text:
Van Hollen, Cardin, Kaine, Warner Present Prisoner of War Medals to Maryland Veteran Ronald Dolecki & Virginia Veteran David Strickland
Awards follow Van Hollen legislative action to secure medals
Yesterday, U.S. Senators Chris Van Hollen and Ben Cardin (both D-Md.) presented Army Specialist Ronald Dolecki, a veteran residing in Huntingtown, Maryland, with a Prisoner of War (POW) Medal honoring his military service in Ethiopia. Senator Van Hollen authored a legislative provision to secure Mr. Dolecki's medal following the Army's misapplication of the law to his unique case. They were joined by Senators Tim Kaine and Mark Warner (both D-Va.) who presented a POW medal to Virginia veteran David Strickland, which he also received as a result of Senator Van Hollen's legislative action.
"Ron Dolecki's story is the story of American heroism. After making a daring escape from captivity in Ethiopia, he helped save his two mission partners who were also taken prisoner. He displayed true courage in action, and after a years-long effort to award him the Prisoner of War Medal, we were finally able to secure the recognition he so clearly deserves," said Senator Van Hollen. "It is my honor to congratulate Ron and thank his family and friends who helped get this across the finish line."
"We cannot overstate our gratitude for all the sacrifices made by Specialist Dolecki while serving this country. He is a hero who endured excruciating conditions while held captive," said Senator Cardin. "It is a privilege to join in honoring Mr. Dolecki for his incredible spirit, patriotism, grit and bravery."
"In 1975, Army Specialist David S. Strickland was abducted while serving our nation. He spent four months in captivity, enduring ongoing physical and psychological hardships and not knowing when, or if, he would ever see his family again," said Senator Warner. "Although this recognition is more than 46 years overdue, I'm very proud to join my colleagues in recognizing Specialist Strickland's sacrifice with the Prisoner of War Medal he rightfully deserves."
"This is about fairness. The change that was made in the NDAA is not only opening up opportunities for Army Specialist David S. Strickland and Army Sergeant Ron Dolecki to be recognized with the POW medal. The change that has been made is going to enable many, many others who have long been denied to eventually see the day that they do as well. That work is already underway thanks to this effort. I know I speak for all of us: we feel honored to play a part in getting here," said Senator Kaine.
While on a mapping mission in Ethiopia in 1965, Mr. Dolecki was captured by armed, uniformed members of the Eritrean Liberation Front (ELF). He suffered under brutal conditions while in captivity but eventually escaped and saved the lives of two other individuals. However, Mr. Dolecki had been denied the POW Medal for more than a decade even after Congress passed a law in 2013 to clarify the criteria for the honor. Upon learning of this issue, Senator Van Hollen took legislative action – including writing twice to the Secretary of the Army and passing report language accompanying the 2022 National Defense Authorization Act (NDAA) to help ensure the accurate application of the law in order to secure Mr. Dolecki's medal. Mr. Dolecki's POW medal award was approved in March 2022, as was a medal for the late Jack Kalmbach, who served as Mr. Dolecki's pilot on the mission. The awards follow many years of advocacy from Mr. Dolecki, Dr. Dwight Mears, and the Senator to secure the honor.Mr. Strickland was taken captive by the ELF in 1975 under substantially similar circumstances as Mr. Dolecki but had also been denied consideration for the POW Medal for years until Senator Van Hollen's action.
High resolution photos and video are available upon request.
Photo 1: Senators Van Hollen and Cardin with the Dolecki family after presenting Mr. Dolecki with his POW Medal.
Photo 2: Senators Warner and Kaine with the Strickland family after presenting Mr. Strickland with his POW Medal.


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text:
Q: Ropes and knots
Mila has four ropes. She chooses two of the eight loose ends at random (possibly from the same rope) and ties them together, leaving six loose ends. She again chooses two of these six ends at random and joins them, and so on, until there are no loose ends. At this point she has somewhere between one and four loops of rope (inclusive). Find the expected value of the number of loops Mila ends up with.

Should the probability just be $4$ as it doesn't matter in which order we tie the ropes? I really stuck up on this.

A: As she holds one end of the first rope, there is a $\dfrac{1}{7}$ chance the second end she picks up belongs to the same rope. So after the first knot, she has three lengths of rope remaining that are not loops plus zero or one loop.
Next she takes another end and ties it. There is a $\dfrac{1}{5}$ chance she makes a loop. Regardless of whether or not she made a loop, she has two lengths of unlooped ropes.
The next two she ties has $\dfrac{1}{3}$ chance of making a loop. And finally her last knot will always make a loop.
That's an expectation of $\dfrac{1}{7}+\dfrac{1}{5}+\dfrac{1}{3}+1$ loops.

redpajama_set_name: RedPajamaStackExchange


text:
<?php

namespace Hexarchium\CoreDomain\UseCase\CreateDomain;

use Hexarchium\CoreDomain\Model\Domain\DomainId;
use Hexarchium\CoreDomain\Model\Domain\Entity\Domain;
use Hexarchium\CoreDomain\Model\Domain\Repository\DomainRepositoryInterface;

class UseCase
{
    private $domainRepository;

    public function __construct(DomainRepositoryInterface $domainRepository)
    {
        $this->domainRepository = $domainRepository;
    }

    public function handle(Command $command)
    {
        $domain = new Domain(
            new DomainId($command->getDomainId())
        );
        $this->domainRepository->add($domain);
    }
}

redpajama_set_name: RedPajamaGithub


I hate cake balls, anyone else? Now you are probably like why the heck is this girl giving me a recipe for cake balls if she hates them? These Healthy Funfetti Cake Balls actually taste more like cookie dough to me, but when I think of funfetti I think of the box of Pillsbury Funfetti cake mix not cookies. So here we are with a cake ball instead of a cookie dough recipe.
But really, the moist, mushy inside of cake balls made from mixing cake and icing together just does not jive with me. Let's also all take a moment to cringe while we say the word, moist. OK, moving on.
Protein balls, you've seen them all over Pinterest and instagram, protein bites, energy balls, energy bites whatever you want to call them. I even have a few recipes found here and here. They are basically just a cop out on a real dessert, but also pretty genius to have stored in your fridge when you need something sweet or need a tiny bit of substance before a workout class or something of that nature. I love how this funfetti version came out because 1. i mean how cute? and 2. the ingredient list is short and if you are a borderline health food junky like myself, you most likely have these ingredients in your pantry. If you don't...come over to my house, I'll make you some!
Add coconut into a food processor and blend until it becomes tiny grounds of coconut.
Add everything else but the sprinkles, pulse until it becomes thick crumbs (dough is pretty dry, you can add more almond milk if needed). Pour into a bowl and stir in sprinkles. Using a cookie scoop, press and roll into golf ball size bites! Refrigerate for at least 1 hour before serving! Keep in an airtight container in the fridge! Good for 1-2 weeks.
Now for the announcement. If you have been keeping up with Take A Bite, you probably are not blind to see that I have been incorporating some of Arbonne's nutrition products into my daily routine over the past couple months...hello protein shakes. Well, after thinking it over and going back and forth, I pulled the trigger and decided to start selling Arbonne myself. I truly love the products and use them everyday. Their nutrition line is something I completely agree with and have personally reaped the benefits of since starting to use them. I swore I would never sell something like this, but I just really love the products and want to be a source for others who are interested in trying them or who may already love them too.


text:
Scleroderma Foundation
View this message on our website.
Homepage | Forward to a Friend | Make a Donation
eLetter #843 | December 13, 2019
Systemic Sclerosis Highlights from the 2019 ACR Annual Meeting
Medscape has published a video featuring Robert F. Spiera, M.D., Hospital for Special Surgery, a member of the Scleroderma Foundation's Medical and Scientific Advisory Board, reporting on the most interesting systemic sclerosis presentations made at the American College of Rheumatology's 2019 annual meeting in November.
Spiera's reporting includes an analysis of the SENSCIS study that resulted in the FDA's approval of nintedanib for SSc-associated ILD. He also reviews rituximab, a potential treatment for SSc-associated PAH. Lastly, he talks about statins and Raynaud phenomenon.
You must create a free account to log in to Medscape.
Empowering Children with Scleroderma
"It felt very empowering and it felt great to advocate for Julia and other patients with scleroderma," said Julia's father, Scott Ceresnak.
Now nine-years-old, Julia was diagnosed with scleroderma at age five. Her family struggled with how much to share with her. However, over time and with Julia's expressed need to be part of every decision, they knew keeping her 100% involved was the best way to empower their daughter. One decision was to attend Capitol Hill Day in Washington, D.C.
Together, we can help children like Julia focus on their dreams rather than their disease.
Therapeutic Challenges and Advances in the Management of Systemic Sclerosis-Related Pulmonary Arterial Hypertension (SSc-PAH)
A team of scientists from the Medical University of South Carolina (Rahul G. Argula, M.B.B.S, M.P.H., Celine Ward, M.D., and Carol Feghali-Bostwick, Ph.D.), have published findings in Dovepress from a study on screening and treating systemic sclerosis-related pulmonary arterial hypertension (SSc-PAH). Their abstract indicates that screening for SSc-PAH is "a critically useful strategy." While treatment options have improved (PA vasodilators), the benefit is not as great for individuals with SSc-PAH as it is for those with other forms of PAH. The authors state, "This review attempts to chronicle and summarize the advances in our understanding of the optimal screening strategies to identify PAH in patients with SSc. The article also reviews the advances in the therapeutic and risk stratification strategies for SSc-PAH patients."
Making Scleroderma Research More Efficient
Coordinating research related to scleroderma and other fibrotic diseases already funded by the National Institutes of Health would help make scleroderma research more efficient.
There is a bill in Congress right now that would do just that! The House version of the bill is H.R. 3446, the Senate version is S. 2477; both are titled National Commission on Scleroderma and Fibrotic Diseases Act of 2019. They are bipartisan and budget-neutral.
You can help by asking your U.S. Representative and Senators to cosponsor. Go to scleroderma.org/advocacy, print the advocacy letters, sign, scan, and email to advocacy@scleroderma.org. Or, mail to Scleroderma Foundation, ATTN: Advocacy, 300 Rosewood Drive, Suite 105, Danvers, MA 01923. Letters will be hand-delivered to Capitol Hill.
Scleroderma Body Tool
Scleroderma can affect every system in the body. Visit the "body tool" on the Scleroderma Foundation website to learn the potential effects on each different system.
Heart and Lungs
Gastroinstestinal
BODY TOOL
Open Enrollment Ends December 15
Don't wait! Open enrollment on HealthCare.gov ends December 15. Log in TODAY, fill out an application, compare plans and premiums, and enroll.
Enter your zip code to determine whether your state has its own healthcare connector or if you must use HealthCare.gov.
2020 PLANS & PRICES
Career Preparation for College Students with Disabilities
WISE WEBINAR: Wed., Dec. 18, 3 - 4:30 p.m. Eastern
Did you know Ticket to Work offers free services and supports to help college students with disabilities achieve their career goals? If you receive Social Security disability benefits or SSI and are preparing to work, mark your calendars for December 18, at 3 p.m. ET, and join ChooseWork for the next WISE webinar to learn more!
Fundraising via Facebook
You can now raise money using Facebook for the Scleroderma Foundation's mission to provide support, education, and research.
100 percent of monies donated are passed on to the Scleroderma Foundation. There are no fees associated with Facebook fundraising.
Birthday fundraisers are the most common option, but you can create a Facebook fundraising event to benefit the Foundation for any reason you choose.
Clinical Trial Opportunity
Safety and Tolerability Study of AVID200, a Novel TGF-beta 1 & 3 Inhibitor, in Patients with Diffuse Cutaneous Systemic Sclerosis
This Phase 1 trial is designed to evaluate the safety, tolerability, and preliminary efficacy of AVID200 in diffuse cutaneous systemic sclerosis (SSc) patients. Currently the Phase 1b trial is being conducted at two centers in the United States, University of Pittsburgh Medical Center (cmz15@pitt.edu) and Hospital of Special Surgery (McCullaghE@HSS.EDU), with more centers expected to be open soon.
To participate in the trial, the following criteria must be met:
Have SSc with a total ≥ 9 according to the American College of Rheumatology/European League Against Rheumatism (ACR/EULAR) criteria for the classification of SSc
Have diffuse cutaneous SSc (dcSSc) subset
Disease duration < 5 years since the onset of first SSc manifestations (other than Raynaud's phenomenon) at the time of enrollment
Have a MRSS ≥ 15, and with a score that has not decreased by > 5 points in the past 2 months (8 weeks)
Have a skin score ≥ 2 on at least one forearm
Read more at clinicaltrials.gov and www.forbius.com.
Diamond National Sponsor
Platinum National Sponsor
Disclaimer: The Scleroderma Foundation in no way endorses any drugs, treatments, clinical trials, or studies reported in the eLetter. Information is provided to keep the readers informed. Because the manifestations and severity of scleroderma vary among individuals, personalized medical management is essential. Therefore, it is strongly recommended that all drugs and treatments be discussed with the reader's physician(s) for proper evaluation and treatment.
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300 Rosewood Drive, Suite 105, Danvers, MA 01923 tel: 800-722-HOPE (4673)

redpajama_set_name: RedPajamaCommonCrawl


text:
Toto je seznam církevních staveb v Olomouci:

Paláce

 Arcibiskupský palác
 kanovnické domy na bývalém olomouckém Předhradí:
 Kapitulní děkanství (Olomouc), dnes sídlo Arcidiecézního muzea
 Kapitulní proboštství, dnes sídlo Rektorátu Univerzity Palackého a Filozofické fakulty UP
 Kanovnická rezidence Wurmova 13 (Olomouc), dnes sídlo Konzervatoře Evangelické akademie
 a další, jejichž výčet lze nalézt na stránce Kanovnické rezidence v Olomouci
 jezuitský konvikt

Katedrály

 katedrála svatého Václava (dóm)
 Pravoslavná katedrála sv. Gorazda

Kostely

 bazilika Navštívení Panny Marie na Svatém Kopečku
 Červený kostel
 kostel Neposkvrněného početí Panny Marie
 kostel svaté Anny
 kostel Panny Marie Sněžné
kostel Panny Marie Pomocnice
kostel sv. Ondřeje
kostel sv. Filipa a Jakuba
kostel sv. Urbana
kostel sv. Barbory
 kostel svatého Cyrila a Metoděje
 chrám svatého Gorazda
 kostel svaté Kateřiny
 kostel svatého Michala
 kostel svatého Mořice
 kostel Zvěstování Panny Marie
 kostel v Hodolanech
 kostely československé církve husitské
 Husův sbor
 Husův sbor (Olomouc-Hodolany)
 sbor Prokopa Holého v Olomouci-Černovíře
 Sbor Českobratrské církve evangelické
 a další

Samostatné kaple
 kaple svaté Barbory
 kaple Božího Těla
 Sarkandrova kaple (kaple svatého Jana Sarkandra)
 Kaple Panny Marie Opatrovnice
 Mauzoleum jugoslávských vojínů
 Kaple Božského srdce Páně
 Kaple Neposkvrněného početí Panny Marie na Povelu
kaple sv. Isidora v Řepčíně
kaple Panny Marie Loretánské v Neředíně
kaple Panny Marie Královny v Řepčíně při starém klášteru dominikánek
kaple sv. Jana křtitele ve Slavoníně
kaple sv. Jana a Pavla v Nemilanech
kaple sv. Floriána v Topolanech
kaple Božského Srdce Páně v Topolanech
kaple Nejsvětější Trojice
a další.

Kláštery
 Klášter Hradisko s kostelem svatého Štěpána
 klášter voršilek s kostelem svaté Kateřiny
 klášter klarisek - viz Vlastivědné muzeum v Olomouci
 zaniklý klášter dominikánů u sv. Michala
 klášter bernardinů (dnes dominikánů s kostelem Neposkvrněného početí Panny Marie)
 kapucínský klášter na Dolním náměstí
klášter Milosrdných sester III. řádu sv. Františka s kaplí
zaniklý klášter minoritů
zaniklý klášter augustiánů
zaniklý klášter kartuziánů
zaniklý klášter františkánů
zaniklý klášter dominikánek v Řepčíně

Sloupy
 sloup Nejsvětější Trojice
 Mariánský sloup
přesunutý sloup se sochou Panny Marie Immaculaty

Zaniklé kostely a kaple

 kostel svatého Petra - původní olomoucká biskupská katedrála (do r. 1131)
kostel svatého Pavla
 kostel svaté Maří Magdaleny
 kostel svatého Jakuba
 kostel svatého Blažeje
 kostel Panny Marie na Předhradí
 kostel svaté Kláry
 kostel Všech svatých
 kostel svatého Ducha
 kostel Svatých schodů
kostel Nanebevzetí Panny Marie
kostel Minoritů na nám. Republiky
kaple sv. Markéty na Dolním náměstí
 Kaple svatých Cyrila a Metoděje
 olomoucká synagoga

Reference

Literatura

 František Bolek: Katolické kostely a kaple v Olomouci, Lidové závody tiskařské a nakladatelské, Olomouc 1936

Související články
 Seznam památek v Olomouci podle architektonických stylů
 Kanovnické rezidence v Olomouci

Externí odkazy

Církevní stavby v Olomouci

Církevní stavby v Olomouci

redpajama_set_name: RedPajamaWikipedia


I have purchased at least 8 vehicles from this dealership including 5 Tacomas. I continue to use them because of the value they bring to the table. They have always done a great job satisfying my wants. I like the Toyota product and will go to Colonial every time I am looking for a vehicle for myself.
Mr. McMahan, Kudas to Alshaham,Vlad,John and Cici. Because of their stellar customer service skills, I'll be a loyal customer.
Although there is a Toyota dealership in my town, I travelled 20 miles on a friend's recommendation to meet Frank Pratts. After visiting several different dealerships and driving many different makes and models in my search for a new car, Frank knew exactly what I needed. He recommended the Toyota Highlander and he was right on target. He is informative, knowledgable ... and very easy to work with. He is accommodating and offers top notch customer service even after the papers are signed and you leave the lot in your new car. I highly recommend visiting Frank and Colonial Toyota in Milford if you are looking for a car - you will not be disappointed!
First time I've owned a Prius, first time I've dealt with a dealership in 30 years. Michael Fournier in the Service Department, in fact everyone I've dealt with in the Service Department, was friendly, professional and competent. I asked for a few "extra things" during my oil change/Simoniz GlassCoat service call and all were satisfied with a smile.
Dear Justin, I just wanted to thank you so much for the attention you gave to my headlight issue last week. Andy kept the car for three nights to get the adjustment right, and there is an immense improvement to the visibility issue. Please thank him for me. Mark also kept me informed along the way. I am very impressed with the way you handled this issue, and can say ... without hesitation, that you have created a loyal customer in me, by this show of action. I work in sales (tug boats), and I know that if my staff handled each situation the way you did, we'd be one of the best tug boat companies around. Please thank Mr. Crabtree for instilling this professionalism and concern into his staff, and thank you again for such a great customer service experience.
Welcome to Colonial Toyota. Our team of experts are here to help you. Whether you are looking for your dream car or simply need automotive repair or financing, you can count on the Colonial Toyota team. We are a family owned and operated dealership that has been a fixture in the Milford, CT, community since 1982. Our customers come from all over the area to see us, including Southport, Westport, Weston, Strafford, New Haven, Greenwich and Orange, CT.
Truly, you would be hard-pressed to find a larger selection of new, use and pre-owned Toyota vehicles in the area. Here you will find all of the newest vehicles from Toyota, including the RAV4, Camry, Corolla, Tacoma and Highlander. We also carry a variety of used vehicles in many different makes and models. Need quality automotive repair? Our team of Toyota factory trained and certified service technicians can help!
Come see for yourself why drivers from all over the area continue to choose Colonial Toyota for all their automotive needs today!
Here at Colonial Toyota, we are committed to creating a unique car buying and servicing experience, focused entirely on exceeding our customers' expectations.
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text:
«Речи Фафнира» () — одна из поэм древнескандинавского «Королевского кодекса», входящая в состав «Старшей Эдды». Её причисляют к «песням о героях». В манускрипте «Речи Фафнира» представляют собой единое целое с «Речами Регина» и «Речами Сигрдривы»; этот памятник рассказывает о молодости героя Сигурда, а в «Речах Фафнира» излагаются поучения умирающего змея.

Учёные полагают, что все три поэмы имеют очень древнее происхождение и связаны с Южной Германией. В отличие от большинства поэм «Старшей Эдды», в «Речах Фафнира» эпичные строфы чередуются с гномичными.

Примечания

Старшая Эдда


text:
Joan Blanquera i Bellvehí (Santa Coloma de Farners, 28 de febrer de 1937) fou un futbolista català de les dècades de 1950 i 1960.

Trajectòria
Començà a destacar al Girona FC, d'on fou fitxat pel CD Comtal, club on jugà cinc temporades, arribant a disputar vuit partits amistosos amb el primer equip del Barça. A continuació passà pel Reial Múrcia, Córdoba CF, Cartagena FC i Llevant UE, finalitzant la seva carrera novament al Girona. Disputà un partit amb la selecció catalana enfront una selecció de Rio de Janeiro.

Els seus fills Joan i Josep també van ser futbolistes.

Referències

Enllaços externs
 Perfil a BDFutbol

Futbolistes de la Selva
Futbolistes del Girona FC
Futbolistes del CD Comtal
Futbolistes del Real Murcia
Futbolistes del Córdoba CF
Futbolistes del Cartagena FC
Futbolistes del Llevant UE
Futbolistes internacionals amb Catalunya de la dècada de 1950
Esportistes colomencs


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text:
The Porch Prize
The Porch Prize 2022
An Interview with Edward Hirsch
Edward Hirsch is the author of eight books of poetry, including Wild Gratitude, which received the National Book Critics Circle Award, and most recently The Living Fire, a new and selected volume. Hirsch is also the author of several books of prose, including the bestselling How to Read a Poem and Fall in Love with Poetry. Currently he is president of the Guggenheim Memorial Foundation.
Interviewer: Congratulations on your new and selected, The Living Fire, that came out earlier this year. What particularly surprised you in gathering together this collection?
Hirsch: The thing about putting together a retrospective collection is you can't help but feel your own mortality; you can't help but feel how long you've been writing poetry. The persistence of certain concerns, your obsessions, and then the developments of differences in your work. But it is a retrospective glance, and it feels like you've come to a certain age, so it has a shadow of mortality over it. I expected putting the collection together to be difficult, but it was even more difficult than I quite expected to take the poems from the context of their original books, because I worked really hard to make cohesive books, and I felt something was lost and it was painful to take the poems out of their original context. But the hope is that something is gained by the continuity of putting them together.
Interviewer: Insomnia, or the long night of the soul, is a recurring theme in your work. There seems to even be an intimate, almost sibling rivalry with the night, when you write a line like, "let 5 o' clock come with its bandages of light [from "Four A.M. in Earthly Measures]," or "now here is the night / with its false promise of sleep [from "Dusk in For the Sleepwalkers." This seems to reach back to an ancient trope, calling out to the muse, or to God, to carry us through the night? Can you speak to this?
Hirsch: Yes, it is a trope that runs through mystical poetry. It began for me with my own insomnia, and most people have seen insomnia as a persistent theme in my work; but I early on discovered that I liked the situation that insomnia set up inside a poem, I liked the drama created by insomnia; the feeling that other people were asleep and you were a solo consciousness, you were alone, and the solitude that it created dramatically, I liked. The consciousness of a single voice, or a single writer under a lamp when everything else was dark, created a certain feeling I liked in poetry. It loosened the mind for reverie, for a certain kind of dreamscape, and then, I didn't begin with this in mind, but I looked for models in other poets who had written out of the night, and I came across early on St. John's "Dark Night of the Soul," and I liked the spiritual feeling it gave you. I saw that mystical poetry, "the hour of midnight strikes," and its attachment to epiphany, had a certain kind of luminosity, and I could play off that sense of the epiphanic, or the anti-epiphanic, the epiphany that didn't come, or the community of other people that were in this situation, or the comedy of the spiritual quest that is thwarted, or doesn't break through. So it's been very recurrent for me and it seems somewhat inexhaustible. The other part about setting your poems at night is that the daylit mind, the common sensical world, is somewhat repressed, and for this other hour of night, the other senses are heightened, and you have a chance for a poetry that would cross over, to try and approach a non-temporal realm, and that has been very productive for me in thinking about what I want poetry to do.
Interviewer: This crossover seems evident in "Dawn Walk," the poem that closes Wild Gratitude, and in some ways closes your first two books of poems, as the speaker walks out into "the courtyards / unscarred by human footprints." And then the grateful address: "So thanks to the / Blue morning, to the blue spirit / Of winter, to the soothing blue gift / Of powdered snow!" and closing with "The simple astonishing news / That we are here, / Yes, we are still here." No one would wish insomnia on someone, but the blue reward of daybreak is a pretty good pay off, isn't it?
Hirsch: There is a celebratory moment at the end of "Dawn Walk," which is also the end of For the Sleepwalkers and Wild Gratitude, that after all we've gone through, the dark night of the soul, you are still here to tell the tale; and there is meant to be something very emphatic in that celebration that we are here, and then it says yes, it agrees, the assent, we're still here, after all of this. So yes, there is some joy, some celebration, some symbolic breakthrough that comes with the breaking of the day and what it stands for at the end of these poems. Now I have to say that especially in Wild Gratitude there is a historical dimension to this because it's not just the dark night of the soul individually, but the third section of Wild Gratitude is all about the dark night of the soul historically, the twentieth century and what we've gone through, and the crisis of having come through the worst century so far. So it wasn't meant just to be personal, but it was also meant that we've come through this terrible suffering, and survived it, and after all we've done to each other, and after all that's happened, we're still here.
Interviewer: The Night Parade, your third book of poems, marked some decidedly new directions in your work, most notably the implementation of the dropped down line, a la Charles Wright, or Ezra Pound. Can you speak to these decisions, particularly in the conception of the book as a whole?
Hirsch: I wanted to widen my line. As I moved into the poems I was writing for The Night Parade, I wanted to be able to write more narrative poems, but I didn't want to lose the lyrical feeling. I wanted to create the space to include other kinds of information that I was finding difficult to get into poems, and I hit upon this line that Ezra Pound first developed in The Cantos and that William Carlos Williams turned into the three-ply line and Charles Wright beautifully refined as, there's no real name for it, but the dropped down line, the long line with a kick, that creates a special kind of phrasing out of the second part of the line, which isolates it. I found that the use of that line, which did not become permanent in my poetry, but I felt I used well, or tried to use well in this book in particular, enabled me to tell stories that I wasn't otherwise able to get into lyric poetry, and that I could tell the story without losing a certain kind of lyrical finish. I saw that Wright had done that beautifully in The Southern Cross, and The Other Side of the River, and so that was a model in how he had turned the line from Pound. The Night Parade is a personal book, but those other poets helped guide me to the lineation that enabled me to write more personal poems.
Interviewer: And the way that Wright borrowed the line from Pound, and changed it; you reclaimed it in a more narrative construct, in a way those other poet's hadn't used it.
Hirsch: I wanted to write poems that were telling stories, but I didn't want to sacrifice a certain kind of music, and so the dropped line enabled me, at least as I felt, to create a musical feeling, a lyrical pressure, while opening my poems a little bit to be able to tell certain kinds of stories.
Interviewer: On the subject of stories in The Night Parade, in the poem "Siblings" you write, "the story of siblings is the story of childhood / experienced separately and together… memories carved into official and unofficial versions"; can you say more about this declarative?
Hirsch: I hadn't seen any poems about this subject, which seemed to me a very striking truth. The subject of siblings hasn't been addressed much in lyric poetry. There are elegies for siblings, but the complication of the fact that you grow up in a household and share so many of the same experiences, but your perspectives can be so radically different, seemed to me very striking. The poem basically grew out of the story the poem tells, and my sister will still say, well that's not how it happened, but of course that's the point of the poem; your viewpoint is so radically different from where you are in the family of what happens, that you sometimes wonder if you're actually telling the same stories; and only when you get to a certain age does this even become interesting to you. You get to be a certain age and you realize your siblings are the only ones who shared these experiences with you, and are the only ones you can actually talk to about them. But then you find you can and you can't talk about it with them because the views that they hold turn out to be radically different from the way you see it, and so I thought this was an interesting subject for a poem—it began by a family occasion and telling the story about what you found charming, your sister found mortifying; and I thought telling the story was interesting, but telling the story and thinking about the way such stories work was even more so. Both the poem "Siblings" and the poem "Family Stories" in The Night Parade try to worry the problem about the nature of storytelling within a family and how the stories radically differentiate themselves; and so you have the same childhood but you have different childhoods.
Interviewer: This makes me think about How To Read A Poem and Fall in Love with Poetry, when you write about how friendship, an important part of our lives, is also strangely absent from the history of lyric poetry.
Hirsch: It's a peculiar and complicated zone of poetry, how lyric poetry frames certain subjects and leaves out others. The poetry of friendship seems to me very important, and yet it's an overlooked category. It turns out it's hard to write about male to male friendship, as I'm sure it's hard to write about female to female friendship. There isn't really a zone for this kind of subject matter where you're not blood relatives, and you're not lovers. It seems to me interesting to think about how to write a lyric poem that situates itself in the zone of friendship without any erotic overtones. The poets I've learned the most from in this are the Chinese poets because they have a great tradition of the poetry of friendship; saluting each other, the poetry of the wave, and the poetry of connections and missed connections between friends. As soon as you observe or feel something like this then it's exciting to try to widen the corpus of lyric poetry and say well, lets try to make this a subject, both in terms of writing about poetry, as in How To Read A Poem, and also in my own poems.
Interviewer: I am taken by the way you use sports as a trigger of memory, as a mound, or hinge, to move back and forth between time, as seen not only in "Siblings," but also "Fast Break" [from Wild Gratitude], and "Execution" [from The Night Parade].
Hirsch: When I started writing poetry, if you had told me I was going to write about sports, I would've told you that you were out of your mind. I was playing sports all the time, but I wanted to write about Paul Klee, about going to the Art Institute of Chicago and discovering Edward Hopper, and I wanted to write about the poets I was reading and the world of culture I was trying to enter, that I was dreaming about. In For the Sleepwalkers there isn't anything about sports. You wouldn't have known I ever played sports. It was only in Wild Gratitude when I was moving deeper into my thirties that I began to recognize I had spent a tremendous amount of my life playing sports and it hadn't been in my work at all, and somehow that began to feel like a weakness to me. So much of my life had been zoned out of poetry, and as we've discussed I felt I didn't have a language for it. We know poetry is well suited in dealing with love, or in dealing with death, but how does it deal with baseball, or football, or basketball. So I began looking into this, not only my own experience, but also the language of sports as it's been written about; and it turns out there is an enormous literature in American poetry related to baseball, because it's pastoral, but much less about any of the other sports, so that's why I began to write about basketball in "Fast Break," and football in "Execution." I began to take a certain pleasure in bringing in the language of sports that I hadn't seen very often in lyric poetry, and it seemed energizing to bring the actual experiences and language of sports into poems. And them, not that I set out to do this, but what set in were Proustian memories; that writing in the language of sports got to something else. After all, I'm not a sports writer. Poems that are just about sports turned out not to be that interesting to me. I have written many more than I published. The things that were interesting was when sport became a metaphor for something, and when sport got to some other kind of human situation, and when it triggered something I had overlooked in my own experience, then it became a kind of opportunity for me.
Interviewer: I can't say the word 'execution' anymore without thinking about its dual meaning.
Hirsch: "Execution," the elegy for my football coach, brings together the language of football with my reading of Metaphysical poetry. The way the Metaphysical poets drove through a conceit and explored it as far as they could. I thought it would be lively and interesting and funny, in a certain kind of way, certainly playful, to take this thinking I found in John Donne and George Herbert and the other Metaphysical poets, and apply it to an American football coach. The word execution jumped out at me, in thinking through the poem as my coach's favorite word, as a word that has a lot of consequence in football, suddenly had these tremendous overtones in terms of mortality. And so 'execution' suddenly could do a lot of work for you in a poem in terms of what it means literally in football in terms of making a play work perfectly, and what it meant for his mortality.
Interviewer: One idea that keeps surfacing in this discussion, and in your work at large, is how we can use the framework of lyric poetry to, frankly, address our entire lives.
Hirsch: You come to a reconciliation at a certain point that it may not have been the life you exactly wanted, or the life you fantasized, or it may not have had the cultural qualities you desired, but it is the life you had, and it's your job to bring that life into poetry, that's your task. It's not your job to have Milton's experiences, or Shelley's experiences, or Spenser's experiences. You can read them, you need to read them, and you learn from them and adapt them, but you have to reconcile yourself to the life you've actually had, and the joy and the excitement and the trauma of bringing that into poetry and transforming it into something.
Interviewer: Okay, now we're going to switch gears into the holy sphere of poetry. We can't deny that we're conducting this interview on the eve of Yom Kippur, which as a young Jewish poet, tickles me…
Hirsch: …Tomorrow you can atone for this question.
Interviewer: I have to ask, as we're not supposed to write or work on Yom Kippur, what happens tomorrow if a great line of verse comes through the head?
Hirsch: Well if it's a great line of verse I think it's okay to remember it. You should be able to remember it. I mean, hopefully God will be tricked if you feel you need to write it down, but you'll have to wait another year to atone for it. But I think if it really is that great of a line, you should be able to remember it.
Interviewer: Nice. Okay. I know you have reflected on poems inspired by Yom Kippur, particularly in Poet's Choice, and I wanted to ask how you perceive the contemporary relationship between Judaism and poetry?
Hirsch: There are many American Jewish poets and sometimes they have mined their experiences in interesting ways, but not many people have thought very hard about what it means to be a Jew or an American Jew and how that might operate in poetry. I think it's interesting to brood about what a Jewish poet is, not only in contemporary life, but also in the history of poetry, and if there are continuities; or is it just enough to write out of your own experiences and some of those experiences are Jewish. I like to think a little harder, particularly in the essay in Poet's Choice, about what are the consequences of writing a Jewish poetry, rather than, just say, writing about immigrant experience, and having immigrant grandparents, or immigrant parents, and they were Jewish, and therefore you write about something that was Jewish.
Interviewer: Can you address some of these historical consequences?
Hirsch: I think the most powerful thing is that Jews are a people of the book, and one of the things that defines Judaism is the covenant with God, and the sense of history that is built into Judaism as part of what it means to be Jewish. So I think one of the complications of being an American Jew, and being an American Jewish poet in particular, is that America is a very ahistorical country, and American poetry tends to be very ahistorical because Americans are ahistorical. Henry Ford said "history is bunk," and there's something very exciting about the ways that Americans and American poetry keep reinventing itself, because it's all second acts and third acts, and it's all newness in terms of how people can keep reinventing their identities. But not many people, therefore, have reflected that as an American Jew you are pulled into two different directions, that American life takes you into the present but Judaism takes you into the past. I feel that I was sort of shaped on the conflict, or the crucible, of this experience, that on the one hand you live in the present and you forget the past, and then on the other you're obsessed with the past and not living in the present so much. There are a few poems where I try to think about this: "The Poet at Seven," [from On Love] and "My First Theology Lesson" [from Lay Back the Darkness], where an American experience comes up against a Jewish experience, and you feel the conflict of the presentness versus the great historical sense which I think is crucial to what Judaism is as a religion.
Interviewer: In your essay in Poet's Choice you cite Adrienne Rich's poem, "Yom Kippur 1984" from Your Native Land, Your Life (1986) which you call "a key poem from one of her finest collections."
Hirsch: If we had the time and we could go through all of Adrienne Rich's work I think I could show you the moment where her work turns from being a separatist poetry towards being a more inclusive poetry; where men are actually included as opposed to excluded from her work, and I think it is related to her sense of being not just a women but of being a Jew. Now I am not speaking about her personally, I don't know her very well, and I greatly admire her. But in her poetry you can see her recovering and discovering her sense of Jewishness, and when Jewishness becomes part of her subject matter she begins to see her father and other men also as victims, not just as oppressors. And when she sees the Jew as a victim her poetry becomes much more inclusive, and I would say more forgiving of certain things that have happened to her and certain people; and I think it becomes a great discovery in her work. While I admire her work all the way through, it takes on another kind of historical turn, and another kind of consciousness, and another kind of compassion, when she relates herself, and starts thinking of herself, as a Jewish poet.
Interviewer: Before we move on I have to ask you about your poem "Two Suitcases of Children's Drawings from Terezin, 1942-1944," [from Lay Back the Darkness] and how it fits into this dialogue?
Hirsch: I think the issue is about remembering. I don't we can afford to forget what's happened; I don't think we can afford to let things go and pretend they don't exist. There has to be some kind of historical continuity, some sense of remembering those who have gone before us, and those who have died. One of the projects of poetry is to keep alive the human image, and to keep alive the image of those who have come before us. I don't think we can afford to forget the Holocaust, or other holocausts. Now that being said, we also need a language by which we write about these events in lyric poetry. I don't think it would be appropriate for us as contemporary American Jewish poets who write now in the twenty first century to write about the Holocaust the way Paul Celan wrote about the Holocaust. I just think it would be wrong; and I wouldn't say exactly unethical, but it seems to me not appropriate. There's also now a history of Holocaust poetry, and it seems to me to write in a sophisticated way in your account of what you're writing about, that history is part of your subject matter. It's just not writing about something as if you were a historical witness to it, and I think this is one of the great problems with Carolyn Forche's anthology Against Forgetting, or thinking about witnessing. The poetry she's collected in this anthology is great, but the thinking about witnessing is only for those who actually saw certain experience, and I think that witnessing is more complicated than that, and it is necessary to write beyond those who saw the experience. I just think that you can't write in the same documentary way to things that didn't happen to you, yet it's important to keep these things alive. I think it's useful to feel the anxiety of influence when writing about subjects as large as the Holocaust. How do you take on something, what is your angle, and how are you going to write about it, because the issue of representation is inevitably going to come in. So I think you do it with a certain awareness of the poetry that has come before and your own position in relationship to the material.
Interviewer: The term 'keeping the human image alive' seems exact in your choice to use the image of the children's drawing as your lens.
Hirsch: The question is how do you write that poem. What style do you use? How do you take on the subject? I had known those drawings for years but I hadn't figured out how to write about them, although they had been seared into my consciousness, until I got the idea that there must have been a teacher. So when I began to research who that teacher might have been, I discovered Friedl Dicker-Brandeis, and I felt I had an angle on this experience that would be useful to me, and I had something that no one had written before that I had known about. People had written a lot about the Holocaust, but no one had really written about these children's drawings or the fact that someone had to be teaching art in Terezin. And that seemed to me a heroic enterprise, this teacher who was gathering the materials and believed in the spirit of art enough so that these children could express themselves. I felt that I had something there that I could write, that I wanted to write, about a teacher who was trained at the Bauhaus by Paul Klee and others and had the idea that children's drawing have a kind of genius, and brought that idea under those excruciating circumstances of Terezin. I wanted to honor that, and it seemed worthwhile to honor, to preserve her image and her moral lesson, and then honor the children who even in these excruciating situations were making art. I had to caution myself all the way through not to sentimentalize, and not to find a transcendental vision when there wasn't one. I mean, there were 15,000 children, and 14,900 were killed. We can't pretend here about what happened. The question is, how do you write about that? I decided to make an art parable. Think of a doll, each one of those children making a paper doll, now take 14,900 of the dolls, and burn them, that's what you've got left.
Interviewer: Moving on, yet still along the idea of the power of art, in How to Read A Poem and Fall In Love with Poetry, you discuss the difference between "the muse" and "the beloved," and then even more so in The Demon and the Angel you bring in Lorca's idea of "duende." What are some of these subtle distinctions?
Hirsch: I started thinking about this when I read the statement by Joseph Brodsky in that the beloved is irreplaceable but the muse passes on to someone else. [from Brodsky's essay Altra Ego : "Herein lies the ultimate distinction between the Beloved and the Muse: the latter doesn't die.] There's an exchange to another poet with the muse, but not with the beloved. So then in thinking through Lorca's essay where he says the muse is above but the duende force comes from within, it seemed that we're all talking about different ways of thinking about inspiration, and therefore thinking about where poetry comes from. The muse, the beloved, and duende, are three ways of thinking of what is the source of poetry, and all three seem to me different names or different ways to think about something that is not entirely reasonable, not entirely subject to the will, not entirely rational. And whenever these forces are invoked it seems that something is being invoked about poetry that differentiates poetry from say, the essay. They are names for a certain kind of thinking which Keats calls "non consequitive thinking," and the mystery of writing poetry is to harness this non-consequitive thinking, or associative thinking, and the mystery of the fact that poetry isn't entirely at the dispensation of the will. The collective unconscious is another name for this source that is outside of rational thinking. The thing I found stimulating about Lorca in particular in duende was the idea that the muse is above and the inspiration comes from below; inspiration is not something we get from on high, but something that comes up from the earth, and I found it very useful in thinking about darker inspiration rather than lighter inspiration.
Interviewer: In How to Read a Poem, you speak about how the music in Latin American poetry stems from the premise of "lullabies that wound." So again, in a contemporary framework, do you believe the poet is best served by meeting our climate with poems that wound, or poems that look towards a "bandage of light," to take your phrase?
Hirsch: We live in cynical times and I recognize why most American poetry is cynical. It's cynical about power, it's cynical of language, its cynical about the lies of politics; it's skeptical about pretty much everything, especially language and the way it has been used. So I think it would be naïve of us to ignore what's actually happening in the world, and I don't think we can search for optimistic things as if things haven't happened in the twentieth century. I don't think we can afford or look for or want a poetry that ignores suffering or a poetry that wounds. Yet it also seems to me a crucial line of American poetry, to be written in what Emerson calls the optative mood, is being completely neglected now. One of the deep impulses of American poetry is the celebratory. So I think poetry is a quest, and I wouldn't want a poetry that ignores the suffering or what's wounded or what you have to go through to get to the other side, but I think the idea of trying to get to the other side, the idea of seeking some healing, the idea of seeking some bandages, that seems to be a deeply American way of thinking. If you're a reader of Emerson you feel there is something in the American spirit that does seek for some affirmation from the other side, and I think looking for, or questing for that affirmation seems noble.
Interviewer: To close along the idea of the optative mood, we here at Nashville Review, in Music City, look for narrative and poetic links between music and literature. What is your creative relationship with music?
Hirsch: When I listen to music late at night I listen to music that will console me, and I listen almost entirely to classical music, where as during the day I like to listen to jazz, but I find it not as helpful late at night, in terms of getting me wired up. I have many friends who listen to music while they write, but I've never been able to. For some reason music takes up a certain space in my brain and it competes with writing poetry. Poetry has always had a complicated relationship to music, and an interesting one. You might say that poetry is bordered on one side by its relationship with the visual arts and its bordered on its other side by its relationship to music. I'm cognizant of the fact that for much of the history of poetry, poetry and music were not separate arts, that poets saw it as the same thing. It's really not until the Renaissance that poetry and music began to take different terms; and after that, the relationship became analogical. Poets often refer to themselves as singers, but they are actually writers, and I'm aware that music has certain advantages over poetry, but also certain disadvantages from poetry. The main difference is the relationship of the words on their own, which have musical qualities, but also have other qualities in terms of meaning. You're using things that are cycled in the culture, and that language is used by other people, and so I think music becomes a metaphor for something you are aspiring to through language, which you can never attain, which is some kind of pure feeling. The language of music, somehow, is able to hit this pure feeling, but it doesn't have words, and words give you something additional, in terms of making meaning. So finally I think for us they are separate arts. I would say poetry both does and does not aspire to the condition of music.
Interviewer: That's great, this framing, that on one edge of the spectrum we have music, and on the other edge is the visual art, and poetry moves between them.
Hirsch: Yes—we are somewhere in between.
Listen to Edward Hirsch's Special Orders, Cotton Candy, and Fast Break
My Egyptian Fortune Cookie
© 2023 Nashville Review


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Editor's Review: David Lee Roth Live in Anaheim, CA
By Frank Meyer, Contributing Editor
Thursday, June 12, 2003 @ 2:01 PM
"Diamond Dave" Live at the Hou
David Lee Roth and his band of renegade rock warrior stormed the stage of Anaheim's House of Blues last night and proved once and for all that he is still one of rock n' roll's best entertainers. The Diamond One strutted and grinned his way through a set of Van Halen classics sprinkled with solo chestnuts backed by White Lion bassist Greg Lomenzo, drummer Ray Luzier and the twin guitar attack of Brian Young and Toshi Hiketa.
The enraptured audience was treated to Dave TV era hits like "Just Like Paradise," "Goin' Crazy," "Just a Gigolo" and "Yankee Rose" alongside stadium rockers such as "Unchained," "Runnin' With The Devil," "Mean Streets," "Panama," and "Dance The Night Away." He even busted out fan favorites such as "And The Cradle Will Rock" and "Somebody get Me A Doctor." He also played the new single off his new album Diamond Dave, a cover of Steve Miller's "Shoo Bop."
The crowd was going apeshit over his every kick, thrust and leap and cheered him on through two encores that included "Ice Cream Man," "Ain't Talkin' 'Bout Love," and "Jump." As always, Dave guzzled Jack Daniels, he cracked wise between songs, and there was a midget by the side of the stage, presiding over the whole affair.
Shine on you crazy Diamond…shine on…
Here's Dave's latest tour dates:
Fri 06/13/03 Stockton, CA San Joaquin County Fair
Sat 06/14/03 Las Vegas, NV Hard Rock Hotel - The Joint
Tue 06/17/03 Portland, OR Roseland Theater
Thu 06/19/03 Kamloops, BC Sport Mart Place
Sat 06/21/03 Prince George, BC Prince George Multiplex
Sun 06/22/03 Edmonton, AB The Joint
Tue 06/24/03 Calgary, AB Outlaws
Fri 06/27/03 Vancouver, BC Orpheum Theatre
Sat 06/28/03 Tacoma, WA Emerald Queen Casino
Sat 07/05/03 Milwaukee, WI Summerfest
Sun 07/06/03 Sterling Heights, MI Freedom Hill Amphitheater
Wed 07/09/03 Chicago, IL House Of Blues
Fri 07/11/03 Lansing, MI Common Ground Festival
Sat 07/12/03 Fort Wayne, IN Three River Festival
Mon 07/14/03 Grand Rapids, MI Orbit Room
Wed 07/16/03 Saint Louis, MO The Pageant
Fri 07/18/03 Robinsonville, MS Sam's Town
Sat 07/19/03 Gulfport, MS Grand Casino Gulfport
Mon 07/21/03 Houston, TX Verizon Wireless Theater
Wed 07/23/03 Austin, TX Stubb's Barbeque
Thu 07/24/03 Grand Prairie, TX Next Stage At Grand Prairie
Sat 07/26/03 Winter Park, CO Hawgfest
Tue 07/29/03 Tucson, AZ Anselmo Valencia Amphitheatre
Wed 08/06/03 Sturgis, SD Legendary Buffalo Chip
Fri 08/08/03 Kansas City, MO Beaumont Club
Fri 08/22/03 Universal City, CA Universal Amphitheatre
Thu 08/28/03 Green Bay, WI Oneida Casino
Fri 08/29/03 Chicago, IL House Of Blues
Sun 08/31/03 Detroit, MI Michigan State Fair
Wed 09/03/03 Columbus, OH Ohio Theatre
Fri 09/05/03 Cincinnati, OH Annie's
Sat 09/06/03 Cleveland, OH Scene Pavilion
Tue 09/09/03 Poughkeepsie, NY Mid-Hudson Civic Center
Wed 09/10/03 Hampton Beach, NH Hampton Beach Casino Ballroom
Sat 09/13/03 New York, NY Beacon Theatre
Mon 09/15/03 Worcester, MA The Palladium
Wed 09/17/03 Glenside, PA Keswick Theatre
Fri 09/19/03 Norfolk, VA The NorVa
Sat 09/20/03 North Myrtle Beach, SC House Of Blues
Mon 09/22/03 Tampa, FL Tampa Theatre
Fri 09/26/03 Lake Buena Vista, FL House Of Blues
Sat 09/27/03 Pompano Beach, FL Pompano Beach Amphitheatre
Check out the entire PHOTO GALLERY.
(Photos by Frank Meyer/KNAC.COM)
Send your live reviews to submissions@knac.com
Recent Headbangers


text:
package com.taobao.zeus.web.platform.client.theme.shortcut;

import com.google.gwt.core.client.GWT;
import com.google.gwt.resources.client.ClientBundle;
import com.taobao.zeus.web.platform.client.widget.ShortcutCell.ShortcutCellAppearance;
import com.sencha.gxt.theme.base.client.button.ButtonCellDefaultAppearance;
import com.sencha.gxt.theme.base.client.frame.TableFrame;
import com.sencha.gxt.theme.base.client.frame.TableFrame.TableFrameResources;

public class ShortcutCellDefaultAppearance<C> extends ButtonCellDefaultAppearance<C> implements
    ShortcutCellAppearance<C> {

  public interface ShortcutCellResources extends ButtonCellResources, ClientBundle {
    @Source({"com/sencha/gxt/theme/base/client/button/ButtonCell.css", "ShortcutCell.css"})
    @Override
    ShortcutCellStyle style();
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  public interface ShortcutCellStyle extends ButtonCellStyle {
	  String select();
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  public ShortcutCellDefaultAppearance() {
    super(GWT.<ButtonCellResources> create(ShortcutCellResources.class),
        GWT.<ButtonCellTemplates> create(ButtonCellTemplates.class), new TableFrame(
            GWT.<TableFrameResources> create(ShortcutTableFrameResources.class)));
  }

}


. "Timothy Maloney". The Canadian Encyclopedia, 18 December 2013, Historica Canada. https://www.thecanadianencyclopedia.ca/en/article/timothy-maloney-emc. Accessed 19 April 2019.
Maloney, S. (Stephen) Timothy. Musicologist, clarinetist, administrator, b Toronto 15 Jan 1947; B MUS (Toronto) 1968, Artists Diploma (Toronto) 1969, M MUS (Catholic U) 1970, DMA (Rochester) 1986.
Maloney, S. (Stephen) Timothy. Musicologist, clarinetist, administrator, b Toronto 15 Jan 1947; B MUS (Toronto) 1968, Artists Diploma (Toronto) 1969, M MUS (Catholic U) 1970, DMA (Rochester) 1986. His clarinet teachers included Avrahm Galper, Ezra Schabas, and James Morton and several others in the USA and Europe. His doctoral dissertation was a survey of Canadian wind ensemble music. Maloney won first prize in the 1975 CBC Talent Festival wind instrument category and subsequently played in chamber ensembles and solo recitals and as soloist with orchestras in Canada, France and the USA. He has also been a member of Canadian and US orchestras, and he played in Glenn Gould's 1982 recording of Wagner's Siegfried Idyll.
Maloney's positions as teacher of music history, clarinet, and as ensemble coach have included those at Lakehead University 1975-8, Grande Prairie College, Alta 1978-80 and Stetson U, DeLand, Fla 1982-8. In 1988 he was appointed chief of the music division of the National Library of Canada. He has served also on the boards of various musical organizations and has presented talks at conferences. He has written for EMC.


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Day after day of cloudless skies
The fierce sun sucks the moisture from the landscape, baking the earth a dusty red, the withered grass as brittle as straw. The Tarangire River has shrivelled to a shadow of its wet season self. But it is choked with wildlife. Thirsty nomads have wandered hundreds of parched kilometres knowing that here, always, there is water.
More ardent bird-lovers might keep an eye open for screeching flocks of the dazzlingly colourful yellow-collared lovebird, and the somewhat drabber rufous-tailed weaver and ashy starling – all endemic to the dry savannah of north-central Tanzania.
Disused termite mounds are often frequented by colonies of the endearing dwarf mongoose, and pairs of red-and-yellow barbet, which draw attention to themselves by their loud, clockwork-like duetting.
About Tarangire National Park
Size: 2850 sq km (1,096 sq miles)
Location: 118 km (75 miles) southwest of Arusha.
Easy drive from Arusha or Lake Manyara following a surfaced road to within 7km (four miles) of the main entrance gate; can continue on to Ngorongoro Crater and the Serengeti.
Charter flights from Arusha and the Serengeti.
Guided walking safaris.
Day trips to Maasai and Barabaig villages, as well as to the hundreds of ancient rock paintings in the vicinity of Kolo on the Dodoma Road.
Year round but dry season (June - September) for sheer numbers of animals.
Two lodges, one tented lodge, two luxury tented camps inside the park, another half-dozen exclusive lodges and tented camps immediately outside its borders.
Several camp sites in and around the park.
Our Suggested Destinations


Up the fruit and veg at your place!
Eight out of ten Australian parents are concerned about their child's eating habits. It's not unusual for a child to love a particular food one day and then refuse it the next. Refusing new food tastes and textures is common in children and it's often a behavioural issue, or can be due to a genuine dislike of a certain food, or it may be because your child has 'filled up' outside of meal times. A fussy eater may be trying to assert their independence to see how you will react.
Ensure everyone who feeds your child agrees on how to deal with your child's requests and refusals. For example, you may decide to put a 20 minute time limit on mealtimes to prevent them dragging on, or you may decide that any requests for a different meal will be not be met. Everyone who helps your child at mealtimes needs to stick to the plan so it's constantly reinforced.
Stay calm when dealing with your child's food fussiness. The more fuss that is made in return and the more emotional you get, the more charged meal time will become and your child will realise their behaviour is getting the attention they desire. By remaining calm, you will help to diffuse the situation and your child will realise their behaviour isn't getting them any extra attention.
As soon as your child is old enough, serve them the same meal as the rest of the family. It's best to avoid getting stuck in the habit of taking special requests!
Sometimes life for children is too exciting to spend time eating. Therefore it is important to make meal times a happy time for the family. If it becomes stressful, the child won't enjoy it and neither will you!
Don't give up and keep trying, a child may need to be exposed to a new food up to 10 times before they will eat it.
Introduce new foods when you know your child will be hungry, as there is more chance they will try something new when they are hungry.
Do not offer a replacement food if what you offer is rejected. Unless a child is unwell they will never voluntarily starve themselves. The more fuss that is made, the more likely that this behaviour will become entrenched.
If your child flat-out refuses to eat the meal you have prepared and then claims to be hungry before bed, what should you do? It's really up to the parent and their individual preferences to decide. Some parents will present the same meal later if the child is hungry and see if they eat it then, while others will choose to offer a replacement snack such as a banana and a cup of milk. Whatever you decide, if you are offering another food, make sure it's healthy and nutritious.
If you have tried and tested advice on dealing with fussy eaters, why not share your tips on the Healthy Kids Facebook page.


Need to move your FAB Dock?
No need for cranes, barges or teams of people. In fact, no need for any tools or noise at all, or even petrol. Just "Super Guy". You just can't get any more environmentally friendly than this.
Congratulations to Carolyn for becoming our first female customer. In an industry dominated by men, it is refreshing to see that the girls can be more than just beautiful ornaments in the boating scene. She is very passionate about her boat and serious about her boating, so she is very pleased to be able to use her boat more now that it is living in a FAB Dock.
Carolyn's boat, Mint, is a beautiful cuddy cab, just perfect for those overnighters on Rotto. In fact, she loves her boat so much that she bought an identical one which she now has for sale at a very cheap price. If you know anyone that may be interested, email me and I will pass on Carolyn's details.
If you are in the market for a solid, stable day boat with lots of room and all the amenities, have a look at a Glacier Bay powered catamaran. While installing David's FAB Dock, I was mightily impressed with his boat. But in true Melbourne fashion, the weather gods really turned it on for us. We started out at 9am in cold drizzle, which cleared briefly to patches of sunshine, followed by thunder, rain and then hail, to then clear up to a scorching hot afternoon where we both got duly sunburnt.
At the end of it all, we got his Glacier Bay tucked perfectly into his FAB Dock so that his upcoming summer boating will be a lot less stressful without having to get it in and out on the trailer every weekend.
Have fun and thanks for all your help.
Wow, what a week out West!
Three more FAB Docks in the water, a bunch of new boats measured up for FAB Docks and that is before we even start to account for the Mandurah Boat Show. A big thank you to Chris Box from Martin Box Marine for organising a berth at the show to showcase the FAB Dock to the boating fraternity in Western Australia. And what a response we received. Being up to a third cheaper than current alternative methods is always going to make a product very attractive, but on top of that a FAB Dock is portable, works off 12 volt and makes berthing your boat an easy, single handed affair. We look forward to catching up with all those that visited our stand, in the coming months.


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Q: ¿Como pasar datos entre formularios en AngularJS(Angular1)? Alguien sabe como puedo compartir datos entre formulario en AngularJS? Sucede que tengo una tabla y al hacer click sobre un id debe de mostrarme el detalle de ese id en otra pagina, estoy usando este servicio para almacenar el id pero al momento de redireccionarme a la otra página el id se pierde
Este es el código, disculpen si esta algo desordenado, soy nuevo usando esta herramienta

                    ID
                    DESCRIPCIÓN
                    REGISTRADA
                    SOLICITADA
                    DENEGADA
                    AUTORIZADA
                    COTIZACIÓN
                    VISTO BUENO
                    CANCELADA
                    CONCLUIDA

                    {{x.IdUr}}
                    {{x.Descripcion}}
                    {{x.Registrada}}
                    {{x.Solicitada}}
                    {{x.Denegada}}
                    {{x.Autorizada}}
                    {{x.Cotizacion}}
                    {{x.VistoBueno}}
                    {{x.Cancelada}}
                    {{x.Concluida}}

app.service('ServiceParametrosSolicitud', function () {
        var message = '';
        this.setMessage = function (msg) {
            message = msg;
            alert(message);
        }
        alert(message);

        this.getMessage = function () {
            return this.message;
        }
    })

app.controller('SeguimientoSolicitudesController', ['$scope','ServiceParametrosSolicitud', function ($scope, ServiceParametrosSolicitud) {
        this.SegSolic = "";
        this.SolicitudDetalle = "";
        this.Parametro = "";
        var self = this;

        solicitudContext.obtenerListaSegSolicitudes(function (resp) {
            switch (resp.ressult) {
                case "tgp":
                    self.SegSolic = solicitudContext.ListaSeguimientoSolicitudes;
                    break;
                case "notgp":
                    break;
                default:
                    break;
            }
            $scope.$apply();
        });

        this.param = function (Id) {
            ServiceParametrosSolicitud.setMessage(Id);
            window.location.href = urlServer + "Home/About";
        };
    }]);

app.controller('SolicitudesController', ['$scope', 'ServiceParametrosSolicitud', function ($scope, ServiceParametrosSolicitud) {
        this.SolicitudDetalle = "";
        var self = this;

        var dependencia = ServiceParametrosSolicitud.getMessage();

        solicitudContext.obtenerListaSolicitudes(dependencia, function (resp) {
            switch (resp.ressult) {
                case "tgp":
                    self.SolicitudDetalle = solicitudContext.ListaSolicitudes;
                    break;
                case "notgp":
                    break;
                default:
                    break;
            }
            $scope.$apply();
        });
    }]);

A: Buenas tardes seria de esta forma espero te funcione correctamente, te ayudo amigo no son formularios en este caso sino controladores, pero se te entiende :D

var App = angular.module('App', []);

App.controller('ControllerOne', ['$scope', 'MyService', function ($scope, MyService) {
    $scope.Method = function () {
        MyService.setVar($scope.inputValue);
    }
}]);

App.controller('ControllerTwo', ['$scope','MyService', function ($scope, MyService) {
     $scope.$watch(function () { return MyService.getVar() }, function () {
        $scope.newvar = MyService.getVar();
    });
}]);

App.service('MyService', function () {
    var UseVar = '';
        return {
        getVar: function () {
            return UseVar;
        }
        ,
        setVar: function (value) {
            UseVar = value;
        },
    };
});

Controller 1</2>
    <input ng-model="inputValue" />
    <input type="button" value="press" ng-click="Method()" />

Controller 2

    {{newvar}}


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Who is Linda Finegold, Kirill Bichutsky's business partner at ALF?
Bruno Cooke March 28, 2022
Earlier, we investigated the risks associated with colonoscopies after rumours began to circulate on Instagram that Kirill Bichutsky had died following a medical procedure. Bichutsky's Instagram has since gone private but what do we know about Kirill's business partner and merchandise maker Linda Finegold, whose statement appears to confirm his death?
Who is Linda Finegold?
As per the update on her merchandise website, Linda Finegold is Kirill Bichutsky's business partner.
She runs the merchandise operation for Bichutsky's A**holes Live Forever (ALF) brand. Her Instagram account is private but its bio describes ALF's clothing as "the most offensive merch in the game".
CULTURE: John Wayne and Sacheen Littlefeather: What happened at the 1973 Oscars?
Photo by Jerritt Clark/WireImage
While some appear to have conflated Linda and Kirill in the past – presuming Finegold to be an alter ego or business pseudonym, another facet of Bichutsky's personal brand – the message that now occupies the landing page of the ALF merchandise website would suggest otherwise.
"I see a lot of speculation and people asking what happened," it reads. "I was told (Kirill Bichutsky's) death was accidental and that he went peacefully in his sleep."
What is the discount code for Linda Finegold's ALF merch?
Finegold's message reads that she doesn't see herself "doing this without my partner in crime", ie Bichutsky.
"It would make me sick to my stomach and it was fun while it lasted – but I can't do this alone."
TV: Who is Gunn in Killing Eve? Meet season 4 arrival Marie Sophie Ferdane
Source: YouTube [Kirill Was Here]
As a result, Finegold posted a discount code for Kirill Bichutsky's ALF merchandise, valid for 60 per cent off all available products. The code is "1234".
"We're not printing anything else," Linda writes. "There is no new merch for this. Don't sit around and wait for it. We will also be listing all our printing equipment for sale in the coming days."
The website will stay online for "1-2 days at most".
What happened to Kirill Bichutsky?
According to Linda Finegold's statement, Kirill died in his sleep. Her confirmation follows rumours that began to circulate at the weekend.
CELEBRITY: Why is Liza Minnelli in a wheelchair? Fans worry for Hollywood legend's health
The Outfit | Trailer
https://i.ytimg.com/vi/wqTNcDaMp6Q/hqdefault.jpg
Bichutsky's Instagram account is now set to private. However, as The Focus wrote yesterday, the NYC-based entrepreneur posted a picture of himself in a hospital bed on Saturday.
He captioned the photo: "See you on the other side." A friend referred to a colonoscopy in the comments section, while several of Kirill's followers have since posted "RIP" messages.
The sad news now seems to have been confirmed by Linda Finegold in her statement.
Bruno Cooke
Bruno Cooke has been a freelance journalist since 2019, primarily with GRV Media. He was an early contributor to The Focus, and has written for HITC, Groundviews and the Sheffield University newspaper – he earned his MA in Global Journalism there in 2021. He's the Spoken Word Poetry Editor for The Friday Poem, and self-published his debut novel Reveries in 2019, which his mum called both a "fine read" and "excellent Christmas present". Bruno has lived in China, Sri Lanka and the Philippines and likes, among other things: bicycle touring, black and white Japanese films, pub quizzes, fermentation and baklava. In 2023, Bruno will set off with his partner on a round-the-world cycle.
How old was August Alsina when he was in an 'entanglement' with Jada?
Who is Annie Bonelli? Age and background of TikToker dubbed 'Scar Girl'


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Capitol Rioter Outs Self to FBI by 'Helping' Cops With Info
David Mish reached out to police about the shooting of Ashli Babbitt only to wind up implicating himself in the Capitol insurrection.
Deal Reached at Climate Conference
Updated Apr. 24, 2017 12:48PM ET / Published Dec. 11, 2011 7:17AM ET
RAJESH JANTILAL / Getty Images
A hard-fought deal has been reached Sunday at the United Nations climate conference in Durban, South Africa, aimed at setting up an accord that would continue to legally bind countries to carry out emission pledges that they make. Currently, under the Kyoto Protocol, only industrialized countries are bound to cut emissions, but that agreement expires next year. Under the new accord, that commitment would be extended for at least another five years. The U.S. was a reluctant supporter of the proposed Durban Platform. Environmentalists say the conference avoided a train wreck by at least agreeing to a deal, but leaders failed to address deeper cuts in carbon emissions.


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David Nachman Lourea (August 26, 1945–November 10, 1992) was an American writer, AIDS activist, and bisexual rights activist.

He was raised as Orthodox Jewish, and was openly bisexual.

In 1967 he earned a B.F.A. from Temple University; he later earned a Ph.D. from the Institute for Advanced Study of Human Sexuality. He was involved with San Francisco Sex Information after moving to that city in 1973, and was one of the early members of the San Francisco Bisexual Center (which was active from 1976 to 1985). In 1981 he and Cynthia Slater "presented safer-sex education workshops in bathhouses and BDSM clubs in San Francisco." In 1984 he finally persuaded the San Francisco Department of Public Health to recognize bisexual men in their official AIDS statistics (the weekly "New AIDS cases and mortality statistics" report), after two years of campaigning. Health departments throughout the United States began to recognize bisexual men because of this, whereas before they had mostly only recognized gay men. He was also one of the founders of Bisexual Counseling Services.

He died in 1992 from kidney failure associated with AIDS.

The David Lourea Papers, 1940–1992, are held at the James C. Hormel LGBTQIA Center in the San Francisco Public Library.

Publications of David Lourea
 '"Beyond Bisexual," in Bi Any Other Name: Bisexual People Speak Out, ed. Loraine Hutchins and Lani Kaʻahumanu, Boston: Alyson Pub., 1991, .
 "Psychological aspects of bisexuality. Psycho-social issues related to counseling bisexuals", in Bisexualities : theory and research, ed. Dr. Fritz Klein and Timothy J. Wolf, New York: Haworth Press, 1985, ; also published as Journal of Homosexuality, volume 11, numbers 1/2, spring 1985.
 "HIV Prevention: A Dramaturgical Analysis and Practical Guide to Creating Safer Sex Interventions" (with Clark L. Taylor), in Rethinking AIDS prevention : cultural approaches, ed. Ralph Bolton and Merrill Singer, Philadelphia : Gordon and Breach Science Publishers, 1992, , originally published in volume 14, numbers 2-4 of the journal Medical Anthropology.

Further reading
 Naomi Tucker, "Bay Area Bisexual History: An Interview with David Lourea," in Bisexual Politics: Theories, Queries, and Visions, Harrington Park Press/Haworth Press 1995, , pp. 47–61.
 Andrea Sharon Dworkin, "Bisexual Histories in San Francisco in the 1970s and Early 1980s", Journal of Bisexuality, Volume 1, Issue 1, 2000, pages 87– 119.

References

1945 births
Activists from Philadelphia
Temple University alumni
Institute for Advanced Study of Human Sexuality alumni
Sexuality in San Francisco
Sex educators
HIV/AIDS activists
American health activists
20th-century American Jews
LGBT Jews
American LGBT rights activists
Bisexual men
Bisexual rights activists
AIDS-related deaths in California
1992 deaths
Activists from the San Francisco Bay Area
20th-century American LGBT people
American bisexual writers


It may take us slightly longer than normal to deliver your items during the busy sale period. Please check our Delivery & Returns page for updated delivery times.
I ONLY RECEIVED PART OF MY ORDER, WHAT DO I DO?
On occasion, if item(s) are out of stock in our warehouse, we may fulfil them from one of our stores and you will receive those in separate parcels. Please check your emails to see if any of your items will be arriving separately. If your order has been sent in different parcels then each delivery note will tell you the items you can expect to find inside. Please check the delivery notes from each part of your order to make sure you're not missing anything. We will aim to deliver any outstanding item(s) within the time quoted in your order confirmation email.
After this time, if an item is missing, please contact us with the order number and the missing item's name and number. We will resolve the issue for you as quickly as we can.
CAN SALE ITEMS BE RETURNED?
Sale items bought online can still be returned for a refund within the same 14 days of receipt as full price items. This differs from our store policy where we offer an exchange or a credit note for the value of items returned within 14 days of purchase. Please be advised that the items you are returning to us must be in their original condition, unworn and with all tags attached.
WHAT IS THE BEST WAY TO RETURN ITEMS BOUGHT ONLINE?
Returning your items back to a Jigsaw stand-alone store is the quickest way to receive your refund (please see our FAQs if you paid for your order using PayPal). You may also post your items back to our warehouse using a free returns label included in your parcel. Please be advised that postal returns may take up to 14 days to be processed, especially during our busy sale period.
I POSTED MY ITEMS BACK TO YOU – HOW LONG WILL IT TAKE FOR MY REFUND TO BE PROCESSED?
If you are returning your items by post, using our free postage label, it might take a few days for them to arrive at our warehouse. Once received, our warehouse will aim to process your refund within 7 working days. Please be advised that we aim for the whole returns process, from the day you post it to us until you receive your refund back, to take up to 14 days. Please also check the Status of your order refund on our Contact Us page for further information.
If you have not received your refund after 14 days, please email us your tracking number and your date of return.
I WANT TO RETURN MY ITEMS TO A JIGSAW STORE – HOW LONG WILL THE REFUND TAKE?
Returning your items to a Jigsaw stand-alone store is the quickest way to receive your refund. If you paid by debit or credit card, the store will process your refund there and then. If you paid by PayPal, the store will need to keep your items and request that a refund is processed on your behalf via our warehouse to the original method of payment. This may take slightly longer but we aim to process your refund within 7 working days.
Sometimes we have to cancel item(s) off your order due to stock availability. It is most likely that your size ran out of stock before we could process your order and this may happen with high demand items during the busy sale times. Unfortunately we are unable to automatically send this item out to you if it comes back in stock at a later date but advise that you check our website in case the item is returned by another customer.
Please be assured that you are not charged for cancelled products.
HOW CAN I CHECK STOCK IN MY LOCAL STORE?
You can use the 'Check store stock' button on the product page to check stock in your local store. We recommend that you give the store a quick call before you visit to avoid disappointment if the item(s) sell out in the meantime. During the busy sale times, our Customer Service team are not able to help with checking stock in stores.
ITEM(S) I WISH TO PURCHASE ARE SOLD OUT ONLINE – CAN I FIND THEM IN ONE OF YOUR STORES?
All of our stock, both at the warehouse and in stores, is available online. If it is sold out online, it will also be sold out in stores unless it is returned by another customer. Please note that our Customer Service team are unable to do stock checks during sale times.
HOW WILL I KNOW IF AN ITEM THAT WAS SOLD OUT ONLINE IS AVAILABLE AGAIN?
You may check the website periodically in case the item is returned by another customer, or alternatively, speak to your local Jigsaw store team who may be able to contact you should they have the item returned to them.
CAN I AMEND MY ORDER AFTER I'VE PLACED IT?
We are very sorry to say that we are unable to make any changes to your order once it has been placed. On occasion, we may be able cancel your order or an item.
MY ORDER DID NOT GO THROUGH BUT I THINK YOU CHARGED ME?
For orders paid for by card, we do not take payment from your account until we despatch your order. On occasion, even if your order was not successful, your may bank automatically deduct the money from your available balance. However, as your order failed and will not be despatched, you will not be charged and the money will automatically be put back onto your available balance by your bank. This usually takes up to 7 working days but the exact timeframe depends on your card issuer and your bank.
If this timeframe has elapsed, or you are a PayPal customer and the money still has not been released, please contact us for assistance.
All credit and debit cardholders are subject to authorisation by the card issuer. If the issuer of your payment card does not authorise payment then your order will not be successful and you will be notified of this immediately at the checkout.
One of the common reasons for orders being declined is due to the billing address details being entered incorrectly. Please ensure that you enter the EU billing address to which your bank statements are sent at the checkout. For further details of why the payment might have been declined, please contact your card issuer.
CAN I GET A REFUND IF THE PRICE HAS BEEN FURTHER REDUCED SINCE I ORDERED AN ITEM?
During sale, reductions on sale items are subject to change and we will not be able to refund the difference. You may return an unworn item and place a new order if you wish to take advantage of the further reduced price or alternatively, contact the manager of your local Jigsaw standalone store who may be able to assist you at their discretion.
Depending on how many parcels your order is being shipped in, you typically will receive an order confirmation to confirm your order was placed successfully, followed by a despatch confirmation to confirm that your order is being shipped soon. If you placed a Click & Collect order, you will also be notified separately once your order is ready for collection in your chosen store.
Please note that tracking details for each part of your order will be sent separately by Royal Mail.
Additionally, if you return any items to us or cancel an order you will also be notified of our receipt by email.


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Shropshire Shopping News
It's beginning to look a lot like Christmas at Ludlow Food Centre's Christmas Food & Craft Fair this Saturday
Ludlow Food Centre are holding their Christmas Food & Craft Fair this Saturday 9th December from 10am-3pm where it will be a festive, fun-filled day for the whole family!
Christmas Market this weekend at farm shop
The Christmas season really begins this weekend at a farm shop near Bridgnorth. The indoor Apley Christmas Market has free entry & is a great day out for all the family. Many of Shropshire's finest food producers will be present to showcase their products. Visitors will also find Shropshire artisan crafters, offering unique handmade Christmas presents, including candles, cushions, jewellery & even shark's teeth. Apley's own staff will be showcasing their own products, handmade onsite all year round, including our award winning mince pies.
Gorgeous things for Gorgeous People… The Gorgeous Christmas Craft & Food Fair at Enginuity
The long-running Gorgeous contemporary designer craft fair returns to Enginuity at Coalbrookdale, near Ironbridge this November and, for the first time in its history, entry is free. That means you can save your money for all the lovely things you'll find there.
Ludlow Food Centre named 'Food Hall Butchery Business of the Year' at prestigious awards ceremony.
The Butchery department in Ludlow Food Centre, headed by John Brereton was announced as the 'Food Hall Butchery Business of the Year 2017' at the prestigious awards ceremony in London, coming out on top to beat competition from finalists Delifonseca Dockside in Liverpool and Fodder Food Hall in Harrogate.
Pop-Up Avalanche Restaurant, Shrewsbury Quarry Park
Christmastime in Shrewsbury is a magical time of year. The city comes alive with artistic and creative energy, and the town square is decorated with careful attention. The last farmer's market and arts & crafts market of the year are inundated with cheerful shoppers in the lead-up to Christmas Eve.
Remembrance Sunday Service to be held at Cosford
On Sunday 12 November, the Royal Air Force Museum Cosford will hold a Service of Remembrance, paying respect to those service men and women who made the ultimate sacrifice during their tours of duty.
Innovative Pork, Beetroot & Apple sausage from Ludlow butcher wins a national award to celebrate UK Sausage Week
A Pork, Beetroot & Apple Sausage made by Ludlow Food Centre has been given a national award to celebrate UK Sausage Week, which runs from 30th October to 5th November.
Rare aircraft on show during Open Week
A rare example of a Handley Page Hampden being restored at the Royal Air Force Museum Cosford will be one of the highlights at the Conservation Centre Open Week taking place on 13-18 November 2018.
Shropshire County Hotels & Inns Visitor Survey Prize Draw Winner!
Congratulations to our winner of the Shropshire County Hotels & Inns Visitor Survey Prize Draw. Our winner from Bath will be spending a 2 night stay at The Coach House in Norbury.
Dates set for Next Year's Shrewsbury International Comedy Festival
Organisers of the highly successful Shrewsbury International Comedy Festival have announced the dates for next year's event – extending the Festival length & adding venues in the process.
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Kanye West's Nervous Breakdown Reportedly Triggered by Anniversary of Mom's Death
99.3-105.7 Kiss FM
Source: Ferdaus Shamim / Getty
New reports claim it was the anniversary of Donda West's funeral that sent Kanye West "over the edge."
From TMZ:
Sources very close to Kanye tell TMZ … he was increasingly becoming a powder keg of emotions in the weeks leading up to his hospitalization at the UCLA Medical Center … fueled by what we're told was a shocking lack of sleep and the pressures of touring, running his businesses, parenting and providing emotional support to his wife who was suffering her own emotional trauma after the Paris robbery.
The site points out, "Her funeral was November 20 — the same day he cancelled his show at the L.A. Forum. The following day — November 21 — Kanye cancelled the remainder of the tour and hours later suffered the breakdown."
The report claims he's had trouble handling stress in the last couple of months and "started to unravel." We will continue to keep you updated as more news about 'Ye's health surfaces.
SOURCE: TMZ
Kanye West's Nervous Breakdown Reportedly Triggered by Anniversary of Mom's Death was originally published on theurbandaily.com
donda west Kanye West