Serbia will hold early parliamentary elections on 16 March, to coincide with local elections in Belgrade. The EU accession talks, which Serbia started last week, are expected to feature high in the campaign, EURACTIV Serbia reports.
Early elections were confirmed last weekend after the ruling Serbian Progressive Party backed the idea.
The party leader, Aleksandar Vu?i?, who is also first deputy prime minister in the current government, opted for early elections only days after Serbia started membership talks with the EU, on 21 January.
Serbia's strongest party cited the need for legitimacy in carrying out necessary reforms as the main reason for holding the vote.
"Serbia can do better, more and quicker and changes cannot wait," Vu?i? told fellow party members on 26 January. "We do not have a second to lose because people live in difficulties, young people do not have jobs," he said.
Vu?i? said the leader of Serbia's Socialist Party, Ivica Da?i?, was not a bad prime minister, but that there were certain limitations and an atmosphere in Serb society that prevented the speedy carrying out of reforms.
Directly before the decision was announced to schedule early elections, the minister for commerce, Saša Radulovi?, resigned because of the government's decision to withdraw draft laws on privatisation and labour reform.
Radulovi?, an independent economist, had conditioned his government participation to the quick adoption of these laws, saying reforms could not wait. The draft labour act, which envisaged cuts in social benefits and more flexible rules to hire and fire, especially in the public sector, was fiercely criticised by trade unions.
The new election agenda primarily serves the interest of the ruling Progressive Party, whose popularity is growing. The Socialist Party of Serbia, the smaller partner in the current coalition stands to lose the most from the elections and was against holding an early vote, claiming it could slow down reforms.
Prime Minister Da?i? stated on Sunday (26 January) that he nevertheless backed the decision to hold an early vote. "I never thought of obstructing this decision," Da?i? said. "We should do our maximum for the early elections not to jeopardise the reforms in Serbia, the negotiations with the EU and the dialogue with Kosovo," he added.
While the Socialists face an uncertain outcome, the elections will give the Progressive Party an opportunity to strengthen its political position.
Over the past weeks and months, officials repeatedly stated in public that the Progressive Party should hold the prime minister's office. Vu?i? has a unique opportunity to win the majority that would enable him to form a government with the support of only a few junior partners.
The Serbian Progressive Party, which has taken steps towards solving cases of crime and corruption and whose rating is just over 40%, has taken power at the local level in all major cities, including the transitional administration in Belgrade. The party has control over most of the media and the opposition is disorganised and currently harmless to Vu?i? and his partners.
However, Vu?i? pointed out that the decision on the elections was not made in order for the Progressive Party to win absolute power, and stressed that he could have become prime minister without the election, since Prime Minister Da?i? offered him the position.
The decision to hold early elections represents a huge risk, Vu?i? warned, predicting a difficult campaign that would provide an opportunity for the opposition to unite against the Progressive Party.
The biggest opposition party, the Democratic Party, which is in deep crisis, believes the decision to hold early elections reflects the government's inability to reform, and said it was ready for the campaign.
Serbia's EU membership talks will certainly feature high among the topics in the election campaign.
The European integration process has huge importance in the public opinion, especially for pro-European voters.
Ruling parties will be able to claim that EU talks started during their mandate, and that many reforms were carried out to enable the start of negotiations.
Moreover, the economy is still on its feet: although the crisis is serious, the state is still able to pay pensions and salaries to the army and of employees in the public sector. As long as this lasts, no major social unrest is expected.
The conservative Democratic Party of Serbia is against the EU integration process. Its leader, Vojislav Koštunica, said he expected the early elections to determine whether Serbia would remain a free country, or "a puppet state of the European Union".
Parliamentary elections have been held five times since the fall of the regime of Slobodan Miloševi?. Early elections were held in 2000, 2003 and 2008, and regular votes were held in 2007 and 2012.
Serbia held joint parliamentary, presidential and local elections on 6 May 2012.
The coalition led by the Progressive Party of Tomislav Nikoli?, who won the presidential election at the run-off, won the parliamentary election with 24.07% of the vote and 73 seats in Parliament. The coalition of Boris Tadi?'s Democratic Party arrived second with 22.11% and 67 seats.
The coalition of the Socialist Party of Ivica Da?i?, which also includes the Party of United Pensioners, won 14.53% and 44 seats, while the Democratic Party of Serbia of Vojislav Koštunica obtained 7% and 21 seats. The coalition of ?edomir Jovanovi?, leader of the Liberal Democratic Party got 6.52% of votes and 19 seats, and the United Regions of Serbia of Mladjan Dinki? got 5.49% and 16 seats.
Following his election as President of Serbia, Tomislav Nikoli? stepped down as leader of the Progressive Party and Aleksandar Vu?i? was elected as his successor.
16 March 2014: Parliamentary elections in Serbia, to coincide with local elections in Belgrade.


"Have I told you all recently how incredibly grateful I am for the Godly and professional environment you have provided for my daughter? She had a really rough start to the week at a dance class where her director tore her down in front of the class... She has been part of the school since she was five, has been a great friend and testimony to people there and has prayed faithfully for the director. But to watch her sob last night and then say she couldn't wait to be at rehearsal tomorrow and Saturday was like a balm to my Mama Bear's soul. Thank you."
"Our daughter would often comment, 'All the kids there are so nice.' There was a sense of mutual respect and graciousness that came through, both in her remarks and in the behavior we witnessed when we'd drop her off and pick her up from rehearsals. Kids seemed to encourage rather than compete with each other, and that helped to instill not only confidence but grace."
"Opening night was absolutely phenomenal! It was simply stunning! Being new to a full-scale production, we didn't know what to expect. Your production of The Music Man far surpassed any expectations we may have had! The acting, singing, lighting, music....it was all perfect! I also really loved the decorations outside and the theme related concessions and the raffle basket. It was all very inviting and you could tell that a lot of planning and effort went into it."
"Truthbase Theatrcials staff members are an incredible group of people with so much passion for what they do. They also have wonderful leadership skills and amazing personalities along with a love of Christ. They are what makes TbT so much fun."
"What a wonderful experience to be led by such amazingly talented, sweet, and encouraging directors! My son will never forget it!"
"They loooooved their directors!!! Warm Christ like personalities, ridiculous amount of patience, loving, and caring towards the cast. They went above and beyond the call of duty. Organization is very well run with superb communication and planning. Many thanks."
"My daughter received encouragement and was challenged in an uplifting way to do all things with excellence."
"It is great to have a higher quality Christian musical theater group in the city."
"Unlike school productions or other venues, Truthbase Theatricals has a heart for Christ in pursuing excellence. The professional edge at TbT is like none other."
"Truthbase Theatricals surpasses expectations in every way."
"The girls just loved TbT and all of the teachers and students!! Wonderful job! Good role models!! They did not want the class to end. We appreciated all of the joyful and positive energy. Your staff makes learning fun."
"Everyone was wonderful and soooo supportive."
"They always looked forward to and prepared their work for class, something they'd not happily do for just anyone! They had fun talking about what they'd done or be doing in the next class."
"I looked for something like TbT 10 years or so ago for my oldest daughter, and found nothing even close. ; ( Having had some experience in musical theater, I can honestly say that Truthbase Theatricals meets and exceeds my expectations. TbT provides an excellent training environment for theater arts and character-development/discipleship. The (very well-trained and professional) coordinators and teachers understand and care about the particular needs of youth and demonstrate in words and actions that their students' artistic, social and spiritual growth are always high among their class goals. And it's FUN!"
"TbT exceeded expectations. Not only did my child learn skills in a supportive atmosphere, but he felt a sense of camaraderie and "belonging" which was so beneficial for him."
"3 things Truthbase Theatricals does well: 1) Having high expectations (professional) in theater,dance, and singing where other "Kids" theater does not. 2) Allowing the family members to be a part of the "Theater experience" and building family in the process. 3) Having vision to bring encouragement and reward to the actors in an always Christian atmosphere."
"I was hoping for a Christ-centered, caring, safe environment in which my children would learn real skills, develop their talents, have fun, meet and work with others, be mentored by experienced, skilled professionals, and do it all unto God. That's what you provided."
"My daughter was very shy and reserved. I was really encouraged to see her so excited and working hard every week. She came out of her shell and is con-fi-dent!"
"A Christian based theater group is an answer to prayer!"
"The whole Truthbase Theatricals team is very loving, caring, and very Christ-like in general. The kids that are part of TbT are respectful, caring, and accepting. You can tell that we all love each other a lot."
"TbT has helped me find my voice and get over my stage fright. They challenged me and showed me the amazing things I could do."
"TbT is a fantastic acting/musical theater program! I love the way we're able to perform actual full-scale shows rather than just scenes or songs. I also love how the teachers are more dedicated, more encouraging, and more on top of things than in any other program I know."
"I expected to meet new people while glorifying God's name through musical theater - that is exactly what happened."
"TbT has taught me how to take acting and musical theater seriously. I have learned how to keep my energy-level up even when I'm exhausted, pay much better attention in classes, and also just have fun doing musical theater."
"Truthbase Theatricals is not just about classes and productions, it's also about becoming family."
"TbT has helped me become more confident."
"When I'm at TbT, I feel special."
"In everyone you encounter, the staff, the students, and even the parents, you can see Jesus in their hearts. You can tell by the way they speak to one another, and by the way they treat each other, that everyone there has a passion for Christ. Everybody treats everybody with kindness, respect, and the brotherly love that God tells us to have."
"Truthbase Theatricals has encouraged me to step out of my comfort zones. Singing and acting in front of friends and strangers can be intimidating, but I've learned much about God and myself through the program. I also have made many good friends."
"At TbT...I'm one of the oldest kids. A few others and I played a leadership role. This role involved even more responsibility than line memorizing, because we were not only in charge of our own actions, but the actions of pretty much anyone ages 5-12."
"I really enjoy the friendships I've developed over the years in TbT. Spending time with them and working with them on the production is both challenging and fulfilling. It is a highlight of my year!"
"Normally in theatre groups, or any groups of kids really, you have cliques. At TbT...they allow new people into their circle come lunch time...They do this regardless of age or gender. In fact, more times than not, we as a cast sit in one or two giant circles."
Please consider supporting TbT's life-impacting work with a tax deductible donation.


Strive, Inc. is established for the purpose of assuring people with developmental disABILITIES the opportunity for life-enriching experiences in work, in play and wherever they live, by providing a continuum of programs and services.
Since its founding in October 1963, the Sophie Gumbel Guild has afforded opportunities for persons with mental retardation to grow and to develop. The Guild formally changed its name to Strive, Inc. in 1996. The facility-based program Strive Center began its operations with a pilot program in a small rented cottage in 1972 with 14 clients. Strive Center operates in a large building at 1139 Napoleon Avenue and now serves 100 clients in a diversified program of job related training, facility based work and supported employment. In addition Strive, Inc. sponsors residential and recreational programs.
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text:
Q: How is $_ different from named input or loop arguments? As I use $_ a lot I want to understand its usage better. $_ is a global variable for implicit values as far as I understood and used it.
As $_ seems to be set anyway, are there reasons to use named loop variables over $_ besides readability?
In what cases does it matter $_ is a global variable?
So if I use
for (@array){
    print $_;
}

or even
print $_ for @array;

it has the same effect as
for my $var (@array){
    print $var;
}

But does it work the same? I guess it does not exactly but what are the actual differences?
Update:
It seems $_ is even scoped correctly in this example. Is it not global anymore? I am using 5.12.3.
#!/usr/bin/perl
use strict;
use warnings;

my @array = qw/one two three four/;
my @other_array = qw/1 2 3 4/;

for (@array){
    for (@other_array){
        print $_;
    }
    print $_;
}

that prints correctly 1234one1234two1234three1234four.
For global $_ I would have expected 1234 4 1234 4 1234 4 1234 4 .. or am i missing something obvious?
When is $_ global then?
Update:
Ok, after having read the various answers and perlsyn more carefully I came to a conclusion:
Besides readability it is better to avoid using $_ because implicit localisation of $_ must be known and taken account of otherwise one might encounter unexpected behaviour.
Thanks for clarification of that matter.

A: The classic failure mode of using $_ (implicitly or explicitly) as a loop variable is
for $_ (@myarray) {
  /(\d+)/ or die;
  foo($1);
}

sub foo {
  open(F, "foo_$_[0]") or die;
  while (<F>) {
    ...
  }
}

where, because the loop variable in for/foreach is bound to the actual list item, means that the while (<F>) overwrites @myarray with lines read from the files.

A: are there reasons to use named loop variables over $_ besides readability?

The issue is not if they are named or not. The issue is if they are "package variables" or "lexical variables".
See the very good description of the 2 systems of variables used in Perl "Coping with Scoping":
http://perl.plover.com/FAQs/Namespaces.html
package variables are global variables, and should therefore be avoided for all the usual reasons (eg. action at a distance).
Avoiding package variables is a question of "correct operation" or "harder to inject bugs" rather than a question of "readability".
In what cases does it matter $_ is a global variable?

Everywhere.
The better question is:
In what cases is $_ local()ized for me?

There are a few places where Perl will local()ize $_ for you, primarily foreach, grep and map. All other places require that you local()ize it yourself, therefore you will be injecting a potential bug when you inevitably forget to do so.   :-)

A: $_ is the same as naming the variable as in your second example with the way it is usually used.  $_ is just a shortcut default variable name for the current item in the current loop to save on typing when doing a quick, simple loop.  I tend to use named variables rather than the default.  It makes it more clear what it is and if I happen to need to do a nested loop there are no conflicts.
Since $_ is a global variable, you may get unexpected values if you try to use its value that it had from a previous code block.  The new code block may be part of a loop or other operation that inserts its own values into $_, overwriting what you expected to be there.

A: The risk in using $_ is that it is global (unless you localise it with local $_), and so if some function you call in your loop also uses $_, the two uses can interfere.
For reasons which are not clear to me, this has only bitten me occasionally, but I usually localise $_ if I use it inside packages.

A: There is nothing special about $_ apart from it is the default parameter for many functions. If you explicitly lexically scope your $_ with my, perl will use the local version of $_ rather than the global one. There is nothing strange in this, it is just like any other named variable.
sub p { print "[$_]"; } # Prints the global $_
# Compare and contrast
for my $_ (b1..b5) { for my $_ (a1..a5) { p } } print "\n"; # ex1
for my $_ (b1..b5) { for       (a1..a5) { p } } print "\n"; # ex2
for       (b1..b5) { for my $_ (a1..a5) { p } } print "\n"; # ex3
for       (b1..b5) { for       (a1..a5) { p } } print "\n"; # ex4

You should be slightly mystified by the output until you find out that perl will preserve the original value of the loop variable on loop exit (see perlsyn).
Note ex2 above. Here the second loop is using the lexically scoped $_ declared in the first loop. Subtle, but expected. Again, this value is preserved on exit so the two loops do not interfere.

redpajama_set_name: RedPajamaStackExchange


text:
/* global window document describe it beforeEach afterEach sinon */
import { dateInput, formatDate, bindUIEvents } from '../base/inputs/dateInput';

describe('dateInput init', () => {
  afterEach(() => {
    document.querySelectorAll.restore();
  });

  it('should call getElements once with the correct selector', () => {
    sinon.spy(document, 'querySelectorAll');
    dateInput();
    expect(document.querySelectorAll.getCall(0).args[0]).toBe(
      '[data-sprk-input="date"]',
    );
  });
});

describe('dateInput UI Events tests', () => {
  let inputContainer;
  let input;
  let event;

  beforeEach(() => {
    inputContainer = document.createElement('div');
    input = document.createElement('input');
    input.type = 'text';
    input.setAttribute(
      'pattern',
      '^(((0[1358]|1[02])([\\/-]?)' +
        '(0[1-9]|[12]\\d|3[01])|(0[469]|11)([\\/-]?)' +
        '(0[1-9]|[12]\\d|30)|02(\\/?)((0?\\d)|[12]\\d))' +
        '(\\4|\\7|\\9)[12]\\d{3})?$',
    );
    sinon.spy(input, 'addEventListener');
    inputContainer.appendChild(input);
    document.body.appendChild(inputContainer);
    bindUIEvents(inputContainer);
  });

  afterEach(() => {
    document.body.innerHTML = '';
    input.addEventListener.restore();
  });

  it('should bind the input event', () => {
    expect(input.addEventListener.getCall(0).args[0]).toBe('input');
  });

  it('should format when input is triggered', () => {
    input.value = '12252019';
    event = new window.Event('input');
    input.dispatchEvent(event);
    expect(input.getAttribute('aria-invalid')).toBe('false');
    expect(input.value).toBe('12/25/2019');
  });

  it('should not format when input is triggered with invalid data', () => {
    input.value = 'asdf';
    event = new window.Event('input');
    input.dispatchEvent(event);
    expect(input.getAttribute('aria-invalid')).toBe('true');
    expect(input.value).toBe('asdf');
  });

  it('should bind the blur event', () => {
    expect(input.addEventListener.getCall(1).args[0]).toBe('blur');
  });

  it('should format when blur is triggered with valid data', () => {
    input.value = '12252019';
    event = new window.Event('blur');
    input.dispatchEvent(event);
    expect(input.getAttribute('aria-invalid')).toBe('false');
    expect(input.value).toBe('12/25/2019');
  });

  it('should not format when blur is triggered with invalid data', () => {
    input.value = 'asdf';
    event = new window.Event('blur');
    input.dispatchEvent(event);
    expect(input.getAttribute('aria-invalid')).toBe('true');
    expect(input.value).toBe('asdf');
  });
});

describe('formatDate tests', () => {
  it('should format the date in the XX/XX/XXXX style', () => {
    const div = document.createElement('input');
    div.value = '12345678';
    expect(formatDate(div.value)).toBe('12/34/5678');
  });
});

redpajama_set_name: RedPajamaGithub


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text:
Punjab Minister Zil-e-Huma Usman Assassinated
14/11/2019 14/11/2019 tungphat
LAHORE: Punjab Minister for SocialPunjab Minister Ms Zill-e-Huma speaks at a function on December 29, 2006. [File Photo] Welfare Zil-e-Huma Usman Tuesday died of bullet injury in a hospital in Lahore. The minister was critically injured in an attack in Gujranwala during an open katchehry.
An attacker, identified as Ghulam Sarwar, had fired bullets in the head and shoulder of provincial minister Zill-e-Huma Usman during an open katchehry held at Muslim League House near Civil Lines police station.
Minister's driver and other people attending the katchehry caught the attacker.
The minister was admitted in District Headquarter Hospital for first aid. She was later taken to Lahore hospital by chief minister helicopter but succumbed to injury during operation.
According to DPO Gujaranwala, Ghulam Sarwar had killed 12 call girls of Lahore. He was arrested for the murder of call girls and was released from the jail last year.
The accused was handed over to CIA staff that shifted him at an undisclosed place.
An earlier report had said that Punjab Minister for Social Welfare, Zill-e-Huma Usman who sustained critical head injuries in an murderous attack in Gujranwala, succumbed to the wounds during surgery at Lahore General Hospital (LGH) here Tuesday afternoon.
According to a spokesman of LGH, the neurosurgery was carried out by Prof Nazir Ahmad and Dr. Khalid Bashir.
She was airlifted to the provincial capital from Gujranwala by a helicopter for treatment soon after the murderous attack by a person identified as Sarwar.
The 36-year old Zilla Huma Usman, the wife of Dr. Muhammad Usman Haider, was born on September 16, 1971.
She obtained the degree of LL.B. in 1997 and M.A. (Political Science) in 1998 from University of the Punjab, Lahore.
She was elected as Member Provincial Assembly of Punjab in General Elections 2002 against reserved women seat.
She worked as Parliamentary Secretary for Planning and Development from August 5, 2003 to November 30, 2006. She was working as Minister for Social Welfare since December 1, 2006.
Ms Zill-e-Huma Usman was injured in an attack in Gujranwala on Tuesday. She was admitted in hospital in a serious condition.
According to details an attacker pumped a bullet in the head of provincial minister Zil-e-Huma Usman at an open katchehry at Muslim League House here.
The minister was admitted in Civil Hospital Gujranwala in a precarious condition.
Police have arrested the attacker and interrogating him.
President, PM Express Grief
President General Pervez Musharraf has expressed his deep sense of grief and shock over the tragic murder of Ms. Zill-e-Huma Usman, Provincial Minister for Social Welfare in Gujranwala on Tuesday.
The President said that Ms Zill-e-Huma was a committed and dedicated politician and during her short span as minister, she took several steps for the welfare of the people of Punjab.
In a message addressed to the family of Ms Zill-e-Huma, the President offered his heartfelt condolences and prayed to Allah Almighty to give them the strength to bear this irreparable with fortitude and patience.
He also prayed to Allah Almighty to rest the departed soul in eternal peace.
PM Shocked
Prime Minister Shaukat Aziz has expressed deep shock and sorrow over the tragic death of Ms. Zill-e-Huma Usman, Provincial Minister for Social Welfare, who was murdered at Gujranwala on Tuesday.
The Prime Minister said that Ms. Zill-e-Huma was a committed and dedicated politician and during her short span as minister, she took several steps for the welfare of the people of Punjab.
In a message addressed to the family of Ms. Zill-e-Huma, the Prime Minister offered his heartfelt condolences over the loss and prayed that Allah Almighty may give them the strength to bear it with fortitude and patience.
He prayed that Allah may bless the departed soul in eternal peace.
PML-N wins NA-123, PP-82 slots in by-elections
Turkey joins Pakistan, China in joint efforts for Space Technology
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Musharraf among Record 194 candidates nominated for 2004 Nobel Peace Prize
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Pakistan with Muslims world-over celebrate Eid Milad-un-Nabi (SAW)
ISLAMABAD: All preparations are in full swinAn sanctified view of the Holy Masjid-e-Nabvi (SAW) in Madina...

redpajama_set_name: RedPajamaCommonCrawl


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For the last 9 years, Bobina has been at the forefront of Russia's electronic dance breakout. His DJ adventures have taken him around the planet numerous times, playing tent-pole events including Global Gatherings, Gatecrasher Summer Soundsystem, Trance Energy, and the Winter Music Conference. Spinning close to 100 block-rock sets every year, it has seen DJ Mag rank and re-rank Bobina as one of the 50 biggest spinners in the world for the last 4 years running. On the production front he has released numerous singles and 4 critically acclaimed artist albums, all of which prompted Ferry Corsten to call Bobina "one of the most talented music producers ever to come out of Russia". Through his World Club Music label operations, Bobina's also played a major catalyzing role in the careers of Armin van Buuren, Tiësto & Above & Beyond inside the Federation & ex. USSR countries, releasing their artist albums throughout the caucuses.


Discussing all things entrepreneurship, startups, creativity, businesses, innovations, self-awareness and everything in-between. Hosted by Joshua Davidson, Eddie Contento and Chris Coleman. Brought to you by ChopDawg.com.
Imagine living without a safe home, having your family exposed to life-threatening dangers, no clean water, living in your own filth. This is real life for over 828 million families living in slums without adequate housing, in need of a better solution. With this understanding Brett Hagler of New Story Charity knew he needed to help find a solution. His solution came in the form of a nonprofit — New Story Charity. Not only would it provide incredible housing to those who need it the most, but it would also provide them with clean water, sanitation, and protection. And the best part; the ability for New Story Charity to do this at scale for countless families. We talk with Brett, our first nonprofit guest, about making a difference, turning the nonprofit sector inside out, his time at Y Combinator, operating with transparency, hiring the best, and the very important partnerships that make creating new, sustainable housing at low costs a reality. Enjoy our 40th episode of #thePawdcast! New Story Charity's Website: http://newstorycharity.org New Story Charity's Donation Page: http://newstorycharity.org/donate New Story Charity's Twitter: https://twitter.com/newstorycharity New Story Charity's Facebook: https://www.facebook.com/newstorycharity New Story Charity's Instagram: https://www.instagram.com/newstorycharity Brett Hagler's Twitter: https://twitter.com/BrettHagler Y Combinator's Website: http://www.ycombinator.com Listen to this episode on iTunes: https://itunes.apple.com/us/podcast/the-pawdcast/id1071470844?mt=2 Listen to this episode on Soundcloud: https://soundcloud.com/pawdcast/episode-040-brett-hagler-new-story-charity Listen to this episode on ChopDawg.com: http://chopdawg.com/podcast//episode-040-brett-hagler-new-story-charity About #thePawdcast — Discussing all things entrepreneurship, startups, creativity, businesses, innovations, self-awareness and everything in-between. Hosted by Joshua Davidson, Eddie Contento, and Dan DiGangi. Brought to you by ChopDawg.com. Episode Background Music Provided by BenSound.com. #thePawdcast Theme Song Provided by the talented Eddie Contento of ChopDawg.com.


Anything can be forgiven. There is no wrong someone does to us that we cannot forgive.`God give me to see my own sins and not to condemn my brother` says saint Ephrem the Syrian in his prayer.
I'm sure you've noticed too that unfortunately it is more handy fr ourselves to see the mistakes of the others than our own but you should know that any thought turned into that direction makes a crack in the wall of the stronghold and the more time goes by the more it enlarges and at a certain moment the stronghold will be torn down.
Any thought of judgment wipes out the grace of God that may descend over us. There is only one way for us to get back the grace of God…beginning with the forgiving of our brother.
Anything can be forgiven. There is no wrong someone does to us that we cannot forgive.`That is why we realize that our beginning was made under some demonic auspices: Adam loses heaven, falls from it and is heading for hell. Christ, the new Adam makes this way back and the way culminates on Golgotha, where after a life filled with pain, he forgives everything to everybody. In the moment we forgive, the easier and the more we forgive, the world changes little by little and this change is in fact a work of the divine grace, it is not a mere ethical or psychological matter that brings you peace and reconciliation with yourself, but brings you reconciliation with God as well. It is the beginning of your own deification and of those around you. Saint Seraphim of Sarov states it: `When you begin seeking God and Hs grace descends upon you, others dozens of people will get sanctified around you.
You should know that this process is not a simple rule to be accomplished, it is a profound work done by God so that the world may sanctify itself, may change itself. This change won't happen through intellectual discussions but by personal example.
By each one of your forgiving the world starts to change, be the first to forgive, don't wait this thing from the other one.
Nothing divides people harder than unforgiving and judgment. From these begin all the bad things among people, know that.
You see, when a row bursts we can never find out exactly who started it, from whom it started but we can do one thing, to be those who put an end to it.
`God, give me to see my own mistakes !` `Give me to be able to control my thoughts and my heart and not to try to dominate the others!
We aim to be Christians, we begin walking on this way but we are lamentable many times, because these fundamental things, FORGIVENESS, UNCONDEMNING are taken out at the limit of our Christian life.
Think on what are focused so many of our confessions…on the mistakes of the other one. We justify our mistakes by the mistakes of the other. But here, where you justify your mistakes, your wickedness by the infirmities of the other one, God doesn't intervene anymore, He s far away.
Forgiveness is the beginning of our spiritual life. To be Christian it doesn't mean to fly in the air, to fast a long time, to make interminable prostrations but first of all to forgive. FORGIVE TO BE FORGIVEN!
If Adam didn't forgive Eve and Eve didn't forgive the snake and they were all of them condemned, Christ forgives everyone: God, forgive them because they do not know what they are doing!
A man sees all the time the wickedness of the other one, he compares himself all the time with his brother, he considers the other guilty and not himself but if the man puts God in front of himself and he begins walking on this way full of humility, the things change radically in his soul and in the souls of the others.
For whoever wants to save their life will lose it, but whoever loses their life for me and for the Gospel will find it.
Forgive easily and you will see what big changes will happen into your soul and of those around you and you will see how the grace and peace of God will surround you.


If you're engaged, or maybe just love looking at wedding dresses, haute couture season is basically a week long source of endless dress inspiration. As models walk the runways in custom made couture designs, we watch on in envy as brand after brand present a serious slew of show-stopping gowns we'd die to wear. Among them, plenty of white dresses fit for a wedding.
From a breathtaking, hand-embellished metallic veil from Eli Saab to Chanel's now-famous bride in a swimsuit, each designer showcased their best new bridal looks — with a bit of a twist. Whether they were deconstructed, tinged with finely lasered lace or dipped in shimmer, the potential wedding dresses on display all had an air of ethereality to them — conveyed through fabrics, cuts and accessories.
So, no matter what type of bride you are — Chanel swimsuit or Zuhair Murad fairy princess — the inspiration gathered from couture will suit every taste. Scroll down for our pick of the best, and get planning!


text:
Монголската песчанка  (или монголски джербил) (Meriones unguiculatus) е гризач от подсемейство Песчанки (Gerbillinae). Това е най-широко разпространеният вид от подсемейството и е видът, традиционно отглеждан като домашен любимец или като животно за експерименти. Както златистия хамстер, и монголската песчанка за първи път e занесенa в САЩ от д-р Виктор Швенткер с цел научни експерименти. Първоначално от Монголия в Англия са занесени 44 двойки от вида.

Произход
Meriones unguiculatus е еволюирал в полупустинните и степни територии на Монголия. Там е развил дълги крака за скачане и бягане от нападателите си, зъби, с които да гризе твърди ядки и растителна материя, както и техники за съхраняване на водата и телесните течности, които му помагат да оцелее в безводния климат. Поради тежкия климат, монголските песчанки нямат много врагове в естествените си местообитания. Повечето от тях са змии или грабливи птици. Видът е активен през деня, но се прибира в леговището си през най-хладните и най-горещите части на деня.

Местообитания
Видът M. unguiculatus произхожда от Монголия. Естествените му местообитания се състоят основно от степи и полупустини. Почвата на степите е песъчлива, покрита с треви, билки и храсти. Степите се отличават с хладни сухи зими и горещи лета. Температурите могат да достигнат до 50 °C, но средната температура през почти цялата година е около 20 °C.

В дивата природа песчанките живеят на групи, състоящи се основно от една двойка родители, последното им поколение и няколко от порасналите малки от предишни поколения. Само доминантната женска ражда, но тя се чифтосва с по няколко мъжки в рамките на овулационния си период. Една група песчанки обикновено покрива територия от около 325-1550 m2.

Групата живее в леговище в земята с по 10-20 излаза. Някои по-дълбоки леговища имат само 1-3 изхода и се използват за убежища от хищници в случаите, когато песчанката се е отдалечила от основното леговище. Леговището на една група често може да се окаже свързано с леговища на съседни групи песчанки.

История
Първото известно споменаване на вида датира от 1866 година от отец Арманд Дейвид, който изпратил от северен Китай тези "жълти мишки" на Природонаучния музей в Париж (Musée d'Histoire Naturelle). Кръстени са Meriones unguiculatus от учения Милн-Едуардс през 1867 година. Латинското им название означава "воин с нокти", частично по името на гръцкия воин от Троянската война Мерион, герой на Омировата "Илиада".

Песчанките стават популярни като домашни любимци едва след 1954 г., когато 20 родителски двойки са внесени в САЩ от източна Монголия с цел научни експерименти. Почти всички песчанки, които са в продажба като домашни любимци днес, са наследници на тези 40 индивида. Селективното им размножаване в плен за търговия с домашни любимци е довела до широко разнообразие на цветови вариации и шарки на козината.

Източници

Meriones
Фауна на Палеарктика

redpajama_set_name: RedPajamaWikipedia


What is an epilator? Is it something that shouldn't be discussed in polite company? Why on earth is ATW writing about this?
Here's the back story: sometimes I get Ideas. These Ideas are sometimes useful and other times they are trouble-causing. My newest Idea was that I wanted to have summer-ready legs (i.e. sans cheveux). My current bathroom set up is not at all conducive for someone who wishes to remove leg hair without potentially gouging herself and bleeding to death in the tiny, slippery shower.
I thought that surely there was some other way that doesn't involve nicking oneself with a razor and/or falling in the shower. Mr. Google delivered, as always. Apparently there is a torture device that is a rotating mass of tweezers that will painfully efficiently remove hair: the epilator.
It sounded great! Sign me up, I thought. Some people said it was painful. I agreed more with the people who said that it's slightly painful in the beginning but is easy enough to withstand. The other ones were a bunch of wusses, I thought. Of course it made perfect sense that I would form an opinion before using the torture implement epilator, right?
I ordered one online and received it today. Fridays are Lazy Days for me, which means that I am loathe to make plans. I'm usually exhausted after a week of work and lots of activities. It would be the perfect day to try out the epilator, I thought. I could relax, rip hair by the roots out of my legs, and bask in silky smooth skin afterward. Sounds great, huh?
This is how it really went down.
1. Unwrap epilator, plug it in, and turn it on to the slow setting.
2. Instantly feel a deep sense of foreboding because the slow setting blasts along at warp speed and looks quite threatening. I haven't had a heart attack yet so I turn it on the fast setting. Whimper. The things hasn't even touched me yet and I'm already afraid of it.
3. Tell myself to stop being a wuss and just get on with it.
4. Turn on the slow setting and (stupidly) start working on the area by my ankle.
5. After touching it to my skin, nearly hit the ceiling and immediately turn it off. Did it just cut me?! What the heck! It felt as if it cut me.
6. The shock wears off a little and I look at the skin. No, it didn't cut me, but there is a drop of blood from where it yanked out a hair. There are also razor burn-looking bumps too.
7. Take a picture of epilated spot and text it to my colleague. We had been joking that the movie name that would describe this event would be There Will Be Blood. There was indeed blood (albeit not a lot) so it seemed important to text the picture. She had wanted to know how everything turned out.
8. Go back and forth via text a little bit, being a total smart aleck. Think for a moment that it's really weird that I am texting my colleague a picture of my newly shorn leg on a Friday night. Don't normal people go out to dinner and a movie or something?
9. Plan to go back to the torture.
10. Get a phone call from R. just as I am beginning. Talk to him for a while. Mention that we were considering doing this as a party game and anyone who can stand it gets a prize. Then realize that it would probably be too germy for my slightly germophobic American ways and decide not to do it after all.
11. Finish phone call and get back to business. Wish I had been drinking some wine so it wouldn't be quite so painful.
12. Oh lawd is it painful.
13. Couldn't I at least have a bullet to bite to get through this? Seriously, how is it not cutting me but feels like it is?
14. Finish one leg. Oh, man. I have another leg to go.
15. Really wish that I had been drinking some wine.
16. Am a little smarter on leg #2 and do not start on the incredibly sensitive areas above my ankles first.
17. Power through leg two and even do the sensitive ankle-ish areas.
18. Really wish I had been drinking through this.
Several hours later, I tried to admire my (mostly) hairless legs but instead can't help but notice the redness and bumps from the procedure. I also notice that I need to moisturize.
I can't believe that I'm saying this, but I am curious about trying this again. Next time, though, There Will Be Wine.
HAHA!! I have an epilator as well, 2 actually! It DOES matter which one you have as the pain level can be different with the different models, believe it or not. I really like my Emjoi A-18 and it hurts a lot less than my Remington. The Remington can leave the feeling of slight electrocution while "shaving" and the Emjoi is much more subtle about it. The Emjoi, however, requires itself to be plugged in where the Remington has a battery pack. The Emjoi is good for big areas, the Remington is better for small areas. Pros and cons of each.
It helps to take a few Advil an hour beforehand and it does in fact get better. If you do it weekly, you may even be able to say it doesn't hurt at all after about week 2 and all you end up feeling is a tug. Those first few times though? Phew!
I think I'm going to take some wine an hour before next time. I was considering my next epilating session today. I think I have Stockholm Syndrome for epilation!
good review! i've always wondered about trying it but that sounds painful! Does it last longer than shaving?
I would say that, in a way, the results do last longer, at least in my limited experience. Since I'm only one cycle into using this, I could feel light stubble two days later because I am not sure if it grabs all the really short hair during the first session. However, my legs don't *look* hairy, which is awesome, and I don't plan to have anyone touching them, so I don't care about the stubble so much ;) Plus, I think that once I use the epilator through several different growth cycles, it will help. I'm not really a expert on this though so take it with a grain of salt. I *can* say that I'm not dreading the next time as much as I thought that I would.


Square Enix Forums > Games > Tomb Raider Series > Rise of the Tomb Raider > ROTTR - Technical Forum > How do I go back to my story save that was 99% completed.
View Full Version : How do I go back to my story save that was 99% completed.
Completed 99% of the story on Survival difficulty. Did everything except the Misguided Intelligence side mission because of the glitch.
Tried out the Expeditions mode a few times and quit out to the main menu.
Now, my continued save says 28% instead of 99%. When I continue the save, I'm at The Acropolis instead of where I last left off which is the base camp in Geothermal Valley after you complete the story.
When I go to the fast travel, the only areas available in the entire world map to travel to are 2 The Acropolis and Geothermal Valley. A played a little further to see what happens and now Flooded Archives is available in the world map along with only The Acropolis and Geothermal Valley.
How in the h3ll do I get my story save back that was at 99% or did I waste 55 hours of my life for nothing? When I tried to use the backup save, it said 28% Flooded Archives instead of 99% Geothermal Valley. What the heck? The Misguided Intelligence glitched and now it appears my save at 99% disappeared.
Had I have known that I would go through this much crap with this game, I would've A) not purchased the game or B) would've used the backup save option religiously like I normally would. Oh, wait. I forgot. Didn't use the backup save manually because there's an achievement for completing all tombs in one playthrough/save. Thanks a bunch.
Is there a way to get my story save back or did I get screwed?????????
Secondly, you can use multiple save slots to get that achievement you mentioned. I know because I did.


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text:
POLARIS MUSIC PRIZE: EXECUTIVE DIRECTOR
POSITION: Executive Director LOCATION: Toronto, Ontario is preferred POSITION DETAILS: Full time, Permanent WEBSITE: https://polarismusicprize.ca/ REPORTS...
POSITION: Executive Director
LOCATION: Toronto, Ontario is preferred
POSITION DETAILS: Full time, Permanent
WEBSITE: https://polarismusicprize.ca/
REPORTS TO: Board of Directors
DIRECT REPORTS: Communications Director, Bookkeeper, Auditor, Publicist, Event Staff,
The Polaris Music Prize (Polaris) is a not-for-profit organization that annually honours and rewards artists who produce Canadian music albums of distinction. A select panel of music critics judge and award the Prize without regard to musical genre or commercial popularity.
Polaris also hosts a Community Development Program, an artistic poster campaign and unique merchandise, a Heritage Prize, and additional partnerships and select show productions throughout the year.
The Polaris Community Development Program (CDP) is an initiative that seeks to support and develop the music community by eliminating barriers to access for engaged music creators, entrepreneurs and change makers with limited means.
Polaris is seeking a vigorous, visionary, inspirational, and forward-thinking Executive Director (ED). This is a unique opportunity to lead one of Canada's iconic music brands that impacts, influences, and inspires Canadian musical audiences and artists.
The ED will be a strategic leader who, with the Board and staff, will define Polaris' future priorities and goals. An effective "big picture" strategist and leader, the ED will take a consultative approach to evolve the vision of the Polaris for the future while celebrating the history of its positive impact.
You possess a passion for a broad range of music with a focus on independent music, authenticity, community, varied musical dialogues and conversations. You are a natural entrepreneur who possesses strong strategic skills and instincts with the vision, commitment to the mission, and energy to inspire support for Polaris Music Prize. You connect others in shared platforms and ideas to bring the organization forward to new heights, audiences, and fan bases – bridging diverse music audiences and inspiring new media generations to come.
You are driven to imagine and deliver new lines of business, partnerships, and revenue opportunities, and you will grow Polaris' strategic plan and goals with the addition of new and exciting ventures while ensuring financial sustainability.
The Executive Director must manage, mentor, and motivate a small but dedicated team in Toronto while representing and advocating for the Canadian music industry.
Be the public face and voice of the organization – a spokesperson, ambassador and advocate for artists with the music industry, funders, and public.
The ED is an entrepreneurial, administrative, strategic, and advocacy role that advances the vision, mission, and values of Polaris.
Ensure Polaris operates within its mission statement and strategic plan while setting revenue targets, policies, and organizational strategies to meet those goals.
Secure and steward major sponsors, partners, and donors in identifying opportunities for growth and funding.
Ensure the integrity of the Prize while maintaining high standards of transparency.
Continually monitor music industry (and other relevant cultural) developments and trends to help Polaris be a thought and change leader.
Oversee Polaris' operations to ensure efficiency, quality, service levels, and cost-effective management of resources.
Work with staff to ensure Polaris maintains its current programs and events, while fostering an entrepreneurial spirit throughout the organization.
Maintain and support a diverse, positive, results-oriented workplace culture with a unified vision and shared goals.
Recruit, lead, mentor, inspire, and retain a dedicated team.
Oversee the staff and HR planning of the organization; manage performance development, benefits administration, and employment agreements.
Oversee day-to-day activities with key staff, ensuring that projects are on track, deliverables are being met and that they are in keeping with Polaris' goals and mission.
Demonstrated authentic commitment to and proven track record of sensitivity to diversity, equity, and inclusion.
Ability and desire to create and support a safe and inclusive work environment.
Responsible for the overall financial stability and sustainability of Polaris, finding efficiencies and revenue opportunities.
Develop relationships and stewards with sponsors, funding bodies, and partners.
Work with Bookkeeper and Auditor on annual financial statements and report revenue to Board of Directors.
Meet with granting or funding bodies; prepare and submit funding applications as required.
Manage or oversee A/R and A/P.
Event & Jury Management
Create and set goals and priorities to expand viewership and audiences for annual events.
Develop and produce projects that enhance and grow the organization's profile and brand awareness throughout the year.
Work with venue and event staff, production, and contractors while ensuring that events and projects are executed to a high standard and within budget.
Liaise with artist management on performances for Polaris events.
Working with the Jury Foreperson, manage and oversee the Jury and voting process.
Ensure that the Jury selection and accompanying personnel are reflective of DEI (diversity, equity, and inclusion) representation.
Instill values of unbiased, journalistic integrity while fostering open artistic dialogues amongst a diverse range of jurors.
Responsible for Polaris' brand strategy and external marketing for public events and media relations.
Work with the Communications Director and publicity team on public statements, press releases, social media activity and initiatives and juror communications.
Oversee all PR communication while reflecting the core values and integrity of the Polaris Music Prize. while maintaining trust and confidence – use of sensitivity, mediation, facilitation, and problem solving required internally and externally in PR.
Problem solve and respond to juror, partner and/or public concerns in a timely fashion in accordance with the mission and values of Polaris.
Report directly to and communicate effectively with the Board Chair/full Board.
Work with Board and committees to ensure best practices are followed.
Provide strategic and administrative support to a very active and engaged Board of Directors and its committees.
CANDIDATE QUALIFICATIONS
Minimum five years of progressively senior management experience or leadership role in the music industry, cultural organization, or relevant not-for-profit sector.
A strong affinity for fundraising with proven ability to develop significant sponsorships and partnerships in creating revenue generation.
A proven, consistently effective "closer" – a goal-oriented pacesetter with a demonstrated ability to create momentum in pursuit of development goals.
Demonstrated track record of entrepreneurship and building a brand with success or growing the visibility, significant partnerships, and projects of an organization.
Experienced in creating and delivering a strategic plan.
Previous experience in music partnerships, management, label work, radio, digital, publicity, A&R, the live music sector or similar relevant background an asset.
A versatile, skilled and effective communicator with the ability to articulate the transformative power and impact of music on society.
Visionary strengths in addressing industry changes and developing opportunities to expand Polaris' brand and reach.
Experience in reporting to and working with a not-for-profit board is an asset.
Brings a passion and belief in Canadian music, its genres, peoples, politics, and issues.
Advanced level of public relations and communication abilities to effectively gain cooperation and buy-in of others, with credibility within the music sector.
Positive, constructive, attitude in all interactions with the Board, staff, partners, funders, supporters, and the public.
Knowledge and understanding of digital, social media, and media trends.
Effective budgeting and cost management skills. Financially literate and resourceful.
Leadership style that inspires and supports a culture of collaboration.
A team builder who has worked collaboratively and in strategic partnerships, project management or event production.
Excellent communication and presentation skills.
An undergraduate degree or experiential equivalent.
Bilingualism / ability to speak and write in French is an asset.
CANDIDATE ATTRIBUTES
A business- and media-savvy, strategic entrepreneur who can execute a creative vision.
A strong vision for the future of Polaris's mission, mandate, and values.
Passionate about the Polaris Music Prize mandate, brand, and mission.
Articulate, curious, and knowledgeable.
Well-informed and well-read. Forward-thinking and an awareness of cultural trends.
Possesses high-level critical judgement and is politically astute.
Dedicated to the principles of equal opportunity, cultural diversity, and broadening access to the arts.
A high-energy, strategic self-starter; creative, out-of-the-box thinker who is a fearless relationship-builder.
Ability to bring together people and relationships within various music and art communities in innovative and creative ways.
Drive and dedication toward a high degree of stakeholder satisfaction.
Emotionally mature with a strong "boardroom" presence, personal dynamism, excellent interpersonal skills, vision, and business acumen.
Open-minded, non-partisan and able to weigh issues with objectivity. Ability to be an active non-judgmental listener to diverse points of view.
Accountable with a strong sense of professionalism and integrity.
A belief in the integrity of artistic merit, authenticity, community, and connection that brings together music and art lovers.
Understands the day-to-day world of musicians, artists, and creatives.
Skilled at working with diverse individuals and teams in a culturally safe and sensitive manner.
A genuine commitment to support and grow an internal culture that values people and provides an opportunity for everyone to flourish.
A commitment to and demonstrated success in the areas of diversity, inclusion, accessibility, equity and harassment-free workplaces and an understanding of how this helps achieve more effective outcomes.
A competitive compensation package including base salary and benefits will be provided.
Please submit your application by end of day September 10th, 2021, by emailing your cover letter and résumé to: Polaris@searchlightpartnersgroup.com
Polaris Music Prize is an equal-opportunity employer and committed to fair and accessible employment practices. We are committed to building and maintaining an inclusive work environment that reflects the diversity of the audiences we serve.
We encourage applications from all qualified candidates and equity seeking groups, including from racialized persons/persons of colour, Indigenous persons, and persons with disabilities. Should you require accommodation during the application or hiring process, please contact polaris@searchlightpartnersgroup.com so that we may discuss your needs.
We thank applicants for their interest, however; only those advancing in the process will be contacted.


Patron: Okay good, the milk doesn't expire until the 24th. Thanks.
Posted under Library, Reference Question on Saturday, March 24th, 2012 at 7:37 am, by Brian Herzog. Post and comments available via the RSS 2.0 feed. Both comments and pings are currently closed.
OK, that's my new favorite.
Wish they were ALL this easy and helpful.
Another fine example for the longevity of libraries!
That's what happens when the phone company takes away the 'time lady' – now it's the librarian's job.
Eggs would have been more tricky! Bravo.


UPDATE: At the request of Sony Pictures Entertainment, the concept art was removed but you can still read a detailed description of the scene below!
Last week, Marc Webb revealed some extremely vague details about Shailene Woodley's deleted scenes as Mary Jane Watson in 'The Amazing Spider-Man 2'. He didn't go into much detail about what those scenes entailed, but instead he gave us a tiny taste of what could have been. Well, a new interview has emerged with a concept artist on the film that outlines one scene in its entirety.
"In the script MJ and her father have recently moved in next door to Peter and his Aunt… He's run into her a few times, and seen that her father has a habit of getting drunk and treating MJ badly. If I remember right, the scene I illustrated has her dad going into the garage, and suddenly getting hoisted upside down from the rafters….where he meets Spider-Man. And gets a dressing down for how badly he treats his daughter. I think that's about the only MJ scene which was originally in the script… no, there was one other where she and Gwen briefly meet outside Peter's house.There is a funny story to this too. After I finished the drawing, I had it on my desk as I moved on to something else. When I looked up there was this guy standing beside me, looking at the garage drawing, but he had it turned upside down. We exchanged 'Hi's' and he left. Later I heard a major discussion going on around the desk of the set designer who was drafting the garage, and the designer said 'It's all Greg Hill's fault.' Turns out the guy looking at my drawing was Marc Webb, and he had asked that the garage set be built upside down.
In my opinion, I'm glad that they cut this scene. As funny as it sounds, the important dynamic of 'The Amazing Spider-Man 2' was between Gwen and Peter. If Peter had swooped into MJ's life and defended her like this, it would have split his attention between the two girls. If that happened, no matter how briefly, then the film wouldn't have packed as much of an emotional punch as it did.
What do you think of this deleted scene from 'The Amazing Spider-Man 2' featuring Mary Jane Watson? Would you have liked to see those scenes that Shailene Woodley shot remain in the film? Do you hope that they at least appear on the home video release? Share your thoughts in the comments below.
'The Amazing Spider-Man 2′ starring Andrew Garfield, Emma Stone, Jamie Foxx, Dane DeHaan, Chris Cooper, Paul Giamatti, and Sally Field is in theaters now.


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Al Stewart - Original Albums collection - 5 CD Box Set
This five CD box set contains a quintet of albums from the Scottish singer/songwriter. Each album is housed in a mini LP sleeve. Includes the albums YEAR OF THE CAT, TIME PASSAGES, LOVE CHRONICLES, ZERO SHE FLIES and FIRST ALBUM (BEDSITTER IMAGES).
Dire Straits - The Broadcast Collection 1979-1992 - 5 CD Box Set
Bedsitter Images
1-1 Bedsitter Images 3:19
1-2 Swiss Cottage Manoeuvres 4:02
1-3 The Carmichaels 2:53
1-4 Scandinavian Girl 2:35
1-5 Pretty Golden Hair 3:40
1-6 Denise At 16 3:20
1-7 Samuel, Oh How You've Changed! 4:02
1-8 Cleave To Me 2:53
1-9 A Long Way Down From Stephanie 3:29
1-10 Ivich 4:27
1-11 Beleeka Doodle Day 7:00
Love Chronicles
2-1 In Brooklyn 3:41
2-2 Old Compton Street Blues 4:26
2-3 The Ballad Of Mary Foster 8:02
2-4 Life And Life Only 5:50
2-5 You Should Have Listened To Al 3:03
2-6 Love Chronicles 18:04
Zero She Flies
3-1 My Enemies Have Sweet Voices 5:14
3-2 Small Fruit Song 2:02
3-3 Gethsemane, Again 5:28
3-4 Burbling 3:20
3-5 Electric Los Angeles Sunset 3:48
3-6 Manuscript 4:45
3-7 Black Hill 1:23
3-8 Anna 1:47
3-9 Room Of Roots 3:52
3-10 Zero She Flies 5:36
4-1 Lord Grenville 5:06
4-2 On The Border 3:23
4-3 Midas Shadow 3:12
4-4 Sand In Your Shoes 3:05
4-5 If It Doesn't Come Naturally, Leave It 4:34
4-6 Flying Sorcery 4:23
4-7 Broadway Hotel 3:59
4-8 One Stage Before 4:42
4-9 Year Of The Cat 6:49
5-1 Time Passages 6:41
5-2 Valentina Way 4:04
5-3 Life In Dark Water 5:49
5-4 A Man For All Seasons 5:50
5-5 Almost Lucy 3:43
5-6 The Palace Of Versailles 5:20
5-7 Timeless Skies 3:36
5-8 Song On The Radio 6:22
5-9 End Of The Day 3:11
"This set comprises Al Stewart's first three albums (1967-70) and his two biggest hits (1976-78), so in some respects it is an odd sampling of his long and fruitful recording career. However, if you're only familiar with Al's hits of the 70s, this would be a fine and inexpensive way to hear his beginnings as one of the key figures in the 1960s British folk scene.
All of the discs are in cardboard replicas of the original LP sleeves, which are very nicely done. None of the discs contain any of the bonus tracks which have appeared on other editions of these CDs, but they are all from recent masters and sound great. The original US CD of "Year of the Cat" on Arista was one of the worst-sounding CDs of a major album ever released, and so if you have the misfortune of owning that edition, then you urgently need to upgrade!
The real prize here, though, which may interest those who already own an extensive library of Al Stewart recordings, is that this set includes Al's first album, "Bedsitter Images", in its original 1967 format with the original cover and track selection rather than that of the more common 1970 reissue. If, like me, you've never been willing to pay the astronomical prices commanded by the original British vinyl edition on the collectors market, here is your chance to have a nice replica of it, even including the original sleeve notes on the back cover. All in all, if this set interests you, you will probably find it to be a very worthwhile purchase.
Cynthia Bivens
Music from my childhood. Time Passages was the first 8 track tape that I ever had. My uncle gave it to me which makes it even more special. "Life in Dark Water" is one of my favorite songs. I've made sure that I've had this music with me in all forms for my whole life.
Bon Jovi - 10 CD Set


The RRU Diversity Action Group is pleased to open a call for original poems in recognition of the International Day for the Elimination of Racial Discrimination, which is observed annually on March 21.
All RRU students, alumni, staff, faculty and other members of the RRU community are invited to participate.
Original poems of 50-250 words are to focus on the elimination of all forms of discrimination. Poems will be shared at the Original Poetry Exhibit on March 21 11 a.m. to noon. Additionally, poems will be published on a public WordPress site.
On March 21, 1960, police killed 69 peaceful demonstrators in Sharpeville, South Africa, who were protesting apartheid laws. The International Day for the Elimination of Racial Discrimination provides an opportunity for us to use our voices to eliminate all forms of discrimination.
Email your original poem submission to Sophia Palahicky by March 4.
Here's what to include in your email submission. We suggest you copy this into the body of your email.
Let's use our voices and make a strong statement to eliminate all forms of discrimination!


Elizabeth Crane has written three collections of short stories and a novel, and she is currently at work on a memoir and screenplay. Her work is emotionally touching and usually quite witty. She recently took some time to speak with us on the phone from her home in Brooklyn.
I thought maybe you could just start by telling me about some of your current work or your upcoming work.
EC: I haven't had a book out since 2012— I say that like it's a long time ago, it's not really—yeah, I don't have any books coming out at the moment, although I am working on many and several projects at the same time. For a good long moment it has been another novel that I'm working on, and also a screenplay adaptation of my published novel.
That's really interesting, because one thing I wanted to talk about is that your first book was a book of short stories, and then the second one was more connected short stories, and then the most recent one was a novel. Do you feel like now that you've started writing novels, that's more what you're comfortable with, or more what you want to do?
EC: No! Not at all. I actually have another collection of short stories that I didn't really intend to put on hold, but it's essentially complete. But I started to write a short story to include in that collection, and it turned into this—what is now 175 pages. And I will say too that my novel happened kind of organically. The one that I did publish, I also thought it was going to be a short story, and it got long, so I went with it. I mean, I want to write more novels, but my heart absolutely will always love short stories. It's kind of whatever seems right at the moment.
So how did you know that this story that's turning into a novel was going to be a novel?
EC: Well... I didn't. At a certain point, when you have a certain number of pages; this definitely happened with the last novel, and with this one. And I don't know how many other people work this way—I suspect that people have degrees of planning better than I ever do. But in both cases, strangely enough, I got to a certain point where I had maybe even 30 pages, which is certainly a reasonable length for a story, even if it's long, but I was 30 pages in or 40 pages in and nowhere near finished telling the story I wanted to tell. So at that point—well, okay, maybe this is a novella! And then at 90 pages in, you're still not anywhere near done telling the story you want to tell. At that point, especially at the first one, I was kind of like well, I guess I have to commit to making this into a novel. Part of why I've hesitated to write novels before is that my previous experience with that has either been like I spent five years on a novel that didn't ultimately sell, or portions of a year working on novels that maybe I'd write 100 pages of, and it just wasn't working for whatever reason. It's definitely a different type of a time investment. So I was sort of resistant to investing time in a project that might not work out, where, you know, I really like short stories and I know I'm good at short stories!
Was it an adjustment then, just internally, to start thinking of yourself as a novelist, as opposed to a short story writer?
EC: Well, I still don't, honestly, I still don't! I would probably lean toward calling myself a short story writer, but really, I'm just a fiction writer right now. But then I say I'm a fiction writer and I also have a memoir that I'm trying to write.
EC: I've got a lot of projects, yeah. I mean, I'm really only actively working on two of them right now, but the idea is to... I have a second draft of a memoir, so it's not just an idea, it's something that actually exists, but is not anywhere near ready to go out into the world. So fiction is my thing, but categories are tough! "Writer" kind of takes care of it as far as I'm concerned.
Are you teaching now, too?
EC: I do, I teach at a low-residency master's program at the University of California, Riverside.
So you're living in New York, but this low- residency program makes it possible for you to teach in California?
EC: Yeah. I work at home, but then we have our residencies twice a year in Palm Springs.
EC: Two years in August.
And before that you were in Austin, right?
EC: We were in Austin for two years, Chicago for 13 years, but I'm from New York, so I lived here before that.
Do you feel like the city you're living in has an influence on your writing?
EC: Hmm. I feel like place always has an influence on my writing. Absolutely. Actually, a great portion of the subject of the memoir is how New York shaped me as a person. So I have 200 pages on that, so I can't necessarily sum it up! But yeah, I feel very affected by place, and that definitely comes through in my writing. I happen to really like where we're living in Brooklyn. I haven't really written about Brooklyn yet. I don't feel like I've been here long enough to really formulate whatever I might have to say about it. Sometimes the place where I live when I'm writing will emerge later. But I did write about Texas while I was living in Texas, but maybe that's because I was not as happy in Texas.
Oh, really! You know, we're based in Austin. Were you just not happy here, or did you not like Austin as a city?
EC: You know, I did like Austin, in a sort of a theoretical way. The people of Austin were so nice to me, we made friends, we had a nice lifestyle... I think part of it was being far away from family and friends. That was a pretty big part of it. There is a Texas kind of element to it. I mean, it just ultimately didn't feel like my place. I had a sort of detached appreciation for it rather than a real connection to it.
Sure, I can see that. But you feel like you have a connection to Brooklyn now?
EC: I do. I feel much more like that. It's sort of like—it reminds me a little bit of Chicago, and a little bit of what I did like of living in Manhattan. But with the low-keyness of Chicago.
You're teaching an MFA program right now. But you didn't do an MFA, right?
Do you wish that you had?
EC: Sometimes I do, definitely! I still think about it sometimes. Basically, the short answer to that is that by the time I started thinking about what it might be like to get an MFA, I was starting to publish. And I talked to other writers about it—some of whom had MFAs, some of whom didn't, some of whom taught— who were all basically sort of like "You probably don't need to." And that was over 10 years ago. Because I do know people now who are accomplished writers who are going to grad school, particularly low-residency programs. Which is something that I could conceivably do, but it would be very time-consuming at this point, not to mention financially... But yeah, I still think about it, because one of the things I think is great about an MFA program is the community you get, the time to write you get, and the feedback, which everyone needs. But I don't think you necessarily need to get that from a program. I think I get a lot of support from other writers that I know.
Who are some of the writers that made you want to be a writer?
EC: Well, I've been writing since I was a kid, so if you go back that far, it goes to a lot of kids' books. I've said a million times, Harriet the Spy was absolutely the one that was, you know, light bulbs went off. The Phantom Tollbooth, surreal things, dark things, whatever it was. When I got older, the people who really made a mark on me were David Foster Wallace, Lydia Davis, Lorrie Moore, Aimee Bender, George Saunders, Rick Moody, just a lot of people who were doing things that felt very much their own.
If you're inspired by people who make things their own, and obviously you have your own voice and your own style, how do you try to translate that to teaching? How do you try to inspire or influence your students?
EC: You know, the biggest thing is by getting them to read things that maybe they wouldn't have read otherwise. And primarily because that's the thing that has really changed my writing significantly, is just reading widely, reading things that inspire me. And that can be a time-consuming process, right? I just had a student yesterday who—I gave him a long list of books he needed to read, and Lydia Davis was among them, and he got really excited. And that makes me so happy! It's just sort of a long process that might or might not translate into a student's work quickly. But I know for sure that reading and writing—the two basic things—are the things I try to drum home again and again. I mean, we work on fine tuning and how to do that, and we talk a lot about craft, but it always comes back to those two things for me, really.
You don't have somebody giving you a list of books to read. How do you figure out what to read next?
EC: Well, I don't, but I do try to be aware of what's out there. You know, I'm on Facebook with a million writers, and they're always talking about books, and I find out about things that way. And then the last few years I've been a judge of [The Los Angeles Times Book Prizes], so we subscribe to Booklist, and we find out a lot of books that come out that way, and there are some older judges on the panel, so I'm reading some things that they suggest that I might never have heard of.
One last thing that I wanted to ask you about was the marketing of your books.
I've been considerably luckier with all of my books, really—well, maybe not my second one. That's a whole other story that I won't even go into. But in general, I feel like I've gotten a significant amount of press for my books, but then, you know, you see other people that get tons and tons of attention. So I don't ever really know why one book gets more attention than another, necessarily. But in the grand scheme of things I feel like, knowing how much the review coverage is changing these days, and how many fewer outlets there are for review coverage right now, I feel very lucky.
I guess I was also wondering how that works as a female writer, and if you feel like the type of press that you get, or the way that your books are presented, are different than they'd be if you were a man.
"So and so is in league with the guys!" That's the vibe that I pick up from that.


The Edge Restaurant and Bar is excited to offer a variety of Moscow Mules. The Colorado is our favorite not only because it is named after our beautiful state but is also made with Local Woody Creek Vodka, distilled right down the road.
We asked our head chef from The Edge, Jason DeBacker, to share the recipe for one of our favorite things on the menu, Biersuppe. View the recipe here or make a reservation and have him make it for you. Either way, you won't be disappointed!
Learn about how Chef DeBacker got his start in the kitchen, and see what his favorite item is on The Edge menu!


When a patient complains, what are they trying to achieve – an apology, a remedy, an expression of sympathy or empathy, accountability or just revenge? Jane Merivale, head of policy and technical at Dental Protection, looks at when financial redress can be the correct course of action.
It's fair to say that nobody likes to receive complaints, but our ability to respond to them constructively, and to learn any lessons that they provide for us, goes to the very heart of professionalism especially working in dental practice.
When the practice receives a complaint it must acknowledge the complaint not later than 3 working days after the day on which it was received. At the same time, an offer must be made to discuss with the patient the handling of the complaint and the likely period for the investigation and response.
Why would I want to draw attention to the practice complaints procedure? Surely that will encourage patients to sue me?


So Fidget Spinners seem to be everywhere you look these days! The kids love them and I have to admit that I was using one the other day and it is kind of fascinating to watch to see how long it spins (I'm definitely just a big kid!). I have several (and by several I mean many) students in my class interested in them so I decided to make a math problem using Fidget Spinners. As soon as my students saw the clipart images with Fidget Spinners they were hooked and excited about the activity!
Preparing this activity was super simple. I just printed the word problem page and made enough copies for each student in my class. I have 23 students in my kindergarten class this year. I also printed the Fidget Spinner images. In the download (found below) you will see there are 3 sets of 10 Fidget Spinner to a page. I gathered all of my copies and I was ready to go!
When presenting word problems to my students I always like to write the problem they are solving on chart paper so we can have a discussion about the problem. I wrote the problem on chart paper and we read the problem together. Then we talked about what they noticed in the problem. Having them share what they notice eventually leads into a discussion of how they are going to solve the problem. After discussing as a class I had a few students share how many Fidget Spinners they were going to give to their friend. We talked about how they would need to use the Fidget Spinners as the objects to subtract, how they should draw an "X" over the ones they are subtracting away, and how they needed to write an equation on their paper to represent the problem. I gave my students their materials and they were off to work!
I love doing open-ended word problems with my students! It shows them that there can be more than one answer to a problem and it's a great way to differentiate because students are in control of their own learning.
Ready for some Fidget Spinner Subtraction fun?! Just click the image below to download your FREE Fidget Spinner Subtraction word problem!


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How do you buy lottery syndicates?
How do I join a lottery syndicate?
Can you buy lotto syndicate online?
Are lottery syndicates worth it?
How do lottery syndicates make money?
How do you play Powerball syndicate?
What does syndicate mean?
Do you have to register a syndicate for the lottery?
What is syndicate Powerball?
How does System 7 Lotto work?
Are syndicates more likely to win?
What are the chances of winning the lottery in a syndicate?
How Do I Join A Lotto Syndicate? Joining a lotto Syndicate is easy – simply sign into your Oz Lotteries account, choose the lotto game you wish to play, and select the Syndicate option. If you haven't experienced the fun of playing lotto online yet – sign up at OzLotteries.com and get started!
It's online, it's fast and it's easy! Follow a few simple steps and you can purchase a syndicate for a chance to win from the draws of some of the biggest lotteries in the world. Syndicate entries are now available online with The Lottery Office for: USA Power Lotto (matching tickets purchased in US Powerball)
Lottery syndicates are, for sure, a great way to improve your chances of winning the lottery. … Huge jackpots are perfect for sharing with friends or co-workers, and syndicates offer the best chance for a lottery game plan with success.
People now typically form lottery syndicates with people they know, like co-workers or family members. Each member pays money to a syndicate organizer who is in charge of buying tickets each week and distributing any winnings. However, online lottery syndicates have gained plenty of traction in recent years.
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How does a Syndicate work in Powerball?
Buy a share in a Syndicate ticket online.
Once the other 9 shares have been filled, you'll receive an email containing your numbers.
If your numbers are chosen, every share in the Syndicate will receive an equal share of the winnings.
: a group of people or businesses that work together. : a group of people who are involved in organized crime. : a business that sells something (such as a piece of writing, comic strip, or photograph) to several different newspapers or magazines for publication at the same time : a business that syndicates something.
The syndicate manager will have to register as a player if they are buying tickets online, but for everyone else in the group the most important thing is to sign a syndicate agreement which sets out a formal structure for how you will play, as well as ensuring that winnings are tax-free.
What is a Powerball Syndicate ticket? Syndicates split up a large ticket to share the cost with other players. If the syndicate wins, the prizes are shared equally among the syndicate shares. You can buy multiple shares in a syndicate to increase your potential payout.
With a System ticket you can win multiple prizes with a single entry. For example, let's say you purchase a Saturday Lotto System 7 entry containing seven numbers 1, 2, 3, 4, 5, 6 and 7. The Winning Numbers drawn are 1, 2, 3, 10, 11 and 12 and the two Supplementary Numbers are 6 and 7.
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Some of the world's biggest lotteries have been won by Syndicate players. By splitting the cost of a ticket, participants have better odds at winning the larger prize. Not only do Syndicates increase your odds of winning, but they are more rewarding, interactive, and add a social element to playing the lottery.
Lottery Syndicate Calculator
Odds of Winning
Individual Purchasing Single Ticket
Syndicate of 10 Purchasing 10 Tickets*
5 + 2 1 in 139,838,160 1 in 13,983,816
5 + 1 1 in 6,991,908 1 in 699,191


Dominican University's Brennan School of Business has launched a new MBA course designed to provide students with the opportunity to develop their practical business skills and, equally as important, to gain a better understanding and appreciation of the university's history and mission. The new MBA Gateway Practicum, which is required of students following their completion of their foundation courses, covers the "how's" and "why's" that make a Dominican MBA unique in the Chicago market.
Earlier this month, 18 MBA students met for an immersive four-day program during which they tackled a real-world business challenge presented by executives of Bimbo Bakeries and visited the Motherhouse of the Sinsinawa Dominican Sisters, the university's founding order.
Before the program started, students received an intensive orientation to the university's library, where they were introduced to available business publications and the research tools they can use as they progress through the MBA program.
Students met with Bimbo representatives to learn about the company, which owns six of the top-12 bakery brands in the country, including Sara Lee, Brownberry and Entenmann's. Working in teams, each of which was monitored by a Brennan facilitator, the students then spent two days developing ideas for expanding the distribution of its product line.
As part of the preparation for their project, students traveled to local retail stores to meet with Bimbo representatives and to see how the company's products were positioned. Students talked with on-site employees and customers and several even contacted relatives—mothers, grandmothers and aunts—to gauge their bakery preferences. At the end of the second day, the teams presented to Bimbo executives their strategies for meeting the company's challenge. The teams' recommendations were evaluated by the executives, who offered valuable feedback and encouragement. In addition, the students received feedback on their team-building skills from Brennan facilitators.
On Saturday, the students traveled to the Motherhouse in Sinsinawa, Wisconsin where they learned about the history of the Dominican Sisters; the journey of Father Samuel Mazzuchelli, the founder of the Dominican Order; and shared personal insights about their own journeys.
"This program is specifically designed to show students the connection between our business school and the university's mission, which is infused throughout our curriculum. It's not enough for our students to graduate with strong business skills. We want them to understand what makes a Dominican MBA different—and that is the values that have been instilled by our Sisters," said Robert Curci, dean of the Brennan School of Business.
The MBA Gateway Practicum is part of a revision and revitalization of the AACSB-accredited Brennan MBA program. To expedite students' progress, foundation courses in accounting, statistics, management, finance and business law have been compressed into intensive, sequential one-credit formats. Subsequent three-credit core courses are rooted in experiential learning, and the capstone course is centered on applied strategic development, utilizing the knowledge and skills students have learned from previous courses.
An expanded electives program allows students to deepen their skills in seven highly marketable specialty areas—data analytics, health care administration, international business, accounting, finance, leadership, and marketing. Throughout the MBA program, students receive invaluable one-on-one career advising through a unique Executives-in-Residence program and many opportunities for study abroad.
These enhancements are intended to give students the important head start they need to become effective, ethical entrepreneurs and business leaders in today's rapidly changing global economy.


Two years ago, performance artist Signe Pierce and Alli Coates, an artist, screened a project called American Reflexxx. The premise was simple: Pierce was to don "stripper garb and a reflective mask" and saunter down a touristy part of Myrtle Beach, South Carolina. Only after the experiment was complete were they to communicate. What followed was a sobering—if not downright terrifying—example of how transphobia, transmisogyny, and misogyny fuel crowd mentality.
The video, which was released earlier this week on YouTube, is a tense 14-minute watch. Pedestrians are confused by Pierce's presence. Some immediately sexualize her and blatantly say they would "love to make love to you with that on" to her reflective masked face. Immediately, a woman off camera can be heard telling the man that Pierce isn't a woman. From there, transphobic slurs like "shim" are thrown at Pierce. Her gender is continually questioned as more and more tourists follow her. But Pierce remains silent the entire time, and instead rotates between sexually suggestive "feminine" poses and squared-off, forward-facing "masculine" ones. Only after the deeply unsettling climax does the crowd begin to back off—away from themselves, really, considering the mirrored mask.
Though conditions for the transgender community have improved in the two years since American Reflexxx was filmed, transphobia still exists. Misogyny, too, is still very real. What Pierce and Coates have done is create a complex commentary on both. At one point, a street preacher yells that God "will laugh at your calamity." He was speaking directly to Pierce at the time, but perhaps he was really speaking to us, the crowd. It's fascinating how inhumane humans can be.