Kentucky Gov. Steve Beshear early this month announced that NOHMs Technologies Inc. has chosen Lexington to locate R&D, product development, business operations and a research, manufacturing and product development facility for military, cell phone and electric vehicle lithium-ion batteries. The company, which plans to create up to 162 jobs and invest more than $5.3 million in the project, will utilize the Kentucky-Argonne Battery Manufacturing Research and Development Center and the University of Kentucky's Spindletop Administration Building.
Founded in October 2010, NOHMs Technologies has developed a battery that is based on lithium-sulfur chemistry. The company believes its lithium-sulfur batteries can deliver enough energy at a cost low enough to allow mass commercialization of electric vehicles. It's received federal research funds, and has contracts for federal defense projects, neither of which it says have been affected by the budgetary sequester.
"We chose Kentucky because of the state's reputation for manufacturing and a talented workforce, strong support from the state for the battery and automotive industry and the facilities at KY-Argonne," said Nathan Ball, CEO of NOHMs. "The capabilities that exist here and that are being installed as the center continues to grow are unparalleled in this country outside of a big company or a national lab. We also benefit from a close relationship with the University of Kentucky's Center for Applied Energy Research, which has a long history in developing technology across many energy sectors."
Before sequestration became a budgetary word, it was an environmental one, referring to places to sequester carbon dioxide. Let's see where the two sequestrations converge, as the Dept. of the Interior releases the first-ever comprehensive assessment of geologic CO2 storage potential.
In addition to leading the way on carbon sequestration, did you know Alberta has successfully instituted a carbon tax on its heaviest emitters? It's one of several things you might discover in this week's issue of The New Yorker, where the magazine's lead political reporter Ryan Lizza thoroughly explores the high-stakes arm-twisting behind the pending Keystone XL decision in The President and the Pipeline.
Meanwhile, even as other pipeline projects vie to ship tarsands oil west and on to Asia, the company behind Keystone, TransCanada, in August announced its plans for an $11.6-billion pipeline that would send it east. The Energy East line would carry up to 1.1 million barrels per day from Alberta to the country's Atlantic Coast, where it would end at a new deepwater terminal in St. John, New Brunswick. The company said the project would support 10,000 jobs.
Think Alberta is the only territory beginning with "AL-" that harbors oilsands? Alabama Gov. Robert Bentley might beg to differ. In July he and Mississippi Gov. Phil Bryant signed an MOU to further study the oilsands development potential in the Hartselle Sandstone formation that traverses parts of both states.
President: Edward Sitar, Manager, Economic Development and Large Customer Solutions for ComEd, Chicago, Ill.
Vice President: Brad Woodring, Manager, Economic Development for NV Energy, Reno, Nev.
Secretary: John Engelmann, Manager, Economic Development for Kansas City Power & Light, Kansas City, Mo.
Treasurer: Ted Penn, Director, Business and Community Development for Wisconsin Public Service Corp., Green Bay, Wis.
The TAC features a substation and two distribution circuit feeders that will enable developers to test smart grid-related equipment by connecting to 69,000-and 12,000-volt systems on the utility's energy distribution network.
Ameren Illinois in August opened a new $3.3-million smart-grid technology R&D and testing facility just west of the University of Illinois Urbana-Champaign Research Park. The Technology Applications Center (TAC) will provide small businesses and entrepreneurs with the infrastructure and resources needed to test programs, technologies, business models and other smart grid-related energy improvements on a live grid, said Ameren.
The TAC is a key component of the Energy Infrastructure Modernization Act (EIMA) passed by the Illinois General Assembly in 2011. Under EIMA, Ameren Illinois is investing an additional $643 million over 10 years, through its Modernization Action Plan, or MAP, to make improvements to the electric grid to make it more efficient and reliable and to create hundreds of new jobs.
Don Borries, Supervising Engineer, Technology Applications Center, Smart Grid Integration & System Improvement Department for Ameren Illinois, told those touring the facility that depending on the specific requirements of the test bed client, a test could be designed to be conducted on any section of Ameren Illinois electric distribution system.
The TAC also provides an opportunity for Ameren Illinois and the university to jointly research smart grid-related technologies and collaborate on testing and validation procedures, as well as test plan development. The facility will provide an on-grid test environment that complements the university's off-grid testing and simulation capabilities. The collaboration will be further enhanced by a fiberoptic link between the TAC and the UI power lab. Under EIMA, Ameren Illinois has also provided $7.5 million in seed money for Illinois business startups. The funds will be administered by the Energy Foundry, a non-profit funded by shareholder investments from Ameren Illinois and Commonwealth Edison, created to boost an understanding of smart grid in Illinois and to invest in and nurture startups with high-growth potential in the energy field.
Click here to read or listen to testimony from energy, manufacturing and life sciences corporations at the U.S. House of Representatives' Energy & Commerce Committee's June 27 hearing on how India's industrial policy is hurting US companies.
Effective Sept. 12, the merger of GL and DNV, now approved by competition authorities in Europe, South Korea, the US and China, will officially become operational as DNV GL Group, "the world's largest ship and offshore classification society to the maritime industry, a leading provider of technical assurance and risk management services to the oil & gas industry and a leading expert in wind and power transmission and distribution."
The company comprises 17,000 employees across 300 sites in more than 100 countries, and has revenues of €2.5 billion a year.
"It is with great pride that we can now inform that this vision-driven merger for growth has been cleared by the competition authorities in all four required jurisdictions. The merging companies both represent leading market positions, complementary commercial positions and an acknowledged reputation for advanced technology and high quality and integrity," said Henrik O. Madsen (pictured), Group CEO of DNV GL. "In today's risk-sensitive environment, a company's failure to manage risk properly may lead to adverse events, loss of life, damage to the environment or critical business consequences, putting trust and credibility at risk. I firmly believe that DNV GL will be in a stronger position to help companies manage their challenges in the new risk reality and enable them to advance the safety and sustainability of their operations."


I was wondering if Relux could help the user build every kind of rooms. From what i understand, the user has access to many tools such as "rectangle" "L shape" "Shed roof" and many more to build their scene. The most basic concept behind these are creating a top view or side view profile and then extruding it to a certain height or depth.
Another problem would be how to build a room with a cone head? A dome?


text:
HOME François Truffaut
Francois Truffaut's Day for Night [Blu-ray] Special Edition Criterion Collection
Day For Night is Francois Truffaut's touching and sweet love letter to the creation of movie making and is one of the most magical experiences of watching a movie about a movie being made. The film chronicles the ups and downs on a film production titled Meet Pamela, which takes place at the Victorine Studio in Nice in the south of France, which has produced movies since the silent era. Meet Pamela is a cliché melodrama that stars Alexandre, (Jean-Pierre Aumont) one of the last remaining romantic screen icons, Severine, a struggling alcoholic and former diva Severine (Valentina Cortese), Alphonse, (Jean- Pierre Laaud) a high emotional young heart-throb, and Julie Baker, (Jacqueline Bisset) a beautiful rising british actress. During the film, the audience is taken behind the cameras along with the ambitious director Ferrand (played by Francois Truffaut himself), as we watch the cast and crew tackle daily every day exhaustion's of making a large expensive studio picture. Behind the scenes, personal privacy is rare as the cast and crew become highly exhausted and emotionally desperate as the audience witnesses secret love affairs, marriages being threatened and later repaired, and emotional breakdowns and locking oneself in their dressing room; all the while the director of the picture is suffering many sleepless nights on the current stresses and responsibilities on making such an ambitious picture.
A French director guides actors on the set of his movie "Meet Pamela.]French director guides actors on movie set.]0]]Francois Truffaut]]]Jacqueline Bisset]Francois Truffaut]Jean-Pierre Aumont]Jean-Pierre Leaud]Valentina Cortese]Alexandra Stewart]Jean Champion]Nathalie Baye]Bernard Menez]
Day for Night is also very educational on the secrets of the movie industry as we come to learn not only the daily process on how a movie is being made, but how certain shots are created. Like for instance, the creation of certain weather effects on snow and rain, how they can construct a three-story building with a balcony that has technically no building underneath, the classic 'day for night' effect which is a nighttime effect shot during the day created by the use of a particular filter, and when an animal actor refuses to act on cue. And yet Day for Night is more about the forced community that forms every time a movie shoots, and later breaks up when the filming wraps, because between remembering their lines, waking up early for morning roll call, and getting prepped for the daily shooting schedule, every character working in the world of the movie industry has basic primitive needs that only others in that industry can understand and satisfy. It is pretty obvious that the film that is being made (Meet Pamela) is probably going to be a lousy picture, and yet Ferrand the movie director doesn't seem to care about the quality of the picture he is making (unlike Truffaut), and is just in love with the process of making a movie.
Director: François Truffaut
Shoot the Piano Player (The Criterion Co...
Two Short Films by François Truffaut (L...
The Green Room (AKA Vanishing Fiancee)
Francois Truffaut's Adventures of Antoin...
The Woman Next Door
Small Change

redpajama_set_name: RedPajamaCommonCrawl


The idea behind these pages is to try and pass on things I've learned from my own personal experiences from playing online casinos. And yes, this does mean some of it is purely reflecting my opinion! The online casino landscape is changing rapidly, and largely for the better, as the industry starts to stabilise and learn from it's past. There are still bad places to go, but there are more and more safe places also. While we're still waiting for the "perfect casino", a number of very professional operations are out there, some of whom are now publically listed companies and under the eyes of the stock exchange.
The key of course is not only to find a safe and reputable place to play, but one that supports your habits and requirements. Although many casinos have similar games, as you'll discover when you read on, each tends to have a different way of operating, different plus points, and of course minus points that will impact the player experience. If you are new to all this online casino milarky, I'd suggest you read up on the stuff you should know before depositing first!
Probably important to let you know who you're dealing with first eh! I go under the online moniker of Simmo! (despite my, erm, "dodgy" forum avatar, right, this is a serious guide in case you wondered!) and I am a moderator at the popular Casinomeister player forum. I've been playing casually at online casinos for around 3 years and have played at a whole host of different places, thankfully mostly good ones! My requirements from a good casino are good entertaining slots, fast cashouts and fast efficient support who listen to what I want. The first is easy to find, the second less so, and the third is even rarer! But…that said…I'm an optimist so it's natural that I should think that overall, the online casino world is in relatively good shape now, especially compared to how it was! There are still rogues out there, but it's become much easier to find out who you can trust, as these pages hope to demonstrate, and there are plenty of good, if not great, casino operations out there operating in jurisdictions like Gibraltar and the Isle Of Man who take regulation very seriously. Plus there are forums like Casinomeister where a good balance of players have a voice and where most operators hang out, handle complaints, and generally garner feedback.
I started out by playing Video Poker, but am more of a slots fan now. While this provides a higher level of entertainment for me, it is also higher-risk, so I have developed strategies to help manage what I spend and look after my budget. Aside from deciding the right casino to play, this is arguably the single most important piece of information I'm intending to provide here, so I would really check out the " How To Manage Your Gambling Budget" section before you leave. It'll be handy for players who sometimes get carried away I'm sure.
In my moderator and player's role at Casinomeister I have seen a lot happening in casino-land over the past couple of years. I've seen casinos cheating players, players cheating casinos, good casinos come, bad casinos come and go…and plenty of interesting player experiences. I am hoping that many of the issues faced by players there are dealt with here…but of course there are always new tidbits of info to add.


The Ocean smells are always tempting to me, salty smell on the breeze; it makes me think of taffy and sand castles. But the lake has a smell too, something different than any other smell. It is odorous but to me, this smell is a comfort. I love the smell of lakes; they give summer its final touch to me.
The lake is a more appealing smell to me, it is summer in its essence because I can get to the lake easier that the ocean, and the lake is where all my friends are and where new friends wait to be made. It is where town gatherings happen around and fireworks are set off at. The ocean cannot compare to the lake, at least, not for me. The ocean has its own qualities but it is always packed and the water is too cold more often than not. The scent gets a little old and after a while I stop noticing it.
The lake's odorous smell never escapes my sense of smell; it reminds me again and again that it is summer and that this is where I feel at home.
At the lake there is rope swings and tubing fun, which can't be had at the ocean. A week at the lake is more fun. The sun doesn't beat down as hard, thanks to the shade provided by the trees. It is quieter and quainter than the ocean would ever be.
The ocean is fun for a few days but a week would be too much. The lake doesn't have the ridiculous prices of the beach; going into town to buy some food would not cost an arm and a leg like at the ocean. Having all these things out weights anything the beach could offer for a week.


text:
Iran's Plan B For The Bomb By Amos Yadlin And Avner Golov
Moderate messages from Tehran should not be allowed to camouflage Iran's continuing progress toward a bomb.
Iran's Plan B for the Bomb
By AMOS YADLIN and AVNER GOLOV
TEL AVIV — IS Iran finally ready to talk? Iran's new president, Hassan Rouhani, has said he's ready for nuclear negotiations. And in recent weeks, the Iranian government has repeatedly expressed its desire to reach a deal on its uranium enrichment program.
A few days after Mr. Rouhani's election victory, Russia's foreign minister, Sergey V. Lavrov, stated that Iran was prepared to limit its enrichment to a level below 20 percent, which is the main goal of a future agreement between the West and Iran. And last month, Iraq's prime minister, Nuri Kamal al-Maliki, reportedly told the White House that Iran wanted to begin direct nuclear negotiations with the United States.
But it would be dangerous to think that Iran's proposal for negotiations alone would pave the way for a deal. What matters is not the talks but the outcome.
Whoever negotiates with Iran must acknowledge that the enrichment of uranium from a low level (3.5 percent to 19.75 percent) to weapons-grade level (90 percent) is only one of three dimensions of Iran's nuclear strategy. A second dimension is Iran's progress toward a quick "breakout capability" through the stockpiling of large quantities of low-enriched uranium that could be further enriched rapidly to provide weapons-grade fuel. Third, Iran also appears to be pursuing a parallel track to a nuclear capability through the production of plutonium.
If there is going to be a nuclear deal with Iran, all three parts of its strategy must be addressed.
In the past year, Iran has installed thousands of centrifuges, including more than 1,000 advanced ones. A report by the International Atomic Energy Agency states that Iran already has enough low-enriched uranium to produce several nuclear bombs if it chooses to further enrich the fuel. Iran has deliberately refrained from crossing what is perceived as Israel's red line: 240 kilograms (about 530 pounds) of uranium enriched to a level of 19.75 percent.
Nonetheless, Western experts like Graham T. Allison Jr. and Olli Heinonen estimate that if Iran decided to develop a bomb today, it could do so within three to five months. That is assumed to be sufficient lead time for the West to detect and respond to an Iranian decision.
But a recent report from the Institute for Science and International Security estimates that at the current pace of installation, Iran could reduce its breakout time to just one month by the end of this year. The report also estimates that at that pace, by mid-2014 Iran could reduce the breakout time to less than two weeks.
Any agreement must ensure that an Iranian breakout is detected quickly enough to allow for a Western response — meaning that the international community must be able to uncover any concealed facilities and activities for the production of fissile material.
A solution will also have to address the potential for a plutonium bomb. In May, Iran announced that the heavy-water reactor in Arak would become operational early next year. Some American and European officials claim that Iran could produce weapons-grade plutonium next summer. These two announcements indicate that Iran is making progress on this alternative track. So far, the West has not paid much attention to the potential for a plutonium-fueled weapon. Now it must do so.
A functioning nuclear reactor in Arak could eventually allow Iran to produce sufficient quantities of plutonium for nuclear bombs. Although Iran would need to build a reprocessing facility to separate the plutonium from the uranium in order to produce a bomb, that should not be the West's primary concern. Western negotiators should instead demand that Iran shut down the Arak reactor.
This is crucial because the West would likely seek to avoid an attack on a "hot" reactor, lest it cause widespread environmental damage. Once Arak is operational, it would effectively be immune from attack and the West would be deprived of its primary "stick" in its efforts to persuade Iran to forgo a military nuclear capability.
Of the three countries that have publicly crossed the nuclear threshold since the Nuclear Non-Proliferation Treaty entered into force in 1970, two — India and North Korea — did so via the plutonium track. In order to deny Iran this route, any agreement between the West and Iran must guarantee that Iran will not retain a breakout or "sneak out" plutonium-production capacity.
At the United Nations last September, Israel's prime minister, Benjamin Netanyahu, focused only on uranium enrichment, reinforcing a one-dimensional perception of the Iranian nuclear program. This narrow perception is already widespread in the West and could enable Iran to attain a swift breakout capability using uranium or to build a plutonium bomb without detection.
Negotiations with Iran should resume, and the sooner the better. But Western leaders must maintain their current leverage — sanctions and a credible military threat — and ensure that any future agreement with Iran addresses all three dimensions of Iran's nuclear program. Moderate messages from Tehran should not be allowed to camouflage Iran's continuing progress toward a bomb.
Amos Yadlin, a former chief of Israeli military intelligence, is the director of Israel's Institute for National Security Studies, where Avner Golov is a researcher.
Kachkol Ali Appeals Un To Take Notice Of Baloch 'genocide'
Press Release: Baloch Human Rights Council (Uk) Is Holding Independent Day Of Balochistan In London
Q&A: 'baloch Groups To Unite Against Pakistan' Karlos Zurutuza Interviews Allah Nazar, Balochistan Liberation Front Commander
Betrayal In Balochistan By Malik Siraj Akbar
Accession At Gunpoint By Waseem Altaf
Iran Hangs 16 Rebels 'In Reprisal For Border Deaths'
Why Kurdish Independence Is The Only Solution For The World By Ayub Nuri Time Magazine
Balochistan: Us Congressional Hearing May Spell Trouble For Pakistan By Malik Siraj Akbar
Analysis: If Iran Can't Hold Human Rights Pledges, How Can It Abide By Nuke Deal?
Balochistan Quagmire Amit Ranjan
A Solution For Syria And The Kurds That Turkey And The U.S. Can Agree


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Q: Best way to manage multi-module projects? I have a medium size project split into 3 modules: Core, plugins (in short its an interpretation layer), and implementation. There are a few global dependencies, and module specific dependencies. There is a custom ant target for generating javadoc excluding the implementation (for obvious reasons). This is stored in an public online SVN repository and therefor needs to be independent of any machine sans the JRE
Right now I'm using the built in NetBeans project management, and it sucks, probably mainly do the fact that the project management system was not designed for modules. Lack of a global library set (you can import a library specific to your nb installation, but then it doesn't get updated), lack of auto resolving of library dependencies (dependency on a project means the project and its dependencies), lack of an independent multi-project formatting style (either tied to profile specific "Global options" or individually setup and synced module-specific options), and other things make managing my project a pain.
When I was experimenting with IDEA, one of the things I loved was its project management. It was close to what I wanted, but like most things in IDEA could of been simpler. However the IDE itself was bad (not up for debate), so I switched back to NetBeans. And Maven looks bad, both from having to traverse its file structure manually and general opinion.
Are their better options out there that can be stored in a standard SVN repository with limited tools to use, are pretty easy to use for 1-3 developers, and for 2-5 modules? It must be able to handle java, and (in the perfect world) integration with NetBeans.

A: Honestly maven is your best bet.  I wouldn't knock it you haven't actually tried it yet.  It tends to be a very divisive technology, but those who love it love it for a damn good reason.  If you are someone who prefers to keep your hands off the build script/files after you initially set it up, and it looks like you are given you were using Netbeans' built in projects which generate an ant build.xml behind the scenes, then you should just try maven and see what happens.
I'm not sure why you think you need to "traverse the directory structure" with maven if you are in netbeans.  See this screenshot for an example of what it looks like.  You don't ever see src/main/java or target/ or anything on the file system (unless you need to).
(source: netbeans.org)
If you use a maven multi-module project, you'll get the modularity you are looking for within Netbeans as well.  If you want a sample, go checkout an open source project that has tons of modules and load it in Netbeans and play around with it:  http://camel.apache.org/source.html

redpajama_set_name: RedPajamaStackExchange


text:
The Perfect Pairs Tour
125 E Tahquitz Canyon Way #108 , Palm Springs , CA , 92262
Mike Flanagan, Lauren Scales & Chris Grasso present the Perfect Pairs Tour: Mike Flanagan (saxophone), Lauren Scales (vocals), and Chris Grasso (piano) team up to celebrate music from legendary vocal and instrumental collaborations that span the decades. From Nancy Wilson & Cannonball Adderley, Ella Fitzgerald & Louis Armstrong, Sarah Vaughn & Clifford Brown, to D'Angelo and Questlove and more; the trio will be joined by a dream-roster of bassists and drummers in each city throughout the tour.
Mike Flanagan, who is the Entertainment Director for Provincetown venues Post Office Cabaret and Tin Pan Alley as well as music director for Lea DeLaria and resident musician/performer at her venue The Club Ptown, made his debut at Oscar's in April of 2021 and returns with Lauren Scales and Chris Grasso. Lauren Scales, NYC-based singer/songwriter, was the second runner-up in the 2016 Sarah Vaughn International Vocal Competition. Chris Grasso is the music director for Washington D.C.'s Sharon Clark and tours with Nicki Parrot. Chris and Lauren have been performing regularly in Provincetown with Mike at the aforementioned venues and built this show during their various performances throughout the summer.
Start time: 07:00 p.m. PST
End time: 09:00 p.m. PST
Venue: Oscar's Palm Springs – Outside Courtyard
Rose Mallett at the Purple Room
August 15, 2023 @ 6:30 pm – 9:30 pm – Jazz legend Rose Mallett sings the music of Billie Holiday, Sarah Vaughn, Duke Ellington & more. Tuesdays 6:30 pm to 9:30 pm No Cover Charge
Music & Festivals
Ruta Lee: Consider Your Ass Kissed
March 10, 2023 @ 6:00 pm – 8:00 pm – Ruta Lee, star of Film and Television, presents her One-Woman Stage Show of Music and Mayhem, backed by her Music Trio, as she sings and rambles through her Screen and Television Career with excerpts from her published Autobiography, CONSIDER YOUR ASS KISSED. All ticketed shows require an advance ticket purchase. Each ticket purchased includes an […]
March 18, 2023 @ 5:00 pm – 7:00 pm – The In-Flight Experience – Saturday Nights Join us for the best Saturday Night Show in Palm Springs! Great Music, Fine Food, Classy Cocktails, First Class Service & Naughty Stewardess Fun. Live music by Nouveau with Desera & Eddie. 5:00pm Boarding Time – Reservations required. $65 per person. Call 760-327-7701 Please note: There are no refunds, […]


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AAR 1943 Eastern Front: Airfield Raid by Patchen1863
A battle report or After Action Report (AAR) for I Ain't Been Shot, Mum (IABSM), the company-sized wargaming rules for WW2 from the TooFatLardies. A one-off game or scenario set on the Eastern Front in the year 1943.
Our group here in Ohio U.S. of A. had a little IABSM battle this weekend. Here follows the AAR...
Hauptmann Biederman and Lt. Ritchie commanded a nice safe supply depot way behind the lines, next to a former Soviet airfield, now home to a Stuka unit and a small flak detachment. Not a bad spot to be in late Winter on the East front 1943. The two small infantry platoons of rear echelon goldbricks and the handful of flak troops got word from a pilot coming back from an early morning sortie: ACHTUNG! Russian tanks and cavalry coming our way!
One Stuka was already warmed up and ready to take off with a full load of bombs, but the pilot needed to saddle up fast. Just as the crew was strapping in, a couple squads of Russian dismounted cavalry burst out of the woods a couple hundred yards away. The dug in 88 flak on the edge of the runway roughed them up and sent them back to cover, and the Stuka rolled out and off into the sky to get some altitude and come back to defend the field. As he lifted off, he could see a couple platoons of what looked to be T-34s and some scout cars, and a full company of infantry riding or running along as well. Uh oh.
The Russians were boldly led by Captain Turrill and Captain Judge. They knew they had taken the enemy by surprise and they had nice hard ground to roll over—and they made the most of their speed and mobility. Their objectives were to deny the Germans the airfield and take and burn the supply depot in the otherwise already burnt out town. They used one platoon of infantry on their left, pushing down the edge of the airfield, intent on putting the airfield out of action and taking the emplaced 88 flak gun. Both platoons of tanks drove down the center, one hooking toward the 88 and one into town. Meanwhile the main force of infantry drove straight at the town, with a focus on the depot on their extreme right. They were supported by two Lend Lease M-3 scout cars loaded with infantry.
The Germans put up a defense on the edge of town and beat up a couple Russian squads but lost their heavy MG team and an exposed 50mm AT gun before the Russians even hit the main concentration of German infantry. The quick Soviet advance and the German choice to defend the town at the edge denied the Germans the possible advantage of mutually supporting positions, and they were destroyed in detail. The Germans still held out hope that their angels would fly over and save them. The Stuka did come back, began its dive on a nice tight concentration of tanks and infantry—it was a no miss situation, but somehow (over hasty preflight check perhaps?) he clipped a tree and crashed in a flaming ball of wreckage before dropping his eggs.
The 88 put up a good fight and knocked out the command tank of each tank platoon, but succumbed to T-34 treads when their position was literally overrun. One of the platoon commanders survived the destruction of his tank and managed to run to and join another functioning tank and carry the armored attack into town through a bunch of desperate Germans who came out of cover to close assault the tanks. They were exterminated. The tanks continued unharmed and took up positions around the back side of the now surrounded depot. The vigorous efforts of the Luftwaffe's truck mounted 37mm AA gun crew were amazing, but also ineffectual. They fought at the airfield and then in town, pecking at the Scout cars, tanks and infantry and moving on before anyone could shoot them up. We like to think they escaped down the road—unlike the rest of the rest of the garrison who died in the depot by close assault.
Patchen1863


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Q: How to get Post Value in express JS I am trying to deploy a firebase function using express JS, but unable to get the post value, please help:
const functions = require('firebase-functions')
const express = require('express')
var bodyParser = require('body-parser')
const app = express()

app.use(bodyParser.json())
app.post('/', (req, res) => {
  res.json(req.body) // giving buffer as given below
})

exports.tripDispatch = functions.region('asia-south1').https.onRequest(app)

response in postman I am getting is:
{
    "type": "Buffer",
    "data": [
        45,
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        13,
        10
    ]
}


Lucky You Lucky Brand Cologne Spray For Men Lucky you for Men by Liz Claiborne: has an energetic blend of fresh citrus, sharp blend of woody, mossy aromas, making it a good choice for daytime wear.Perfumeandcolognemall.com offers: Lucky You Cologne by Lucky Brand for Men at discounted price.No need to be intimidated, fragrance should be fun.and it is, at Scent Bar.
I was pleased to find it at a good price in such a large bottle.
Where nothing seems personal or original anymore, Lucky Brand stands out like the last bastion of quality and integrity left in a marketplace loaded and polluted with the compromised and the mediocre.Its vintage pink glass bottle evokes a soft hue to this lovely fragrance.
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text:
Кратер Авиценна () — ударный кратер на обратной стороне Луны, лежащий у северной части вала кратера Лоренц. Название присвоено в честь средневекового учёного, философа и врача Авиценны (980—1037), в другой транскрипции ибн Сины, и утверждено Международным астрономическим союзом в 1970 г. Образование кратера относится к донектарскому периоду.

Описание кратера

На северо-востоке от кратера раполагаются кратер Брегг и Лакчини, на севере кратер Шенфельд, на юго-востоке кратеры Нернст и Рентген, на юге кратер Лоренц, на юго-западе кратер Уинлок. Селенографические координаты центра кратера , диаметр составляет 73 км, глубина — 2,7 км.

Северная часть кратера нарушена последующими импактами, южная и юго-восточная части вала кратера разрушены. Южную часть вала перекрывает небольшой кратер. Наибольшая высота вала над окружающей местностью составляет 1310 м. Южная часть чаши кратера отмечена несколькими небольшими кратерами. Объём кратера — приблизительно 4950 км³.

Сателлитные кратеры

См. также
 Список кратеров на Луне
 Лунный кратер
 Морфологический каталог кратеров Луны
 Планетная номенклатура
 Селенография
 Минералогия Луны
 Геология Луны
 Поздняя тяжёлая бомбардировка

Примечания

Ссылки

 Andersson, L.E., and E.A. Whitaker, NASA Catalogue of Lunar Nomenclature, NASA Reference Publication 1097, October 1982.

Кратеры Луны

redpajama_set_name: RedPajamaWikipedia


Lol that recursion though is hilarious. Well done!
So I looked up recursion just to see how the dictionary defined it and saw that the "Did you mean:" suggestion showed recursion spelled the same way. I was a little confused and clicked on it a few times before getting it. If you click on the "Did you mean:" suggestion, it just googles recursion again....get it?
Oh google, this is why we love you.


Wiz Khalifa has urged heterosexual men to think twice before eating bananas, as doing so may cause those around them to look at them suspiciously.
If you bite a banana, you sus. N***as gotta break the banana in half, pause.
The rapper made the assertion during an interview with 'The Breakfast Club' with hopes doing so would encourage men to opt out of putting whole fruits in their mouths.


Case for G2 & 14-140mm?
Discussion in 'Panasonic Cameras' started by henryrym, Jan 18, 2011.
Your recommendations for a reasonably priced case to fit the G2 & 14-140mm lens combo only - not looking for something that takes extra lenses/flash/accessories - just body and lens please?
I am thinking about this case, measurements are almost prefect.
I can answer my own question!
I've ended up buying one of these on eBay - fits the camera and lens very nicely. The case is well made, with extra pockets and is well padded for good protection. Well priced as well!


text:
Q: databases cross references baselines We have on several databases on same instances, some stored procedures have references to tables on other databases. We are in the middle of a big project to take our database under source control. Creating the baselines is not an problem. But after baseline creation, when trying to deploy on other environments, say a local developer instance or staging or alike, this cross reference issue is causing us several headaches. After doing some research and checking on possible approaches I still can't find a reliable way of managing this issues.
One approach proposed is to split baseline creation into "modules" that could be run individually so the cross referenced objects remain in one single script and be run alone. But what if the referenced objects on the other database has changed, then how I can track those changes? Maybe an index was added on referenced table and directly affects performance on the current sp? Or for whatever reason the referenced table changed column name, even deleted that column that is referenced and added a different one? What a nightmare.
So, question is, is there a recommended solution for this issue? For solution I mean, methodology, step-by-step approach, or whatever else that helps getting close to a solution with the deploying issue when having cross reference between database objects.
And for the moment, removing the database cross references is a no go. Way to much application dependent stuff to be corrected/updated and can't be done for the moment.
Not completely sure if this question follows the standards, as it can maybe trigger some opinion based answers. But I don't have more information to throw in for the moment. If you feel it should be flagged, then go.

A: I know cross references between schemas/databases are commonly used in Oracle and now in MS-SQL as well :)
DBmaestro TeamWork (where I work) provides database enforced change management which consists of:
Database enforced version control – enforcing the version control process on the database objects.
Database baseline impact analysis – generating delta script (between environments) utilizing version control labels
and it does support cross references between schemas (Oracle) and databases (MS-SQL).
For more information on database enforced change management you can read our whitepaper


text:
The Chautauqua Writers' Center is a lively community of writers at all levels of development who cultivate the craft and vision necessary to grow as artists under the tutelage of highly-accomplished writers-in-residence. Now entering our fourth decade, the original core program of 20 week-long workshops, 9 weekly Sunday readings, and 18 biweekly Brown Bag lectures on poetry and prose has grown to include a housing scholarship for first-time Chautauquans and an active support organization, Friends of the Chautauqua Writers Center. Whether you are an accomplished writer looking for peer support on your latest drafts, a novice striving to take your work to the next level or simply an avid reader in love with all things literary, we welcome you and hope to see you at one of our many programs.
Sony Ton-Aime
Michael I. Rudell Director of the Literary Arts
stonaime@chq.org
Emily Carpenter
Education Department Coordinator
ecarpenter@chq.org
Our five-day, Monday-Friday workshops are usually taught in a small group setting by a different set of extraordinary writers-in-residence each week of our summer season. All workshops are held on the second floor of the Literary Arts Center at Alumni Hall. (Located on the south end of the grounds on Wythe Ave. across the grove from the Hall of Philosophy.) Due to the pandemic, however, we are offering this summer a variety of online workshop models on Chautauqua's Online Classroom.
Weekly prose and poetry workshops have been the core of the Chautauqua Writers' Center for decades. Writers-in-residence are selected not only for their national reputations and the quality of their work, but also for their ability to equip developing writers with important tools and insights for their writing in just a few days. Interested in joining us as a writer-in-residence? Please complete this interest form.
As workshop descriptions are announced, each will clarify which of these models that workshop will employ:
Generative Workshops: Offered occasionally, these workshops focus on in-class craft analysis, discussion and exercises, as well as (time-permitting) take-home prompts; ideal for writers at any level of experience looking for ways to invigorate or initiate their writing practices. $135. Enrollment capped at 12.
Flexible Workshops: The most frequently-offered option, these workshops first consider work by participants who arrive on Monday with relevant drafts, then workshop participants who've generated work during the week, all in the context of regular craft analysis and discussion. $135. Enrollment capped at 12.
Advanced Workshops: Offered once each season in both poetry and prose, these workshops focus on careful reading and response for everyone's submitted manuscripts, in the context of craft analysis and sometimes alternative revision strategies; ideal for dedicated and experienced writers hoping to make significant headway on their latest drafts; application required. $170. Enrollment capped at 8.
The Writers' Center workshops have moved to Chautauqua's new Online Classroom where you can enroll in master and enrichment classes from your home this summer and year-round. Courses are available for writers at many stages of experience and development, though students must be at least 18 to enroll.
Writing Prose Poetry
June 28–July 2 / 8–10 a.m.
Robert Miltner
Course Description: Poetry is most easily identified by literate readers as the genre that is not written in prose; whether formal sonnets or free verse, poetry is a form of writing visually unique unto itself. Yet even before the current era of hybridity, recognizable written poetry was being viewed as separate and divided from the other literary genres. In 1869, French poet Charles Baudelaire dreamed of "the miracle of a form of poetic prose, musical but without rhythm and rhyme, both supple and staccato enough to adapt itself to the lyrical movements of our reveries" which resulted in the "little poems in prose" that make up his book Paris Spleen. Prose poetry is a hybrid genre driven by the energy produced at the co-present intersection of prose and poetry, utilizing the best of what prose and poetry offer. Imagine writing fiction or nonfiction that sings and leaps like poetry, or writing poetry shaped by the syntax and sophisticated style of prose. Imagine paragraphs where prose and poetry tango together on the page. Learn how prose poetry can offer experiment, expand content, and explore sentence level play and performance. In the workshop we'll look at examples of prose poetry from master practitioners (such as Russell Edson, Lydia Davis, Nin Andrews), and discuss them in terms of how prose poems fabricated, and what challenges and excitement are created. Then, following some prompts, we'll write our own prose poems to share and discuss. Flexible (ages 18+)
Bio: Robert Miltner's books of prose poetry are Hotel Utopia (New Rivers Press) and Orpheus & Echo (Etruscan Press); his prose poetry chapbooks include Against the Simple (Kent State University Press) and Eurydice Rising (Red Berry Editions); his collection of short fiction is And Your Bird Can Sing (Bottom Dog Press); and his collection of creative nonfiction is Ohio Apertures (Cornerstone Press). A professor emeritus at Kent State University and the NEOMFA in Creative Writing, Miltner is recipient of an Ohio Arts Council Individual Excellence Award for Poetry, an Ohio Arts Council Fellowship at Vermont Studio Center, and a writing residency at The Wassaic Project. He edits The Raymond Carver Review.
Author's Website
PROSE WORKSHOP
Writing the Literary Snapshot
June 28–July 2 / 1:15–3:15 p.m.
Sonja Livingston
Course Description: Our stories have the rare power to explore and connect us beyond the obvious divides of race, class, gender, religion and geography. Whether you're working on a memoir, family history or a series of personal essays, the challenge often lies in translating the riches and struggles of real life into an actionable and manageable writing project. This generative workshop harnesses the low-pressure and intuitive process of writing short vivid pieces of scene and memory (or "snapshots") as a means of jumpstarting your creative project and writing practice, no matter your level of experience. Together we'll discuss sample memoir snapshots, respond to interactive writing prompts, and develop a manageable writing plan to carry beyond the workshop. Flexible (ages 18+)
Bio: Sonja Livingston's latest book, The Virgin of Prince Street, uses an unexpected return to her childhood church to explore changes in the larger Church and in personal concepts of devotion. Richard Rohr praised the work for "infusing nuance and generosity into an increasingly polarized religious landscape." Sonja's first book, Ghostbread, a memoir of childhood poverty, has been widely adopted for classroom use. Her nonfiction has won an AWP Book Prize, a New York Arts Fellowship, an Iowa Review Prize, a VanderMey Nonfiction Award, and an Arts & Letters Essay Prize. Sonja is an associate professor of creative writing at Virginia Commonwealth University.
The Languages of Home
July 5–9 / 8–10 a.m.
Danielle Legros Georges
Course Description: In which languages are you most at home? What are the languages of your thinking, dreaming, resisting, loving, finding peace? What is the language of your unlanguaged self? This workshop will explore the various languages and homes we carry within us—and the ways we might honor them through poetry. The workshop is a generative one—one meant to challenge and inspire us into discussions, and ultimately poem drafts. Generative (ages 18+)
Bio: Danielle Legros Georges is a writer, translator, academic, and author of several books of poetry including The Dear Remote Nearness of You, winner of the New England Poetry Club's Sheila Margaret Motten book prize. She is a professor of creative writing at Lesley University, and taught in the Joiner Institute for the Study of War and Social Consequences Writer's Workshop, at the University of Massachusetts, Boston for more than a decade. Her awards include fellowships from the Massachusetts Cultural Council, the Boston Foundation, and the Black Metropolis Research Consortium. The Massachusetts Artists Leaders Coalition recognized her civic work with a Champion of Artists Award in 2017. She was appointed the second Poet Laureate of the city of Boston, serving in the role from 2015 to 2019. The translation editor of the literary journal Consequence, her most recent work is a book of translations from the French, Island Heart: The Poems of Ida Faubert, published by Subpress Collective (2021).
The Mirror Exercise with Zelda Lockhart, PhD
July 5–9 / 1:15–3:15 p.m.
Zelda Lockhart
Course Description: This workshop will center around a series of prompts designed to help you build a short story or personal essay (short memoir piece) utilizing reflective elements of one of your relationship journeys. You will imbue your work with the character journey you have spent your life developing, your own. The short story or personal essay you create during this workshop will also make for a chapter in a full-length manuscript. We will focus on unique strategies to expand your plot to this full-length work. We will also focus on strategies to get your writing done not despite daily life obstacles but utilizing them as a main ingredient of a story well lived and well told.
Bio: Zelda Lockhart holds a PhD in Expressive Arts Therapies, an MA in Literature and a certificate in writing, directing and editing from the New York Film Academy. Her latest books include forthcoming Harper Collins 2021 & 2022 titles The Trinity: The Story of The Father, The Son and the Black Daughter Who Set Things Up Right Again, Recollect: A Black Woman's Creative Journey to Decolonizing Mind, Body & Soul. She is co-writer of forthcoming Harper Collins Fall 2021 title Mama Bear: One Black Mother's Fight for Her Child's Life and Her Own by Shirley Smith with Zelda Lockhart, and of Harper Collins 2019 title Diamond Doris: The True Story of the World's Most Notorious Jewel Thief by Doris Payne with Zelda Lockhart.
Lockhart's book The Soul of the Full-Length Manuscript: Turning Life's Wounds into the Gift of Literary Fiction, Memoir, or Poetry has helped many writers complete the journey of writing their stories through to publication. Lockhart is also author of novels Fifth Born, a Barnes & Noble Discovery selection and a Zora Neale Hurston/Richard Wright Award finalist, Cold Running Creek a Black Caucus of the American Library Association Honor Fiction Awardee, and Fifth Born II: The Hundredth Turtle, 2011 Lambda Literary Award finalist. She is Director at Her Story Garden Studios: Inspiring Black Women to Self-Define, Heal and Liberate Through the Literary Arts, and Publisher at LaVenson Press: Publishing for Women & Girls of Color. Dr. Lockhart is an inspirational teacher, facilitator and public speaker passionate about utilizing art to help individuals and organizations live and work authentically.
Writing at the Edge of the Irreversible: A Poetry Workshop
July 12–16 / 8–10 a.m.
Luisa A. Igloria
Course Description: How are language and image-making linked to historically, culturally, and indigenously determined ways of seeing/viewing the world? What kinds of poems can speak of our relationship to the lands which we inhabit, to the threat of irreversible futures from climate change, to histories we want to remember as well as transform? In this workshop, we'll read and write poems addressing the perspectives of ecopoetry— That is, the keen awareness of the natural world as not just decorative background in the service of literature or art, but as a web of interrelations vaster than our perceived place in it. In poems, we'll craft our visions and hopes for a world where we can make conscious space for both a responsible practice in the present and an active hope for the future. Participants may also bring what they know of other multidisciplinary forms to what they create in this workshop (for example: drawing, collage/found art, book art). Sessions will include readings, writing prompts, and the sharing of discussions and poems by participants. Flexible. (ages 18+)
Bio: Luisa A. Igloria is the author of Maps for Migrants and Ghosts (Southern Illinois University Press, 2020), The Buddha Wonders if She is Having a Mid-Life Crisis (Phoenicia Publishing, Montreal, 2018), and 12 other books. Luisa was the inaugural recipient of the 2015 Resurgence Poetry Prize (UK) for ecopoetry, and is a Louis I. Jaffe Professor of English and Creative Writing in the MFA Program at Old Dominion University. She also leads workshops for The Muse Writers Center in Norfolk. In July 2020, she was appointed Poet Laureate of the Commonwealth of Virginia.
Author's Website | Twitter
Stealing Beauty: "Translating" From the Sister Arts
"Mediocre Writers Borrow; Great Writers Steal." —T. S. Eliot
"Bad artists copy. Great artists steal." —Pablo Picasso
July 12–16 / 1:15–3:15 p.m.
Jeffrey DeShell
Course Description: Often fiction writing is provoked by contact with other art forms like painting, music and film. If composition is a series of decisions about what goes where, shouldn't the translating of decisions from painting, music and film into narrative language be possible? And if it is possible, how can we go about it? Or, to start from the other direction: how can we weave our obsessions with music, painting and film into our fiction writing? The Greek word for this translating is ekphrasis (which usually refers to poetry), and in the contemporary world we often speak of allegory and mimesis. That's what we'll be doing in this class. Flexible. (ages 18+)
Bio: Jeffrey DeShell has published seven novels, most recently Masses and Motets (FC2, 2019). He was a Fulbright Teaching Fellow in Budapest, and has taught in Northern Cyprus, the American Midwest and Bard College. Currently he is the Director of Creative Writing at the University of Colorado at Boulder. He splits his time between Boulder and upstate NY, with the novelist Elisabeth Sheffield and their two children.
Angles of Identity in Contemporary American Poetry
Marcus Jackson
Course Description: Contemporary American poetry's core virtue may be the diversity and pliability of its speakers, authors, and subjects. During this workshop, we will read poems written by multiple poets whose personal and on-the-page identities are rendered from different angles of cultural, racial, sexual, religious, and socioeconomic calibration. Upon reading and discussing work by such poets, we will then try to start our own drafts of new poems. Generative. (ages 18+)
Bio: Marcus Jackson studied poetry in NYU's graduate creative writing program and as a Cave Canem fellow. His poems have appeared in such publications as The American Poetry Review, The New Yorker, and The New York Times Magazine. His second book of poems, entitled Pardon My Heart (Northwestern University Press/TriQuarterly Books), was released in 2018. Of Pardon My Heart, Jeff Gordinier for The New York Times writes, "Jackson's collection confirms the arrival of a thrilling new voice in American poetry, one whose writing, on page after page, has the fullness and glow of a jubilee." Jackson lives with his wife and child in Columbus, Ohio, and teaches in the MFA programs at Ohio State and Queens University of Charlotte.
Blurred Lines—Hybrids Between, Within, and Among Prose Forms
Oliver De la Paz
Course Description: In this workshop, we'll attempt to understand what is meant by the terms "Lyric Essay," "Flash Fiction," and "Prose Poem." Often, people suggest that writing in these shorter prose forms is liberating, but what exactly does that mean? Does the lack of line breaks serve a purpose or is it arbitrary for some prose poems? Does the shortness put a strain on the possibility of a narrative? Can a subject be fully explored in such short bursts? What is gained or lost with the addition of line breaks? These are some of the aesthetic ideas we will grapple with during this course as we read practitioners of the form as well as write in the "form" ourselves.
The workshop will, further, be a combination of reading and writing in an effort to redefine, reexamine, and reevaluate the nature of short prose forms. We'll look at what makes them tick by examining various essays and writings by their practitioners. Flexible. (ages 18+)
Bio: Oliver de la Paz is the author of five collections of poetry, Names Above Houses, Furious Lullaby (SIU Press 2001, 2007), and Requiem for the Orchard (U. of Akron Press 2010), winner of the Akron Prize for poetry chosen by Martìn Espada, Post Subject: A Fable (U. of Akron Press 2014), and The Boy in the Labyrinth (U. of Akron Press 2019), finalist for the Massachusetts Book Award. He is the co-editor with Stacey Lynn Brown of A Face to Meet the Faces: An Anthology of Contemporary Persona Poetry (U. of Akron Press 2012). He co-chairs the advisory board of Kundiman, a not-for-profit organization dedicated to the promotion of Asian American Poetry and is a former member of the Board of Trustees for the Association of Writers and Writing Programs.
A recipient of grants and awards from the NEA, the New York Foundation for the Arts, the Artist Trust, and the Massachusetts Cultural Council, his work has appeared in journals like Virginia Quarterly Review, North American Review, Tin House, Poetry, and in anthologies such as Asian American Poetry: The Next Generation. He teaches at the College of the Holy Cross and in the Low-Residency MFA Program at Pacific Lutheran University.
What's Pub Got to Do With It?
Philip Brady
Course Description: Publication is supposed to be the end of the line. Compose, rehash, share, revise, submit, wait….strike out, resend….and finally, publish! Yet, all the while the poem has undertaken its own wayward voyage as incarnations coalesce and reify, drifting far from its nascence. What if we internalized that other journey, imagining the poem as seen with different (and indifferent) eyes—and then go back and use that insight to generate new versions? In this course we will consider the role of publication, not as a final goal, but as part of the process of seeing the poem from new perspectives. We'll look at journals to see where other poems like ours reside.
We'll think of our poems' place in the poetry world. We'll explore our own poetic heritages. We will imagine we have come upon the poem as an editor does, for the first time, with no allegiance or commitment. We'll stay with the poem, while at the same time letting it go. We'll cast a cold (and warm) eye on our poems as they undergo the process of no longer belonging solely to us. Flexible. (ages 18+)
Bio: Philip Brady is the author of five books of poetry, a memoir, and two essay collections. His work has been awarded the Snyder Prize from Ashland Poetry Press, a Gold Medal from ForeWord, and Ohiana Poetry Award, six individual artist fellowships and the Governor's Award from the Ohio Arts Council, and a Thayer Fellowship from New York State. He is the executive director of Etruscan Press and a distinguished professor of English at Youngstown State University. He also teaches in the low residency program at Wilkes University.
Our Surreal & Strange World
Akil Kumarasamy
Course Description: This class encourages you to look deeper into the things and people around you to unearth fantastical possibilities in your fiction. Through generative writing prompts and readings, we will play around with structure and form to explore how defamiliarizing the world allows us to see it more clearly. This supportive environment allows for participants to broaden their view of the writing practice, so they might see going on a walk, reading a story, talking to a friend as essential parts of the process, and by developing their perception to see the uncanny in the ordinary, participants will practice drawing from the richness of their own lives for their writing. Along with creating new material, we will also reflect on works-in-progress. By the end of the week, participants will have a firm grasp on various fiction techniques — deepening characters, shifting point of views, shaping narratives — along with a keen sense on how surreal elements can make a story come alive. Flexible. (ages 18+)
Bio: Akil Kumarasamy is a writer from New Jersey and the author of the story collection, Half Gods, published by FSG in 2018, which was named a New York Times Editors' Choice, and was the recipient of the Bard Fiction Prize, Story Prize Spotlight Award and a finalist for the PEN/Robert Bingham Prize. Her work has appeared in Harper's Magazine, American Short Fiction, Boston Review, among others. She has received fellowships from the University of East Anglia, the Provincetown Fine Arts Work Center, Yaddo, and the Schomburg Center for Research in Black Culture. She is an Assistant Professor at the RutgersNewark MFA program and her debut novel is forthcoming with FSG.
Approaching the Poem
Aug. 2–6 / 8–10 a.m.
Course Description: We'll follow a fairly traditional workshop format here. In each class meeting we will read and discuss poems by the workshop participants. We'll discuss issues of form and craft such as lines, line breaks, imagery, diction, and so forth. I will assign a poem for each class meeting, but if you'd prefer to workshop a poem you've written outside of the class that's fine. I will also provide selected readings (available online) each week of poems and an occasional essay. Don't worry: I won't overwhelm you! My goal is to create a space (albeit virtual) in which we're all comfortable and happy sitting down and chatting about our poems with a view toward making them stronger and more effective. My hope for the course is that every participant, from beginning writer to advanced practitioner, becomes a better writer, a better reader, and has a good time learning about what's going on in the world of contemporary poetry. Flexible. (ages 18+)
Bio: George Bilgere and his family divide their time between Cleveland, Ohio, and Berlin, Germany. His poems have appeared in Poetry magazine, Kenyon Review, Best American Poetry, Field, Georgia Review, and elsewhere. His seventh collection of poetry is Blood Pages (2018). He has received the Midland Authors Prize, the May Swenson Poetry Award, a Pushcart Prize, a Witter Bynner Fellowship through the Library of Congress, a Fulbright Fellowship, an NEA grant, and the Cleveland Arts Prize. He is the 2020 winner of the Editors' Choice Award in Poetry from New Ohio Review. Bilgere has given poetry readings at the Library of Congress, the 92nd Street Y in New York, and he read this past February at the Folger Shakespeare Library in Washington, DC. His work is familiar to NPR listeners through his appearances on Garrison Keillor's A Prairie Home Companion and The Writer's Almanac. He teaches at John Carroll University in Cleveland, Ohio, where he lives with his wife and two fine little boys.
Sense of Place in Personal Essays
Aug. 2–6 / 1:15–3:15 p.m.
Susannah Felts
Course Description: Place is both a launching point, and a powerful force for stasis. Place is a shared language, a familiar system of signs, and a vibe you can't shake, no matter how far you fling yourself. When we ground our essays in a strong sense of place we perform a kind of magic, transporting readers in ways beyond imagined geography. In this class, by reading and responding to each other's works in progress, we'll embark in a shared discovery of ways to heighten sense of place to achieve deepened, layered meaning and image resonance. We'll consider place both in terms of the sweeping (the South, the West) and the intimately specific (one's garden). In exploring these and other nuances of sense of place, we may look at works by Ross Gay, Rachel Kushner, Terry Tempest Williams, Wendell Berry, Rivka Galchen, and Tiana Clark, and we'll try our hands at short exercises designed to deepen existing drafts or provoke new pieces into being. Flexible. (ages 18+)
Bio: Susannah Felts is the co-founder and co-director of The Porch, a literary arts organization based in Nashville, Tennessee. She has been awarded the Tennessee Arts Commission's Individual Artist Fellowship in Fiction and the Tennessee Williams Scholarship to the Sewanee Writers' Conference, as well as residencies at the Ragdale Foundation, the Virginia Center for the Creative Arts, and the Hambidge Center for Creative Arts and Sciences. Her essays and fiction have appeared in publications such as The Best American Science and Nature Writing 2018, Guernica, Catapult, Literary Hub, Vol. 1 Brooklyn, Longreads, StorySouth, The Oxford American, and others, and her first novel, This Will Go Down on Your Permanent Record, was published by Featherproof Books.
The Only Way Out Is Through: Writing Poetry During Uncertain Times
Aug. 9–13 / 8–10 a.m.
January O'Neil
Course Description: How difficult has it been to write and revise during the pandemic and a tumultuous 2020? Poetry as a conduit for empathy and connection has never been more essential. As we process the daily drip feed of news and information, how do we reconcile our roles as artists, citizens, agents of change, and caregivers? In this class, we'll explore opportunities to reach for language not often found in poetry, reflect on the difficulty and significance of documenting moments of change, and discuss tools and strategies on how to hone or revise both new and old work. This is a generative workshop that will touch upon revision and the publication process. Generative. (ages 18+)
Bio: January Gill O'Neil is the author of Rewilding (2018), Misery Islands (2014), and Underlife (2009), all published by CavanKerry Press, and is an associate professor at Salem State University. From 2019-2020, she served as the John and Renée Grisham Writer-in-Residence at the University of Mississippi, Oxford. She lives with her two children in Beverly, Massachusetts.
Aug. 9–13 / 1:15–3:15 p.m.
T. Geronimo Johnson
Course Description: We'll analyze the formal craft elements—narrative structure, character, point of view, style, detail, imagery, and theme. As we explore how these formal elements coalesce, we will identify specific technical strategies for achieving their intentions for the work. We'll also discuss the social landscape within which this all occurs. Writers will leave with new material, new approaches to revising their work, and practical strategies for keeping readers emotionally and psychologically engaged. Flexible. (ages 18+)
Bio: A graduate of the Iowa Writers' Workshop and a former Stegner fellow, T. Geronimo Johnson is a recipient of the Saroyan International Prize for Writing, the Ernest J. Gaines Award, and the inaugural Simpson Family Literary Prize. His first novel was a finalist for the PEN/Faulkner Award and selected by the Wall Street Journal Book Club. His second novel, a national bestseller, was shortlisted for the Hurston Wright Legacy Award, longlisted for the National Book Award, and longlisted for the Andrew Carnegie Medal for Excellence in Fiction. He's also been a finalist for The Bridge Book Award, a finalist for the Mark Twain American Voice in Literature Award and included on Time Magazine's list of the top ten books of the year. Johnson has served on the jury for the FAWC in Provincetown and as a judge for the National Book Award. He is a fellow of the American Academy in Rome.
Verb, Pure Verb
Aug. 16–20 / 8–10 a.m.
Dave Lucas
Course Description: Poets are first and foremost people who have fallen in love with language—the sounds of words in the air, the shape of letters on the page. In this workshop we will emphasize both elements of language— what we write in poems but also the "ordinary" words we speak every day—to explore the full range of what "poetic language" can be. Our goal will be not only to write poems, but to fall in love with words— whether for the first time or all over again. Flexible. (ages 18+)
Bio: Dave Lucas was born and raised in Cleveland. He studied literature and poetry at John Carroll University (BA, 2002), the University of Virginia (MFA, 2004), and the University of Michigan (PhD, 2014). His first book of poems, Weather (VQR / Georgia, 2011), received the 2012 Ohioana Book Award for Poetry. Named by Rita Dove as one of thirteen "young poets to watch," he has also received a "Discovery/The Nation Prize and a Cleveland Arts Prize. From 2018—19, he served as the Poet Laureate of the State of Ohio. A co-founder of Cleveland Book Week and Brews + Prose at Market Garden Brewery, he lives in Cleveland, where he teaches at Case Western Reserve University.
Time and Memory, Memory and Time
Aug. 16–20 / 1:15–3:15 p.m.
Jaed Coffin
Course Description: In this workshop, we'll create a series of short narratives that will explore the relationship between memory and time. As we create mosaics of remembered raw material, certain questions will very likely rise to the surface: How does the passage of time bring meaning to what we remember? How does what we remember influence our relationship to our own lived time? How does our understanding of time—as circular or linear, fluid or organized—influence the stories we tell? Each day, we'll begin by looking at passages (in a variety of genres) that consider these questions of time and memory; we'll then use these passages to help us generate our own material. Ultimately, we'll shape and revise our drafts into powerful narratives that will help us claim our remembered pasts as our own. Flexible. (ages 18+)
Bio: Jaed Coffin is the author of Roughhouse Friday (FSG), a memoir about the year he won the middleweight title of an Alaskan barroom boxing show, and A Chant to Soothe Wild Elephants (Da Capo), which chronicles the summer he spent as a Buddhist monk in his mother's village in Thailand. A regular contributor to Down East Magazine, Jaed's work has appeared in the New York Times, Nautilus, and The Sun as well as the Moth Radio Hour and TED Channel. He's served as a fellow at the Bread Loaf Writers Conference and currently teaches in the MFA program at the University of New Hampshire. Jaed lives in Maine with his wife and daughters.
Speculative Poetry
Sally Wen Mao
Course Description: What are the functions of science fiction, mythology, fairy tales, utopias, dystopias, horror, fabulism, and magic in poems – is this even possible in a genre that eludes narrative and traditional story structures? How does poetry expand the possibilities of speculation? In this class we will look at many poetry collections with tropes imagining "another world," playing with tropes that are at once both familiar and strange, whether that is the world of fables or imagined futures. Flexible. (ages 18+)
Bio: Sally Wen Mao is the author of two collections of poetry, Oculus (Graywolf Press, 2019), a finalist for the Los Angeles Times Book Prize, and Mad Honey Symposium (Alice James Books, 2014). The recipient of a Pushcart Prize and an NEA fellowship, she was recently a Cullman Fellow at the New York Public Library, a Jenny McKean Moore Writer-in-Washington at the George Washington University, and a Shearing Fellow at the Black Mountain Institute. Her poetry and prose have appeared in The Best American Poetry, The Paris Review, Poetry, Harpers Bazaar, The Kenyon Review, Guernica, and A Public Space, among others. She is a Kundiman fellow in both fiction and poetry.
Jumpstarting and Revising
Martha Cooley
Course Description: In this workshop for writers at all levels of experience, we'll use daily prompts — images, poems, and warm-up exercises — to generate prose narratives that can be fictional, nonfictional, or hybrid. Then comes the stimulating and rewarding work of revision: figuring out why, where, and how to alter our drafts. At the end of the week, writers will feel newly confident in their ability to burnish what they've written so it gleams. Flexible. (ages 18+)
Bio: Martha Cooley is the author of three novels—The Archivist (a national bestseller published in a dozen foreign markets), Thirty-Three Swoons, and Buy Me Love, forthcoming in June 2021 – as well as a memoir, Guesswork. A Professor Emerita of English at Adelphi University, she has published short fiction, essays, and co-translations in numerous literary magazines.
Writers' Center programs at a glance
Readings by our Writers-in-Residence (free) — Each Sunday at 3:30 p.m. the Free Sunday Readings, usually held in the Hall of Philosophy, feature the week's writers-in-residence (both poetry and prose) reading from their own work online through our Virtual Porch on CHQ Assembly.
Brown-bag Lectures (free) — Each Tuesday and Friday at 12:15 p.m., the week's writers-in-residence (poetry and prose, respectively) offer a lecture on online through our Virtual Porch on CHQ Assembly.
Friends of the Chautauqua Writers' Center — Writers and readers alike are invited to support the Writers' Center by joining Friends of the Chautauqua Writers' Center.


Inanimate Objects » How do I mix colors?
There are entire books and courses of study devoted to this question. Needless to say, I can't even begin to scrape the surface here. Assuming you're already familiar with the color palette of pigment, acrylics mix well together. I usually mix up just as much as I need at a time. With a little patience, you should be able to achieve the color you're striving for. Just remember acrylics tend to dry a bit darker than what they appear to be in liquid form. Best to try a test on some scrap paper first.


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What is a day in the life of a Contractors and Supervisors, Mechanic Trades like?
Contractors and supervisors in this unit group perform some or all of the following duties:
A. May manage the operations of own company
B. May also supervise, co-ordinate and schedule the activities of related apprentices, helpers and labourers.
C. Supervise, co-ordinate and schedule the activities of workers who repair and maintain aircraft, railway locomotives and cars, industrial machinery and equipment, construction and other heavy equipment, textile equipment, printing machines, heating equipment and furnaces, transformers and other electrical equipment, motor vehicles, air-conditioning and refrigeration equipment, electric appliances and other equipment, such as motorcycles, outboard motors and snowmobiles
D. Establish methods to meet work schedules and co-ordinate work activities with other departments
E. Requisition materials and supplies
F. Resolve work problems and recommend work measures to improve productivity
G. Train or arrange for training of workers
What education do you need to become a Contractors and Supervisors, Mechanic Trades?
1. Completion of secondary school is usually required. 2. Several years of experience as a qualified tradesperson... more
What is the current Job Outlook for a Contractors and Supervisors, Mechanic Trades?
The job outlook for Contractors and Supervisors, Mechanic Trades is considered Average because: 1. Employment grew... more
What is the future Job Outlook for a Contractors and Supervisors, Mechanic Trades?
How much does a Contractors and Supervisors, Mechanic Trades make?
The average hourly wages for Contractors and Supervisors, Mechanic Trades is $23.38/HR, which is above average for... more
What is the currently unemployment rate for a Contractors and Supervisors, Mechanic Trades"?
1% of Contractors and Supervisors, Mechanic Trades are unemployed. This rate is below the average for technical,... more
How many Contractors and Supervisors, Mechanic Trades are employed part-time?
3% of Contractors and Supervisors, Mechanic Trades are employed only on a part-time basis. There were 54,500 workers... more
How many Contractors and Supervisors, Mechanic Trades are self-employed?
Roughly 51% of Contractors and Supervisors, Mechanic Trades are self-employed. This is considered Above average for... more
What is the average age of a Contractors and Supervisors, Mechanic Trades?
Why I Quite Chemical Engineering
What Is an Investigative Journalist?
What I wish I knew before taking a Math Major
Introduction to Astronomy
Day in the Life of an Optometrist Intern
What is Hardware Engineering
A Day in the Life of a Social Worker


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Lars Korff Lofthus
Lars Korff Lofthus (NO)
3-26/3 2017
Curated by Andreas Knag-Danielsen
Galleri CC is pleased to announce "TOTEMS", an exhibition of a new series of works by artist Lars Korff Lofthus, on view for the first time at Galleri CC.
"Bears are usually hunky, chunky types reminiscent of railroad engineers and former football greats. They have larger chests and bellies than average, and notably muscular legs. Some Italian-American Bears, however, are leaner and smaller; it's attitude that makes a Bear."Excerpt from "Who's Who at the Zoo?", article by George Mazzei July 26, 1979, in the issue of The Advocate where the term "Bear" for a specific type of gay man first was described and coined.
Korff Lofthus' new drawings, produced between 2015—2017, pair two distinct and dissimilar found materials: discarded wood and private photographs taken with cellphones in private environments. Raw in their respective contexts, the two disparate sources converge to form blurry, textured portraits of men at their most vulnerable, seductive, and self-interested. With wood culled from his surroundings in the Fjords of Western Norway, Lofthus uses oil pastels to reproduce cell phone portraits appropriated from sites like Instagram and Tumblr. In recent years, Lofthus' work has investigated how urban popular culture can be expressed in rural environments. This interest is demonstrated in this new body of work through the combination of natural materials and digital images. The result is a dichotomy of desire and disposal; natural materials and unnatural poses. The artist's own desires are a fundamental part of the work, indicated in part by the depiction of burly, seemingly masculine men. By demonstrating his own desire, the viewer is invited to participate in a very unique—and perhaps unfamiliar—form of looking. The resulting works featuring appropriated, and often clumsy, photographs also call into question the notion of authorship and ownership—questions at the core of digital discourse.
Lars Korff Lofthus (b. 1978, Bergen, Norway) lives and works in Bergen and Hardanger in Norway. His work can be characterized as an ongoing investigation of identity in relation to place. His rural background, urbanity and the shifting between these, function as a position to work from. Korff Lofthus is staging himself both as the rugged farmer and the queer rebel infiltrating the village mob, constantly questioning his position in environments where he is both alienated and at home.
Lars Korff Lofthus earned his MFA and BFA at the Bergen National Academy of Art (NO) and has also studied at the Royal Danish Art Academy (DK), Nordic Art School (FI), and at the University of Bergen (NO). Recent solo shows include Entrée, Bergen (NO), Small Projects, Tromsø (NO) and Dortmund Bodega, Oslo (NO). His work has been exhibited at Lautom Contemporary, Bergen Art Museum, KODE (NO), Transition Gallery (UK) and Atelierhof Kreuzberg (DE).
http://larskorfflofthus.no
@korfflofthus
 Totem 3 (2017)
Oil pastels on wood
 Totem 4 (2016)
Totem 9 (2016)
Totem 10 (2016)
Photo: Raffaele Piano


Their pottery pieces reflect this influence and training, focusing on centuries of tradition. Upon arriving in Canada, Pavlo also studied as an apprentice with well-known Canadian potter Donn Zver.
Pavlo and Oksana create their striking serving pieces, wine glasses, coffee mugs, bowls, butter dishes, and garlic keepers in their Rockton, Ontario, Canada studio.
See what Pavlo has in stock at AllSorts.


Designers who use LIRA-SAPR software are now able to design and analyze basalt rebar reinforcement.
Currently, this software package operates with two classes of nonmetallic composite basalt rebar – ANPB 800 and ANPB 1000 produced by Technobasalt: they can be used only for longitudinal reinforcement.
Design and analysis are performed in accordance with DSTU – Н Б В. 2.6-185: 2012, according to the norms DBN B.2.6-98: 2009; and, as for composite rebar reinforced concrete products – according to SP 63.13330.2012. Concrete and reinforced concrete structures. Basic provisions. Appendix L. (R2).
LIRA-SAPR software package was developed by Ukraine-based LiraLand GC, which implements Building information modeling (BIM) and works with a number of integrated SAPR systems.
Software package LIRA 10.x from Russia-based LIRA Soft also provides an option of designing parameter checkout / selecting of reinforced concrete sections using composite polymer rebar (CPR) according to the provisions set forth in SP 63.13330.2012. This system gives an option to select basalt rebar produced by Galen.
Spokespeople from the company commented that the next software packages might include products of this brand if manufacturers provide the necessary data.


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Cathay Pacific To Increase Services to the UK
By Jeffrey Teruel / Dec 12, 2016
Cathay Pacific to boost UK connectivity with additional flights to Gatwick and Manchester.
More choice and flexibility with up to six services a day between Hong Kong and London in 2017; Manchester to receive the Airbus A350 from June
On the back of strengthening demand for flights connecting Hong Kong and the United Kingdom, Cathay Pacific today announced that its current four-times-weekly service to Gatwick will become a daily operation from June 2017. In a further boost to the airline's UK connectivity, Manchester will see the addition of a fifth weekly flight and become an all Airbus A350-900 operation in June.
The airline's current four-times-weekly Gatwick service, which utilises the Airbus A350-900, will become a daily operation from 1 June, highlighting the popularity of the route since its September launch. Together with the airline's services to Heathrow, Cathay Pacific will operate up to six daily non-stop flights between Hong Kong and London next year – more than any other carrier.
Manchester, which was launched just two years ago, will receive one additional flight per week from Hong Kong, increasing the operation to a five-times-weekly service from 2 June. At the same time, the A350 will replace the Boeing 777-300ER on all flights to the northern English city, making it the second Cathay Pacific destination in the UK, after Gatwick, to receive the technologically-advanced aircraft.
Featuring the airline's newest products in Business, Premium Economy and Economy Class, the A350 encapsulates Cathay Pacific's brand promise of a "Life Well Travelled". In addition to the latest seats and an enhanced inflight entertainment system, the aircraft is Wi-Fi equipped, meaning passengers can stay connected throughout their journey.
Cathay Pacific Chief Executive Ivan Chu said: "The UK is a very important market for us, one which we have served for over 35 years. Our additional Airbus A350-operated frequencies to Gatwick and Manchester underline the deep-rooted commitment we have to providing both business and leisure passengers with increased convenience and superior in-flight products, which give travellers even more reasons to choose Cathay Pacific."
Cathay Pacific currently operates 43 non-stop flights to the United Kingdom per week, including five daily services to Heathrow and four-times-weekly services to Gatwick and Manchester. It has expanded its Europe network considerably in recent years, launching services to Zurich and Düsseldorf in 2015 followed by Madrid and Gatwick this year. The airline currently operates 93 direct flights to 10 European cities each week and will launch a new four-times-weekly service between Hong Kong and Tel Aviv in March next year.
Cathay Pacific has also reopened its newly renovated lounge at Heathrow – the only lounge on its expanding global network outside of Hong Kong to offer separate First and Business Class areas – to wide acclaim.
Indonesia AirAsia X to Cease Scheduled Operations in January
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In-Flight


How to make cheesy kale chips. These vegan baked kale chips that are tossed with a delicious nutritional yeast queso. High protein and full of healthy fats!
I have a major weakness for chips. If I'm near a bowl or bag of chips, I consistently will eat at least 3 servings. I love the crunch and I love the salt. But inevitably, I always end up with a stomach ache.
For starters, chips are deep fried which means they're cooked in oil. And because companies try to keep costs down as much as possible, more often than not the oil is a really low-quality one. Low-quality oils = gastro issues for me!
A solution that I've found, that both satisfies my love for chips, but doesn't leave me farting for the rest of the day, are kale chips. They're healthy, they're easy on the system and they're super tasty.
Only problem? They're hella expensive!
Why Are Kale Chips So Expensive?
After trying multiple brands and looking at the ingredient labels, I realized that most of these cheesy kale chips I'm eating are actually make with ingredients that I already have on hand. Cashews, veggies, spices. Pretty standard pantry items.
So why are they so darn expensive?
Food costs obviously depend on a lot of factors. There's the cost of the actual ingredients, the labor costs to produce it, the packaging etc. And for kale chips, I think the two main factors are the food costs and labor costs.
The ingredients for most kale chips are a base of raw cashews and nutritional yeast, both of which are pretty pricey. To top it off, kale chips are usually labeled as raw, which means in order to get them crispy they are dehydrated and that takes a looooong time.
So we've got expensive ingredients + a long production process = $7 for a mini bag of kale chips!
My favorite thing about kale chips is how crunchy and cheesy they taste. The secret to getting that? Vegan queso sauce and time.
We start by whipping up our nacho cheese sauce. The base is raw cashews that get soaked for a few hours so they can get easily blended. Then we blend that up with a little nutritional yeast (that classic cheesy flavor), some red bell pepper for a little sweetness and spices for an extra punch.
Seriously I could eat this stuff all day long! This recipe usually yields a little extra sauce, so store that stuff for dipping with your cheesy kale chips or to drizzle on top of tacos. SO GOOD!
And then we just simply toss that all together with our raw kale, make sure everything is nice and coated and then bake it low and slow.
Since I know most people probably don't own a dehydrator, I wanted to share a method that makes super crispy baked kale chips that aren't burned. The only thing is you want your oven low and you need to let them bake slowly.
This helps to pull out all the moisture without overcooking them. Kale is a very delicate green when it's cooked, so as it gets heated, it can burn really quickly. That's why you want to keep your oven around 200-225ºF.
If you do have a dehydrator, I also included instructions for that as well!
Super Cheesy Kale Chips…That Are Vegan!
That's right, we've smother our kale chips in vegan queso, baked them up until crispy perfection and let me just say…these make a pretty darn amazing snack!
They'll satisfy your desire for crunch and they're actually satisfying to your hunger levels as well. Since we're using cashews and nutritional yeast, we're getting both healthy fats and protein, plus all the minerals from kale.
We've got 9g of protein and 12g of healthy fats PER serving!
So if you're a savory snacker, you gotta try our version of cheesy kale chips. Now you'll never have to buy a $7 bag of kale again!
These cheesy kale chips are tossed in a vegan nacho sauce then baked to perfection. They're easy, healthy and SO delicious!
Add the kale to a very large mixing bowl (or separate into two if you don't have one large enough - you need to be able to toss it around).
Add the remaining ingredients to a blender (or food processor) and blend until smooth. Pour the 'cheese' sauce over the kale and mix with your hands until the leaves are covered.
If you have a dehydrator, arrange the kale chips in your dehydrator and dehydrate at 120ºF for 12 - 14 hours, until crispy.
If not, heat your oven to 225ºF. Spread the kale on two baking sheets trying to not overlap as much as possible. Bake for 90 minutes, flipping halfway through (and swapping your pans on the racks).
Allow chips to completely cool before storing in a sealed container or bag. They must be TOTALLY cooled or they won't stay crispy!
I made these last night in my dehydrator. I woke up to a delicious chip! The addition of cashews is perfect! I used half of the chili powder and none of the cayenne, but they are still very spicy. I can't imagine how hot they'd be if I used it all! I'd cut it even further next time. I can't wait to make these again!
Yay! This turned out perfectly and the taste is awesome! Can't wait to try another recipe.
Can you substitute macadamia nuts for the cashews. I'm allergic to every nut but macadamia. Thanks this look delicious.
I actually think it could be!


Healthcare providers banned from Medicaid may have been reimbursed $213 million in federal money, thanks to a state agency oversight, a government watchdog reported.
Valid identification numbers — identifiers that ensure providers are eligible for Medicaid reimbursements — were missing from 800,000 Colorado claims in 2011, the U.S. Department of Health and Human Services inspector general reported Wednesday.
The state reimbursed the providers $424.4 million for the claims, of which, $213 million was federal money.
"Medicaid claims submitted for reimbursement that do not have [identification numbers] are thus more vulnerable to improper payments," the report said. "In fact, it is possible that the state agency paid claims that had been submitted by federally banned providers."
Federal law requires that Medicaid claims must include valid identification numbers. Providers can be banned for reasons such as committing fraud.
Investigators reported that more than 798,000 of the 2011 claims totaling at least $212.1 million in federal money were missing identification numbers. Another 4,700 claims totaling about half a million dollars in federal money had identification numbers that did not match any provider.
The providers were reimbursed because Colorado's claims processing software didn't alert officials of invalid or missing identification numbers, the inspector general found.
make those responsible repay out of their own corrupt pockets!!!!! They surely pocketed a portion of the graft money themselves, they always do!!!!!
This truly makes me sick. I hope when people pull off this fraud they realize this is the money of the tax payer.
In all Public Organizations, Federal, State, County, Cities, using 'Public Dollar's' should be helt to a 'higher standard' of Zero Tolerance. Private Organizations, standards of fiscal control, will be set by their Boards, Shareholders, etc.
Does, it surprise me about the 'lack or delayed, oversight of Public Agencies! No! With lack of Oversight, there can be 'breeding grounds' for 'Fraud, Waste and Abuse.' So, yes everyone, involved with Spending is to blame for FWA, but the Overseer's, are the 'most to blame'. Why? Simple, they are not 'doing their jobs'! If, they are over burden, then 'kick the cause' upstairs. Get the 'Tool's, to support what ever is their mission. As, a Taxpayer (not by far, the only one) its not Fair for other's to 'waste' funds or resources, these items, can be put to better use! Can we blame, the One's who violated the Rules/Regulations, Sure! Can they recoup those missing Millions, Sure they can! But, does it Cost more to recover those funds?
If we did that we would be in jail.
I am sure that this estimate is low.


A favourite with Citalia guests for its welcoming family atmosphere, the charming Hotel Olivi Thermae & Natural Spa is set in a quiet, secluded area with beautiful views over Lake Garda. With a very good standard of service and elegantly furnished guest rooms, the Hotel Olivi is situated near to the Grottoes of Catullus, and the centre of Sirmione is only a five-minute walk away.
Start each day with breakfast on the pretty terrace before making your way to the swimming pool, set amidst olive trees, where sunbeds and towels are provided. Throughout the summer a snack service is available outside, and during the evening La Limonaia Restaurant is the ideal romantic setting for dining al fresco by candlelight.
Guests can pay locally to use the Spa & Wellness Centre which includes an indoor pool, outdoor thermal pool, sauna, Turkish bath and a range of massage and treatments are also available.
The Hotel Olivi Thermae & Natural Spa's fantastic location on Lake Garda means you are within easy reach of visiting the delights of Sirmione, such as its medieval castle Rocca Scagliera and the Roman ruins that occupy the tip of the peninsula.
During Summer 2019 there will be Botanical Art watercolour and sketching classes taking place at the hotel during June, July and August on selected dates - bookable locally at the hotel. Perfect for those with an artistic flair.
Enjoy use of the indoor swimming pool, outdoor thermal pool, sauna, emotional shower and Turkish bath, with massages and beauty treatments available to book.
Entrance is 20.00 euros per person and is payable locally.
Situated on the terrace of Degi Olivi Restaurant, La Limonaia is open during summer evenings. This restaurant is the ideal place to enjoy a candlelit dinner on the paroramic terrace overlooking the lake.
Serving an extensive hot and cold buffet breakfast. Guests can enjoy breakfast on the terrace (when weather permits) which overlooks the beautiful garden and swimming pool.
This classical restaurant serves elegant, traditional Italian cuisine with a rich buffet with vegetables and salads, along with a wide selection of Italian and local wines.
Decorated in white and lilac, this relaxed poolside restaurant serves lunch either at the table on the terrace or in the sofa area. It is possible to enjoy a variety of snacks, Italian cuisine with a rich buffet of salad and vegetables, tasty desserts and ice-creams.
The Lounge Bar has a relaxing and colourful atmosphere where guests can be entertained on the comfortable sofas or on the terrace during the summer. A wide selection of drinks and cocktails is served all day and from 6.30pm, a buffet of sweet and savoury snacks is served.
Complimentary bottle of Prosecco in room on arrival.
Complimentary access to Spa for all Citalia guests. Valid all season.
5% Early booking discount for stays completed between 28 Mar - 31 Oct 19 booked at least 30 days prior to departure.
These rooms boast a king-size bed and are comfortably decorated with contemporary furnishings.
Superior Lake View & Balcony Rooms feature a beautiful lake view from the balcony and sleep two adults.
Premier Rooms feature a king-size bed with a balcony with a lake view. Some rooms are split over two levels with a lounge area on the mezzanine floor, linked by a spiral staircase to the main bedroom (these rooms are not suitable for children under 12 years).