import *

def create(kernel):
	result = Tangible()

	result.template = "object/tangible/loot/dungeon/death_watch_bunker/shared_ducted_fan.iff"
	result.attribute_template_id = -1
	result.stfName("item_n","jetpack_ducted_fan")

	#### BEGIN MODIFICATIONS ####
	####  END MODIFICATIONS  ####

	return result


To pick up the biotech for d20 series again, we'll take a look at "monster design" from the game master's side with the Spirit of the Times.
Some places achieve timelessness. Others have timelessness thrust upon them.
The Wild West, Feudal Japan, the Roaring 20's… all host more tales than the original locales could ever have contained.
And Spirits can be invoked.
A Spirit of the Times possesses landscapes, not creatures or characters – and so a lot of the usual statistics are quite irrelevant. Do you want an armor class for the desert? To decide how many hits with a sword it will take to kill Mount Everest? No, the sole way to dispose of a Spirit of the Times is to find it's central focus (invariably a complex glyph or series of glyphs that expresses the nature of the spirit in question) and enact the unique ritual of closure which will end it's reign.
This isn't necessarily urgent; people may live under the influence of a genre for many years without being particularly bothered by it – but eventually things will want to move on. Despite E.E "Doc" Smith, extending a particular culture indefinitely across time – no matter how much the setting changes – rarely works all that well.
So a slightly crazy wizard (my, don't those guys get blamed for a LOT of things? They should get a lawyer), wishing to protect his monopoly on something or other, has enacted a bizarre ritual thought long-lost, and summoned up the Spirit of Prohibition – calling on it to force all other, legal, suppliers out of business.
Perhaps it's rock salt. Or perfume. Or some sort of music.
Across the kingdom it will abruptly become accepted that dealing in whatever-it-is is illegal. Enforcement organizations will spring up. So will black markets, and illegal establishments where you can go and eat salty foods, or enjoy a selections of scents, or listen to the illegal music. There will be raids and gangsters.
In fact there will be hordes of gangsters, riding by in carriages firing wildly with their rapid fire repeating heavy crossbows that – oddly enough – will not work outside the kingdom.
The locals will accept the new situation, traders will find new restrictions at the borders, and a hundred other details will change to fit. Characters who go along with the cliches that the spirit enforces will find their actions greatly eased. Characters who attempt to fight the genre will find their lives far harder than they need to be.
Who can defy the Spirit of the Times?
So lets make a stat block.
Attack: Dispatches hordes of generic minions, which simply show up annoyingly.
Special Attacks: Alter Genre (enforces appropriate cliches), Mass Acceptance (the population at large will see no problems), Law Enforcement (the local authorities will enforce the new social mores), and Alter Setting (the environment changes to suit the genre).
Special Qualities: Immune to pretty much everything except the dismissal ritual, unless the GM feels that certain tactics (unique to each spirit) will weaken it.
Saves: Too big to need any.
Skills: Hm. Spot Annoyances +17, Elementary Tactics +10, Influence Culture +20. No, these aren't standard skills. Who cares?
Environment: The Beyond, wherever it's summoned, or in mortal hearts and minds.
Challenge Rating: Depends on the minions assigned to it.
Treasure: Large piles of appropriate props.
OK: now this "creature" violates virtually every rule of monster design out there. There's only one way to defeat it and none to "harm" it. It's built on pop-culture references. It's stat block is woefully incomplete.
And yet… it rather looks like fun to me. If you want a chunk of the Wild West, or a Chicago-Gangster break from your usual high fantasy, or an espionage interlude – well, here you have an excuse. The fact that there's only one solution (perhaps, for the Spirit of Prohibition, bringing in a wagonload of whatever-it-is that's banned and proclaiming "Repeal!" while standing atop it's mystic seal will do) isn't too relevant; this "monster" sets up interesting situations and periodic annoyances with mobs of "gangsters". It's not like it goes around directly stomping on player characters.
Still, player creations are just going to have to be a lot more limited than GM creations. The "fling together anything that looks like fun" approach may have a lot of gaming tradition behind it, but it's a lot trickier than it looks. How many really lame creatures have you run across?
(Oh no! Old memories… surfacing! Judges Guild: Field Guide To Encounters… More than a thousand of the LAMEST most unusable creatures ever imagined! In what may well be the WORST game supplement in my entire collection!
So; next up, it's going to be building monsters for players.


text:
· Posted on Mar 14, 2013
11 Things Everyone Thinks Are In The Bible, But Aren't
Cleanliness: not technically next to godliness. (Yesssss.)
by Jessica Misener
1. "This, too, shall pass."
gi0001.photobucket.com
Actually from: Persian poetry.
This proverb has its roots in the works of Persian Sufi poets. Attar of Nishapur records one fable of a powerful king who asks assembled wise men to create a ring that will make him happy when he is sad, and vice versa. After debating, the sages hand him a simple ring with the words "This too will pass" etched on it, which has the desired effect.
2. "Cleanliness is next to godliness."
ecx.images-amazon.com
Actually from: The Talmud.
This old proverb, often also mistakenly attributed to Ben Franklin, actually comes from Phineas ben Yair, whose writing appears in the Talmud this way: "The doctrines of religion are resolved into carefulness; carefulness into vigorousness; vigorousness into abstemiousness into cleanliness; cleanliness into godliness." I.e., "cleanliness' is literally next to 'godliness." Yes.
3. "Money is the root of all evil."
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1 Timothy 6:10 actually says, "The love of money is the root of all kind of evil." It's not a big difference, but it does soften the meaning. (cc: Scrooge McDuck)
4. A little drummer boy.
It's a nice Christmas carol, but there's no actual drummer boy in the New Testament.
5. "God will not give you more than you can handle."
1 Corinthians 10:13 actually refers to dealing with temptation, not burdens: "No temptation has overtaken you except what is common to mankind. And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can endure it."
6. An apple.
static5.businessinsider.com
The Hebrew word פרי ("fruit") is used in Genesis to refer to what Adam and Eve ate in the garden of Eden, but it's a generic term that doesn't indicate which kind of fruit. Western art came to depict the fruit as an apple, but other theories have proposed it was actually a pomegranate, a grape, a fig or even a mushroom.
7. "God helps those who help themselves."
danielkolenda.com
Actually from: ancient Greek literature.
From Aeschylus' play "The Persians": "Whenever a man makes haste, God too hastens with him." Sophocles also wrote, "No good e'er comes of leisure purposeless; And heaven ne'er helps the men who will not act." Euripides wrote, "Try first thyself, and after call in God." Benjamin Franklin also used a variation of the phrase in his almanac.
8. "To thine own self be true."
images.fastcompany.com
Yeahhhhh, that's Shakespeare.
9. "Love the sinner, hate the sin."
Actually from: St. Augustine.
This beloved evangelical saying is found in one of St. Augustine's letters, which contains the phrase "Cum dilectione hominum et odio vitiorum," translated to "With love for mankind and hatred of sins."
10. "God works in mysterious ways."
Actually from: William Cowper/Bono.
One William Cowper poem reads, "God works in a mysterious way / His wonders to perform; / He plants His footsteps in the sea / And rides upon the storm." A famous U2 song that's supposed to refer to the Holy Spirit notes that "she moves in mysterious ways," but I guess Bono's not the same as Jesus.
11. Hell.
stuffwelike.com
Obviously this is a more complex discussion than can fit here, but the Satan/pitchfork/flames/brimstone idea of hell comes mostly from Dante's Inferno, not the Bible.


This entry was posted in AWS, Cloud, Computer, Murmuring, Network, Programming and tagged amazon, api, aws, big, cloud, data, deep, detection, image, learning, recognition, rekognition on December 1, 2016 by Gea-Suan Lin.
You can connect your Lightsail instances to VPC resources in your AWS account privately, by using VPC peering. Just choose Enable VPC peering on your Lightsail account page, and Lightsail does the work for you. Once VPC peering is enabled, you can address other AWS resources in your default AWS VPC by using their private IPs.
This entry was posted in AWS, Cloud, Computer, Murmuring, Network and tagged amazon, aws, bandwidth, cloud, digitalocean, lightsail, peering, vpc, vps on December 1, 2016 by Gea-Suan Lin.
This entry was posted in AWS, Cloud, Computer, Database, Murmuring, Network, PostgreSQL, Software and tagged amazon, aurora, aws, cloud, database, db, postgresql, preview, rdbms, rds on December 1, 2016 by Gea-Suan Lin.


My former life was spent in the theater. Which explains, to some extent, why I came to the audio business with a desire to tell stories, or at least to help people tell stories. Back in the '90s, as a part of New York's downtown theater scene, it may not have been fashionable to prefer straightforward narratives over nonlinear abstraction, but that's what drew me to theater in the first place: great stories that pulled you in and wouldn't let go. That were that dirtiest of words on the indie scene: entertaining. Enter Scott Simon. Jay Allison. Dave Isay. Daniel Zwerdling. The Kitchen Sisters. Jad Abumrad. Brooke Gladstone. Starlee Kine. Alex Blumberg. And of course Ira Glass. Reporters, hosts, and storytellers that put the focus on others, that shone the spotlight on the world around them, not their navels. They were what drove me, in the spring of 2005, to blow my tax refund on audio equipment, to teach myself to use Audacity and to spend three weeks of a summertime writer's conference locked in a stifling hot room, editing and editing and, yes, editing. Everyone has a story. Yarn features a few of them -- recorded, mixed, and edited to sound their very best. To make an impression, and -- if I've done my job -- entertain.
Eric Winick hails from Marblehead, Massachusetts, birthplace of the American Navy. "How Are You Who You Are?" (co-produced with Jay Allison) appeared on Transom.org; a 12-minute version (with additional production by Larry Massett) appeared on Hearing Voices and aired on NPR's "All Things Considered." His pieces "Blue Collar Babysitter" and "All Grown Up Blues" have aired nationally on APM's "The Story." In addition, his pieces have been broadcast in Anchorage, Austin, Birmingham, Champaign-Urbana and DeKalb (IL), Chicago, Minneapolis, New England, Portland and Salem (OR), Santa Monica, and Seattle. His pieces "Seating Mr. Pacino" and "The Bakers of Butter Lane" and his co-production (with Wayne Liebman) of "Meal Ticket" were PRX News Station Picks of the Month. Eric serves as Chief Marketing Officer at JCC Manhattan, and lives in Brooklyn with his wife and son.
Yarn AudioWorks logo by Bradford Louryk.


Call any of these hotels to make reservation. We can only provide transportation for conference attendees that stay at any of these 3 hotels. You can stay at any hotel of your choice but we will not be able to provide transportation to/from the hotel before and after each day activities.
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Your preference is important to us and to every member of our family. It is our love and prayer that you experience the unconditional love and abundant grace and mercy of God as you visit our site.
Global Vision Ministries, Inc is a Bible-believing, Bible-teaching church, conveniently located in the heart of Atlanta-Georgia. We offer a family-friendly, full service program of relevant ministries for people of all ages and all stages of life.
We want to encourage you with the resources and tools that you will need to prosper in driving your spiritual journey. It is our prayer that we can serve you and your family through one or more of our programs. As you navigate our site you will be blessed by the information about the ministry, our beliefs, our mission, our vision and values. In addition, you will find details about how to contact us, and a special place for you to send us your prayer request, testimonies or order life-changing resources.
If you are ever in the Atlanta-Georgia region, we would count it our privilege to have you as our special guest at "Global Vision", Becky and I would love to meet you and pray with you personally. We love you and look forward to the blessings of God abounding toward you and your family.
Enjoy the blessings of the Lord as you navigate through this site and have a wonderful experience.


October 5, 2018, New York: Today The B Team announced Indra Nooyi, Chairman and Former CEO of PepsiCo, will join its collective of global business and civil society leaders working to build a principled and purpose-driven private sector.
Throughout her career, Mrs. Nooyi's forward-thinking leadership has helped to develop and implement business models that work for the benefit of consumers and communities. She joined PepsiCo in 1994, as the company's Senior Vice President, Strategic Planning, later moving into roles in Corporate Strategy and Development and serving as Chief Financial Officer. She was appointed CEO in 2006 and assumed the role of Chairman in 2007. She stepped down from her role as CEO in October.
At the time of her appointment as CEO, Mrs. Nooyi served as one of only a few female CEOs of major American corporations. In 2006, female CEOs comprised two percent of the Fortune 500 CEOs. Today, female CEOs comprise nearly five percent of this group.
Mrs. Nooyi is the chief architect of Performance with Purpose, PepsiCo's pledge to do what's right for the business by being responsive to the needs of the world around us. As part of Performance with Purpose, PepsiCo is focusing on delivering sustained growth by making healthier and more nutritious products, limiting their environmental footprint and protecting the planet, and empowering their employees and people in the communities they serve. At the same time, over the past decade, PepsiCo's revenue has nearly doubled, going from $35 billion to roughly $63.5 billion in 2017.
Her forward-thinking vision was not without opposition, both internally and externally, however. Some PepsiCo investors and employees did not feel her long-term, healthier approach was worth risking the company's established success. But Mrs. Nooyi's leadership is proof that profit and purpose can go hand in hand.
As part of Performance with Purpose, in 2016 the company announced new long-term targets for 2025, including lowering carbon emissions, advancing human rights in agricultural practices and increasing access to nutritious food and beverages in underserved communities.
Mrs. Nooyi joins The B Team following three new Leader additions: Emmanuel Faber, Chairman and CEO of Danone, Isabelle Kocher, CEO of Engie and Hamdi Ulukaya, Founder, Chairman and CEO of Chobani. She's worked alongside several B Team Leaders, serving on the board of the Consumer Goods Forum in partnership with B Team Chair and Unilever CEO Paul Polman and Emmanuel Faber, and helping advance women's leadership in business with Thrive Global Founder and CEO, Arianna Huffington.
The B Team is a catalyst for bold dialogue, inspiring courageous leadership and brave business action toward a fairer, greener and more human economy. The B Team's global collective of business and civil society leaders are working together to build a principled and purpose-driven private sector and demonstrate that, with courageous leadership, business becomes a force for good.


The patient-centered medical home (PCMH) is an approach to providing high-quality primary health care, focused on increasing the quality of the interactions between a child's family and usual source of health care and on coordination of care with specialists and others. The goals of this project is to understand and improve the validity of survey measures of PCMH in the general population of children and to track progress in expanding the medical home concept to more children over time. The project will examine and evaluate existing and alternative measures of PCMH using household survey data.


text:
The Morning Drill: November 30, 2011
A collection of dentistry and health related links/comments for your day.
Retired Dentist Invents Color-Changing Toothpaste
Parents who battle their children each morning and night in the tooth brushing war may have some relief. St. Louis dentist, inventor and retired Chaminade chemistry teacher Dr. Howard Wright has invented Vortex, the world's first color-changing toothpaste.
Wright, who graduated from the Washington University School of Dental Medicine and who has lived in Sunset Hills for 15 years, released the first tubes of Vortex in early November. He hopes that the color-changing process, from red and blue to purple, will make kids want to brush their teeth longer and more vigorously. Kids from the Hazelwood Community Center Tiny Tots program were the first to try the FDA-approved Vortex at the Delta Dental Health Theater. The red and blue toothpaste is dispensed as twin streams that change into purple as the child brushes. The invention, which has been in development for 10 years, is a true delight according to Wright.
Fish in Diet May Ward Off Alzheimer's
Eating fish may keep the brain healthy and reduce the risk of Alzheimer's disease, a new study says.
In the study, people who ate baked or broiled fish at least once a week had larger volumes of gray matter in areas of the brain known to be involved in memory and learning. Moreover, people with larger volumes in these areas reduced the risk of developing Alzheimer's disease five-fold over a five year period.
People who ate fried fish, on the other hand, did not gain protection against Alzheimer's.
The findings suggest lifestyle choices can ward off Alzheimer's disease, said study researcher Dr. Cyrus Raji, of the University of Pittsburgh School of Medicine.
While other research has linked fish consumption to a lower risk of Alzheimer's disease, the study is the first to examine the effect of eating fish on the actual structure of the brain, Raji said.
The study was presented today (Nov. 30) at the Radiological Society of North America annual meeting in Chicago.
More Schools Using Computers to Test for Concussion
Computerized testing to evaluate concussions among high school athletes appears to be on the rise, with an impact on return to play, national injury surveillance data indicated.
Among high schools that employed at least one athletic trainer, 39.9% reported using computerized neurocognitive testing from 2009 to 2010, William P. Meehan, III, MD, of the Sports Concussion Clinic at Children's Hospital Boston, and colleagues found.
The proportion of student concussions evaluated with computerized testing reached 41.2% that year, they reported in the January issue of Pediatrics.
That was up from 25.7% in the prior school year, as the group previously reported from the same High School Reporting Information Online injury surveillance system.
"Given the flurry of media attention devoted to sport-related concussions in the last several years, this number is likely to continue to increase," Meehan and colleagues wrote.
That shift has had an impact on students, with the study showing a delay in return to sports.
With computerized neurocognitive testing, the proportion of concussed kids who returned to play within 10 days of their injury was 38.5% compared with 55.7% at schools not using the testing.
But that may be appropriate, according to a second study reported in the same issue of Pediatrics.
Countdown to Generic Lipitor: More Answers to Your Questions
Lipitor goes generic tomorrow, and we know you have a lot of questions about how that will affect your prescription.
The WSJ answers some of them in a story today. (And we answered a couple yesterday.)
Many readers wanted to know whether they'd get the name-brand or the generic version (atorvastatin calcium) when next they filled a prescription. The short answer: you won t know until you get to the pharmacy.
Enjoy your morning!
Labels: Dentistry, The Morning Drill


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text:
Death and the Birth of Feminism
Posted bydeadmaidens 04/01/2016 08/12/2017 Posted inGuest Post, Maiden Post, Sarah TroopTags:America, Celebrity, Culture, Deadmaidens, Death, Fox Sisters, Gender, ghosts, History, Mystery, New York, Power, Society, Spiritualism
Whether you believe the Fox sisters possessed supernatural powers or were masters of deception, one thing is for sure. What began as a rapping on the wall quickly became fame & fortune. Spiritualism was at its height & provided a platform for women to speak out. Death & the Maiden's Sarah Chavez explains that women became influential, powerful and financially independent for the first time in America, all because they could supposedly speak to the dead.
At first, the rappings and strange noises were mysterious in nature. They were especially unnerving to Mrs. Fox, who had moved into the little house in Hydesville, New York with her previously estranged husband and three children only weeks prior, during the winter of 1848.
As time went on the rappings continued with more frequency. First at night, then spilling over into the waking hours — from the floor, the walls, the furniture — or anywhere the Fox girls happened to be.
It was not long before 14-year-old Margaret and her sister, 11-year-old Kate began to engage in a discourse — with the dead.
One night in March Kate addressed the noises directly, calling out, "Here Mr. Splitfoot, do as I do," and knocked a number of times on the floor. Mr. Splitfoot obliged by responding with the same number of raps. It wasn't long before the Fox's had devised a method of communication with the "spirits." Soon, a horrible story was revealed — that of a salesman who was murdered by having his throat cut with a knife then, buried in the cellar of the house.
The Fox family invited neighbors and people fishing at the nearby creek into their home to witness the strange phenomena. All of them heard the same series of questions and answers. Many more came throughout the night, for word spread fast in the little town.
Mrs. Fox composed an affidavit recounting the story of the rappings, saying: " I am not a believer in haunted houses or supernatural appearances. I am very sorry that there has been so much excitement about it. It has been a great deal of trouble to us. It was our misfortune to live here at this time; but I am will and anxious that the truth should be known, and that a true statement be made. I cannot account for these noises; all that I know is that they have been heard repeatedly, as I have stated. I have heard this rapping again this morning, April 4th. My children also hear it."
Mr. and Mrs. Fox were frightened. They and the people who witnessed these rappings and exchanges were all convinced the Fox girls possessed an incredible power — they were also convinced there was a ghost in their house. So, Margaret and Kate were sent to live with their older sister, Leah, a 33-year-old single mother who lived in Rochester, New York. Leah had just read a book that claimed the dead were in daily contact with the living and predicted that someday the truth would be known to us through a living demonstration. Leah had just found her "living demonstration."
Under Leah's management, Margaret and Kate were soon in high demand to conduct séances. Once guests arrived they would seat themselves around a table. The girls would begin by reciting a prayer, singing a bit and then, either Margaret or Kate would fall into a trance.
On November 14th, Rochester's largest Hall, seating 400, was rented out. The local paper, the Daily Democrat, reported that those in attendance were in the best possible humor, ready to be entertained and watch Fox sisters be exposed for perpetrating a fraud. This was not the case and, in fact, the paper later reported that the "ghost" was indeed among them.
Skeptics demanded an investigation. In result, over several nights live demonstrations were held. Here, the girls were subjected to being placed on glass, on pillows, their feet placed in shackles and probed by a subcommittee of ladies to search their bodies for concealed machinery. Nothing even remotely suspicious was ever discovered. On the final night of demonstrations, a barrel of hot tar that had been hidden was discovered and removed, the non- believers lit fireworks inside and attempted to storm the stage. The Foxes were escorted to safety by the police.
All this publicity ensured that theaters showcasing the Fox sisters' demonstrations were sold out. They began receiving invitations from some of New York's most illustrious citizens to hold these "conversations through the veil" for them. The girls were bona fide celebrities and merchandise featuring the girls was quite popular. People would wait in line for hours for a chance to see these two young mediums, for a chance to hear something, anything from a loved one who had died.
Spiritualism was now at its height. With its guiding principals of equality — regardless of gender, race or economic status — for the first time, it provided a platform for women to speak out. So what if they were in a trance? Women became influential, powerful and financially independent for the first time in America, all because they could supposedly speak to the dead.*
The Spiritualist movement parallels the women's rights movement in many ways. Of course, as author Ann Braude states "Not all feminists were Spiritualists, but all Spiritualists were feminists." They took up issues of marriage, labor, women's health and dress reform.
In the Spring of 1854 the Spiritualist movement in America had grown so much that it received the attention of congress. Senators from Illinois and Massachusetts presented a petition requesting the appointment of a scientific commission to study spiritualist phenomena.
Meanwhile, the three Fox sisters were holding onto the foundations of their familial relationship by their fingertips. Leah distanced herself from her younger sisters to become a medium in her own right. Margaret fell deeply in love with famous Arctic explorer Dr. Elisha Kane, who held a deep disdain for the Spiritualist movement and forbid her to continue in it. Kate married and moved away to England. She continued to conduct séances, but refused payment for them.
As the years went on Leah dug her heels into her celebrity and society and authored a book. Margaret's beloved Dr. Kane was lost on an expedition, and Kate's husband died too, leaving both sisters devastated. They sought comfort in the other kind of spirits now, and often appeared drunk in public. Embarrassed by her now poor and drunken siblings, Leah began to make trouble for them, going so far as to even report Kate to child welfare services.
On October 21st 1888, a now 54-year-old Margaret Fox was paid a large sum of money to take down the Spiritualist movement and her sister Leah with it. In front of an audience of 2,000 which included Kate, at the New York Academy Of Music, Margaret took the stage and delivered what has been referred to as the historic "Death Blow To Spiritualism." As reported in the NY Times, she "seated herself and a committee of physicians called by Dr. Richmond from the audience who examined her to see that no deception was practiced." She then proceeded to slip off one of her shoes, her feet covered in a plain, black stockings which then emitted a series of raps, loud enough to be heard by everyone.
Margaret further explained that as young girls the sisters had set out to frighten their mother, first through little knocks and noises but then, by more creative means of tying a length of twine around an apple and allowing it to thump across the floor and ricochet off the walls and furniture. Margaret continued, saying "My sister Katie was the first to observe that by swishing her fingers she could produce certain noises with her knuckles and joints and the same effect could be made with her toes. Finding that we could make raps with our feet – first with one foot and then both – we practiced until we could do this easily when the room was dark. A great many people, when they hear the rapping imagine at once that spirits are touching them. It is a very common delusion." Sounds are difficult to place in space and let's face it, people will believe anything if they want to bad enough.
The critics took up the mantle of I told you so, others were disillusioned and the rest, refused to believe.
Just before she died Margaret Fox took it all back and recanted her confession – saying she did it for the money and that everything she and Kate did was indeed real and true.
In 1904, the Fox family's house in Hydesville, where it all began, was being torn down. In one of the walls near Margaret and Kate's bedroom the skeleton of a man was discovered along with a suitcase full of salesman samples and a family Bible, he appeared to have been murdered just a few years before the Fox family moved in.
* Granted, these opportunities were almost exclusively available to white women.
"I think I'd like to change into a sunflower most of all"
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The Accounts Payable Department is dedicated to providing exceptional service to every school site within the Nevada Joint Union High School District. We know and understand that effective classrooms depend on having quality materials and equipment that arrive when they are needed. Realizing that our performance impacts the classroom performance, we strive to continuously evaluate our current methods of doing business and actively seek to improve them.
Our department processes all purchasing requests for the high school district. Individual departments purchase materials and equipment by completing a district requisition form which, after obtaining the appropriate approvals, is forwarded to the Accounts Payable Department. Purchase orders are generated each week and mailed to vendors. Each school site has a receiving department where staff members match packing slips to the receiving copy of the purchase order. Once the Accounts Payable Department receives the invoice and approval from the site to make a payment, a request for a warrant is sent to the Nevada County Superintendent of Schools office.
Sample Conference Form - Before "Blue"
Sample Conference Form - Green "After"


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Did we update to v2.8?
… omg. I have Amaroq in "Awoo Mode" so it autocorrects "t o o t h" to "awooh".
Tooth. T o o t h. That was supposed to be?
Is it "one of my teeth IS backwards" or "one of my teeth ARE backwards" or, like… neither?
I backed the last round of these and they are EXTREMELY cute and I do not regret buying like twelve of them and though I don't need more I think y'all totally do.


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TSX.V: FCC $0.16 (0.00) | OTCQX: FTSSF $0.12 (0.00)
About First Cobalt
First Cobalt Refinery
Refinery Studies
Iron Creek - Idaho
Iron Creek Geology
Iron Creek Drill Results
Iron Creek Technical Report
Greater Cobalt – Ontario
The Geology of Cobalt
Downloads and Filings
Covering Analysts
First Cobalt Refinery Update Call
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First Cobalt Corp. (TSX-V: FCC; ASX: FCC; OTCQX: FTSSF) (the "Company") today announced it has successfully produced a battery grade cobalt sulfate using the First Cobalt Refinery flowsheet. This significant milestone brings the Company closer to recommis
First Cobalt Produces Battery Grade Cobalt Sulfate
TORONTO, ON — (April 3, 2019) – First Cobalt Corp. (TSX-V: FCC; ASX: FCC; OTCQX: FTSSF) (the "Company") today announced it has successfully produced a battery grade cobalt sulfate using the First Cobalt Refinery flowsheet. This significant milestone brings the Company closer to recommissioning the only permitted primary cobalt refinery in North America. With this information, discussions currently underway with automotive companies, cobalt miners and capital providers can now move to a more advanced stage.
Product assayed 20.8% cobalt, surpassing the reference grade for sulfate pricing
Product classified as "high purity", achieving over 99.9% purity
Test work carried out in single batches, offering ample opportunity to improve product specifications to meet offtake partner requirements through process optimization
Potential to produce up to 2,000 tonnes of cobalt in product per annum as the process excluded use of autoclave circuit, allowing for increase in plant throughput
Near term cash flow potential 18-24 months from sourcing of feedstock, milestone advances these negotiations, as well as offtake discussions
Trent Mell, President & Chief Executive Officer, commented:
"Producing a battery grade cobalt sulfate is one of our most significant accomplishments as the majority of refined cobalt for the electric vehicle market is produced in Asia. With no cobalt sulfate production in North America today, First Cobalt stands to become the first such producer for the American electric vehicle market.
"For our shareholders, this development brings us closer to cash flow and will be our top priority in the year ahead. Third party studies have confirmed that the permitted facility could be recommissioned in 18-24 months. Furthermore, the cobalt hydroxide used in these tests is currently sold at approximately 60% of the prevailing cobalt price which could offer good margin opportunities based on the findings of the previously released restart study.
"We are encouraged by the interest shown in this strategic asset by cobalt miners and EV companies alike and intend to move swiftly to secure long-term feed supply and offtake contracts. We are currently exploring a number of non-dilutive financing options for the capital requirements to restart the facility. We intend to have further updates on all aspects of the project over the next quarter as we complete these discussions."
Image 1. Cobalt sulfate produced using First Cobalt Refinery flowsheet
Henrik Fisker, First Cobalt Director and Chairman and CEO of Fisker Inc., also commented:
"Electric vehicle demand in North America will keep growing as companies such as Fisker Inc. continue to introduce new, affordable EV models to the market. Automakers and battery manufacturers have a responsibility to ensure any materials we use in our batteries are sourced in an ethical way. The First Cobalt team is dedicated to ensuring projects maintain the highest standards of ethical mining practices and environmental protection. The restart of the First Cobalt Refinery is an important step towards producing battery materials in America with a clean record from mine to machine."
The First Cobalt Refinery is the only permitted primary cobalt refinery in North America and is ideally suited to treat North American arsenic-rich mine concentrate. Given the abundance of this higher grade material in the market, the Company has been testing third party cobalt hydroxide as an alternative source of feed.
Today's results confirm that the existing processes in the First Cobalt Refinery are indeed capable of producing a high purity, battery grade cobalt sulfate.
SGS Canada was engaged to test cobalt hydroxide using the processes in the current refinery flowsheet to assess its suitability as feedstock (see November 8, 2018 press release). Tests simulated the existing circuits to determine the ability to produce a cobalt sulfate heptahydrate ("cobalt sulfate"), a critical component of lithium-ion batteries.
The current Refinery flowsheet includes an autoclave circuit as well as a number of solvent extraction ("SX") lines for treating various elements, followed by product precipitation and filtration stages. Test work concludes that processing cobalt hydroxide feed would not require the reactivation of the Refinery's autoclaves, providing an opportunity for higher production potential than projected in an independent study prepared by Primero Group. The cobalt hydroxide feed tested in this program had head grades in excess of 20% cobalt. By contrast, many other sources of cobalt hydroxide have head grades approaching 30% cobalt, providing yet another opportunity for higher production.
Commissioned in 1996, the refinery is located in Ontario, Canada, a few hours north by road or rail from the US border. Once operational, the Refinery would become the only North American producer of refined cobalt for the North American EV market.
Given the strong cash flow projections derived from the Primero Group study, the Company believes that a restart of the refinery could be financed by non-equity sources of capital, limiting dilution for shareholders and generating a steady source of cash flow to fund future activities at the flagship Iron Creek Project in Idaho, USA. The Company has received significant interest from miners and automotive companies and today's results will allow these discussions to advance to the next stage. First Cobalt's objective is secure a long term feed purchase agreement, offtake for the sale of refined cobalt and financing for the capital requirements. It is estimated that the refinery could be operational 18-24 months from the selection of a feed source.
Image 2. Refinery is located 600km north of Canada-U.S. border
The Company has engaged Ausenco, a global consulting, engineering, project delivery and asset operations, management and optimization solutions firm to the minerals & metals, oil & gas and industrial sectors to work in partnership with SGS Canada on this next phase. The next step towards a potential restart of the First Cobalt Refinery will include detailed engineering to assess further refinements to the flowsheet and circuit optimizations to maximize potential output.
The First Cobalt Refinery is a hydrometallurgical cobalt refinery in the Canadian Cobalt Camp, approximately 600 kilometres from the U.S. border. The First Cobalt Refinery has the potential to produce either a cobalt sulfate for the lithium-ion battery market or cobalt metal for the North American aerospace industry or other industrial and military applications.
In late 2018, the Company released the results of three independent studies undertaken to estimate capital requirements, operating costs, permit renewal timelines, potential feedstock options and offtake opportunities. At a 24 tonne per day feed rate and using the current flowsheet, the capital cost of the restart is estimated at US$25.7M (including a 30% contingency) and a permitting review concluded that a restart is possible within 18 months of selecting a feedstock.
The Company is engaged in discussions with companies specializing in the marketing and sourcing of concentrates to secure sources of ethically produced cobalt as feedstock for the First Cobalt Refinery.
Image 3. Exterior and property footprint of the First Cobalt Refinery
A corporate video featuring the First Cobalt Refinery in Ontario, Canada is available on the Company's website at http://www.firstcobalt.com/investors/media-gallery/videos/.
A final decision on whether to put the Refinery back into production has not been made at this time and any decision is contingent on the outcome of the foregoing studies as well as the Company's ability to source viable feedstock.
Refinery Restart Studies
On October 10, 2018, the Company announced the results of three studies supporting a restart of the First Cobalt Refinery. Primero Group, an Australian engineering firm with an office in Montreal, Canada, was engaged to conduct a desktop study to estimate the capital and operating costs to operate the First Cobalt Refinery in its current configuration at various throughput rates, available at www.firstcobalt.com/investors/downloads-and-filings.
As part of their study, Primero estimated the replacement value of the refinery building at various throughput rates, including the existing nameplate capacity of 24 tpd and an expansion scenario at 50 tpd. Primero's results ranged from US$53M to US$143M, inclusive of a 30% contingency (see Table 1). In both instances, replacement estimates were limited to the refinery building and did not include site level infrastructure, including roadways, power lines and the tailings management facility. The value of the permits was also excluded for purposes of this exercise.
Table 1. Replacement Value of First Cobalt Refinery (excluding site infrastructure)
Cost (US$ mILLION)
24 tpd
(Base Case)
Mechanical Cost 17.99 30.41
Discipline, Infrastructure, Buildings 30.04 50.79
Total Direct Cost 48.03 81.20
Indirect Cost 16.87 28.52
Total Direct and Indirect Cost 64.90 109.72
Contingency (30%) 19.47 32.92
Total Project Cost 84.37 142.64
The Company's base case scenario would be to resume refinery operations at a rate of 24 tpd, for which Primero has estimated a capital cost of US$20M plus a US$6M contingency (see Table 2). This estimate is subject to review once the Company has selected a feedstock, which could entail minor modifications to the flowsheet.
Table 2. Restart Capital Estimate (3Q18, -30%/+50%)
Mechanical Cost 3.88
Discipline, Infrastructure, Buildings 11.33
Total Direct Cost 15.22
Indirect Cost 4.57
Total Direct and Indirect Cost 19.78
Contingency (30%) 5.94
Total Cost with Contingency 25.72
Primero estimated annual operating costs for the Refinery based on similar projects, with amendments to match the First Cobalt Refinery flowsheet. Annual operating costs under the 24 tpd base case scenario were estimated at US$6.8M per year (see Table 3).
The costs presented in the report are a factored estimate, designated as an FEL 1 and AACE Class 5 (order of magnitude) estimate with an indicative accuracy range of -30%/+50%, and are based on previous historical data metrics from similar projects. Costs are typically based on first principles but as feed characteristics are undecided at this time, the operating costs provided in Table 3 are indicative only.
Table 3. Operating cost estimates (3Q18, -30%/+50%)
Cost Item
annual cost (US$)
Sulphuric acid 126,144
Lime 331,128
Sodium Hydroxide 118,260
General Reagents/Consumables 462,758
SX reagents 262,636
Water and water treatment 61,183
Assay/Laboratory consumables 96,251
Grid power 740,151
Natural Gas 77,000
Labour 1,383,283
General expenses 1,685,052
Maintenance Materials 1,112,590
Contract Services 288,752
Image 4. First Cobalt Refinery Aerial View
For purposes of Primero's baseline study, it was assumed that North American arsenic-rich feed stock would be used to produce a cobalt carbonate product. However, as First Cobalt is now considering cobalt hydroxide feed for the production of battery grade cobalt sulfate, the flowsheet would be modified to include a cobalt crystallization circuit at an additional capital cost estimate of US$2.5 million. The base case operating scenario in the Primero study and the modified operating scenario anticipated with a cobalt hydroxide feed is outlined in Table 4.
Table 4. Operating Scenarios at 24 tpd1
Cobalt Concentrate
(Primero Base Case) Cobalt Hydroxide2
(30% cobalt grade)
Feed Processed Tonnes 8,760 8,760
Head Grades CO % 15.0 30
NI % 10.5 -
Availability % 90 90
Recoveries Co % 90 90
Ni % 90 -
production Co Tonnes 1,064 2,129
Ni Tonnes 745 -
1 Concentrate metal content fed into the First Cobalt Refinery will vary dependent upon feed source. A range of potential production rates for each option is provided. A mass pull to concentrate of 6% has been assumed.
2 The cobalt hydroxide scenario has been modelled by swapping out concentrate for hydroxide on a tonne-for-tonne basis. The company has not completed any detailed engineering studies at this time.
The Company engaged a third party permitting and environmental consultant to review the state of current permits and timeline for a restart. The review found that the Refinery would require a new permit to take water but that all other major permits are in place. Subject to certain modifications and amendments, it is believed that an 18 to 24-month period would be sufficient to renew and amend all necessary permits to restart the refinery. An order of magnitude cost estimate for the approval process is estimated at approximately $1 million.
With respect to existing tailings capacity, it was noted that the autoclave pond has not been fully constructed and has an estimated 40,000 m3 (approximately 70,000 tonnes assuming a specific gravity of 1.74 tonnes per cubic metre) of remaining permitted capacity yet to be constructed. Operating at 24 tpd, the autoclave pond would reach capacity after eight years. Thereafter, the Company could avail itself of 80 acres to the north of the Refinery for additional tailings storage capacity. The primary settling pond is also not yet constructed to its full capacity and it was noted that doing so would improve discharge water quality through additional retention time and increased capacity for water storage.
Image 5. Tailings Expansion Area – Partial View
First Cobalt also engaged a leading cobalt market research company to advise the Company on (1) indicative commercial terms for a variety of feedstock options for the refinery, and (2) potential offtake terms for cobalt products after the refining process is completed. The report identified three primary sources of potential feedstock and highlighted the high quantities of ethically-sourced cobalt hydroxide material. The study considered offtake markets for final product as the refinery could produce a cobalt sulfate for the battery market or it could produce cobalt metal for the aerospace, military and industrial sectors. Current indications are that pricing for cobalt sulfate is generally in line with cobalt metal.
Detailed Test Results – Cobalt Sulfate
The first stage of metallurgical testing was intended to determine leach characteristics of the hydroxide sample and to closely track deleterious elements. The cobalt hydroxide sample graded 23.2% Co, 3.45% Mg, 3.27% Mn, 2.4% Fe, 1.6% Cu and 1% Si, while all other deleterious elements graded significantly less than 1% each. The sample leached well, easily leaching 98% of cobalt from the cobalt hydroxide under atmospheric conditions.
The second stage of testing aimed to improve the quality of the leach liquor through the removal of deleterious elements using an impurity SX step. Work primarily focused on reducing Mn, Mg, Ca, and Zn while preserving Co.
The third stage of testing involved cobalt SX and, as expected, higher cobalt loadings were achieved at higher pH levels, with 96% of the cobalt being loaded in a single contact at pH 5.5 and achieving a concentration of ~7 g/L. The organic was then scrubbed to remove deleterious elements that were co-loaded on the organic along with the cobalt. The scrub tests successfully removed approximately 90% of the loaded Mg in a single pass.
Once scrubbed, the organic was stripped of cobalt with H2SO4 until stable, at approximately pH 2.55-2.75. Copper in the strip liquor was addressed through ion exchange using XUS 43578, an ion exchange resin, which reduced Cu in the liquor to less than 0.2 mg/L. Finally, Mn was further reduced through Caro's acid precipitation. Mn in the liquor dropped from 136 mg/L to 3.69 mg/L effectively removing ~97% of the Mn in the very first round.
Finally, the remaining strip liquor was boiled down and cooled to allow cobalt sulfate heptahydrate crystals to form.
All tests were done as single batches providing ample room for optimization of operating parameters and process improvements as would be experienced in a continuous operation like the First Cobalt Refinery.
Qualified and Competent Person Statement
Peter Campbell, P.Eng., is the Qualified Person as defined by National Instrument 43-101 who has reviewed and approved the contents of this news release. Mr. Campbell is also a Competent Person (as defined in the JORC Code, 2012 edition) who is a practicing member of the Professional Engineers of Ontario (being a 'Recognised Professional Organisation' for the purposes of the ASX Listing Rules). Mr. Campbell is employed on a full-time basis as Vice President, Business Development for First Cobalt. He has sufficient experience relevant to the activity being undertaken to qualify as a Competent Person as defined in the JORC Code. The term "Competent Person" is not recognised by Canadian securities regulatory authorities, and the term is used by the Company with reference to the JORC Code, and to ensure compliance with the ASX Listing Rules and applicable reporting requirements in Australia.
First Cobalt is a Canadian-based pure-play cobalt company and owner of the only permitted primary cobalt refinery in North America. The Company is studying a restart of the First Cobalt Refinery in Ontario, Canada, which could produce 2,000 tonnes of cobalt sulfate or metallic cobalt per year. First Cobalt's main cobalt project is the Iron Creek Cobalt Project in Idaho, USA, which has Inferred mineral resources of 26.9 million tonnes grading 0.11% cobalt equivalent, or an alternative underground-only scenario of 4.4 million tonnes grading 0.3% cobalt equivalent.
On behalf of First Cobalt Corp.
Trent Mell
For more information visit www.firstcobalt.com or contact:
Heather Smiles
Neither TSX Venture Exchange nor its Regulation Services Provider (as that term is defined in policies of the TSX Venture Exchange) accepts responsibility for the adequacy or accuracy of this release.
Cautionary Note Regarding Estimates of Resources
Readers are cautioned that mineral resources are not economic mineral reserves and that the economic viability of resources that are not mineral reserves has not been demonstrated. The estimate of mineral resources may be materially affected by geology, environmental, permitting, legal, title, socio-political, marketing or other relevant issues. The mineral resource estimate is classified in accordance with the Canadian Institute of Mining, Metallurgy and Petroleum's "2014 CIM Definition Standards on Mineral Resources and Mineral Reserves" incorporated by reference into NI 43-101. Under Canadian rules, estimates of inferred mineral resources may not form the basis of feasibility or pre-feasibility studies or economic studies except for Preliminary Economic Assessment as defined under NI 43-101. Readers are cautioned not to assume that further work on the stated resources will lead to mineral reserves that can be mined economically. An Inferred Mineral Resource as defined by the CIM Standing Committee is "that part of a Mineral Resource for which quantity and grade or quality are estimated on the basis of limited geological evidence and sampling. Geological evidence is sufficient to imply but not verify geological and grade or quality continuity. An Inferred Mineral Resource has a lower level of confidence than that applying to an Indicated Mineral Resource and must not be converted to a Mineral Reserve. It is reasonably expected that the majority of Inferred Mineral Resources could be upgraded to Indicated Mineral Resources with continued exploration."
This news release may contain forward-looking statements and forward-looking information (together, "forward-looking statements") within the meaning of applicable securities laws and the United States Private Securities Litigation Reform Act of 1995. All statements, other than statements of historical facts, are forward-looking statements. Generally, forward-looking statements can be identified by the use of terminology such as "plans", "expects', "estimates", "intends", "anticipates", "believes" or variations of such words, or statements that certain actions, events or results "may", "could", "would", "might", "occur" or "be achieved". Forward-looking statements involve risks, uncertainties and other factors that could cause actual results, performance and opportunities to differ materially from those implied by such forward-looking statements. Factors that could cause actual results to differ materially from these forward-looking statements are set forth in the management discussion and analysis and other disclosures of risk factors for First Cobalt, filed on SEDAR at www.sedar.com. Although First Cobalt believes that the information and assumptions used in preparing the forward-looking statements are reasonable, undue reliance should not be placed on these statements, which only apply as of the date of this news release, and no assurance can be given that such events will occur in the disclosed times frames or at all. Except where required by applicable law, First Cobalt disclaims any intention or obligation to update or revise any forward-looking statement, whether as a result of new information, future events or otherwise.
Presentation Download
Factsheet Download
First Cobalt Reports 49% Upgrade in Cobalt Resource from Inferred to Indicated at Idaho Project
First Cobalt Announces Director DSU Grant
First Cobalt Provides Update on Refinery Feasibility Study
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DirBuster download below, this is another great tool from the OWASP chaps, it's basically a multi threaded java application designed to brute force directories and files names on web/application servers.
Often is the case now of what looks like a web server in a state of default installation is actually not, and has pages and applications hidden within – it attempts to find these.
What makes OWASP DirBuster different?
However tools of this nature are often as only good as the directory and file list they come with. A different approach was taken to generating this. The list was generated from scratch, by crawling the Internet and collecting the directory and files that are actually used by developers!
– Attempt to find hidden pages/directories and directories with a web application, thus giving another attack vector (For example. Finding an unlinked to administration page).
– Exploit anything it finds. This is not the purpose of this tool. It's sole job is to find other possible attack vectors.
How does DirBuster help in the building of secure applications?
– By finding content on the web server or within the application that is not required.
– By helping developers understand that by simply not linking to a page does not mean it can not be accessed.


Welcome to the Snack Shack. This is an essential and important part of your VBX. Some kids come very hungry, so if your church has the ability to serve a meal, that would be great. Food banks, local businesses, or church members may be happy to supplement your daily needs. We've made efforts to choose healthy snacks that will reinforce your lesson plans. For those of you who have limited time, you may choose to make a snack bag and serve during crafts or another part of your program.