The most common drug of abuse in adolescence, alcohol, is consumed primarily through binge drinking. The rapid rise in blood alcohol concentrations during binge drinking can cause alcohol intoxication. Treatment of alcohol intoxication and withdrawal in adolescents mimics that in adults. The main goals of treating acute alcohol intoxication are to ensure adequate respiration and to control associated agitation, nausea, and vomiting. The mainstay of therapy for acute alcohol withdrawal is benzodiazepines. Underage drinking, especially early initiation, can cause developmental problems that may continue into adulthood. Pharmacists can optimize the care of adolescents with alcohol poisoning by understanding the management of this prevalent condition.
In American teenagers, the most commonly abused drug is alcohol. An underage drinking epidemic is currently present, starting with elementary- and middle-school–aged children 9 to 13 years old and erupting during college. Underage drinking accounts for a significant amount of total alcohol consumption, with almost 20% of the alcohol consumed in the United States being by those under the age of 21 years.
When adolescents drink alcohol today, they consume a larger quantity with a clearer goal to "get drunk" versus earlier generations. The ingestion of large amounts of alcohol can lead to acute alcohol intoxication. Often toxicity is prevented because people pass out before they can ingest toxic amounts or vomiting eliminates the toxic contents.
Since 1975, there has been an increase of almost one-third (27%–36%) in the proportion of children who have begun drinking by 8th grade. Further, there is no longer a gender gap for alcohol consumption.[1,5] The results of community survey data revealed that by 8th grade, 51.7% of adolescents have tried alcohol, increasing to 80.3% by 12th grade.
Throughout adolescence and into adulthood, the brain continues to develop, producing important structural and functional changes as well as cognitive, emotional, and social maturation.[2,7] When the brain is exposed to ethanol during times of brain development, irreversible abnormalities in the function and structure of the brain may occur due to the vulnerability of the central nervous system (CNS) to alcohol's effects. Memory deficit, abnormalities in brain structure, and poor academic performance also may occur in adolescents who drink alcohol.
Alcohol use by an adolescent may lead to harmful consequences. The three top causes of teen deaths, accidents (traffic fatalities, drownings), suicide, and homicide, often involve alcohol use. Males aged 16 to 20 years who drove with a BAC of 0.08 g/dL were 52 times more likely to die in a single-vehicle crash than male drivers of the same age who were sober. Further, the primary source of adult alcoholism is teen drinking, with a four-fold increased rate of developing alcoholism if alcohol is initiated prior to the age of 15 compared to 21 years.
Acute alcohol ingestion can have other consequences as well. Respiratory depression is the most life-threatening respiratory problem. Aspiration, nausea, vomiting, diarrhea, acute alcoholic hepatitis, and pancreatitis may also occur.
Childhood psychopathology can predict adolescent alcohol use disorders with conduct disorder, attention-deficit/hyperactivity disorder (ADHD), anxiety disorders, and major depressive disorders being the most clinically relevant childhood mental disorders.
Several sociodemographic characteristics may influence adolescent alcohol involvement. Adolescents from single-parent families, lower socioeconomic status, or European American or Hispanic descent have higher levels of alcohol involvement.[2,5] Timing of maturation also influences early alcohol consumption. Compared to girls who mature on time or late, girls who mature early are significantly more advanced with the trajectories of initiating alcohol use and binge drinking. Additionally, adolescents who mature early and are affiliated with older or more deviant peers and those who have increased parent-adolescent conflict have accelerated alcohol involvement.
Symptoms of acute alcohol intoxication include abdominal pain, nausea, vomiting, and, less frequently, jaundice, shivering, and fevers.
The Diagnostic and Statistical Manual of Mental Disorders, Fourth Edition, Text Revision (DSM-IV-TR) criteria for alcohol withdrawal (Table 1) involve the cessation of alcohol use with at least two qualifying symptoms causing clinically significant impairment in the absence of another causative agent or medical disorder.[8,10,11] Alcohol withdrawal syndrome features may begin to occur within 6 to 48 hours of the last alcoholic beverage and diminish over 24 to 48 hours.[9,10] The initial symptoms of withdrawal include sweating, agitation, tremor, headache, disorientation, difficulty concentrating, irritability, anxiety, nausea, and vomiting. Transient hallucinations may occur in more serious cases. In addition, the first 24 hours of alcohol withdrawal may be accompanied by seizures in up to 25% of cases. It generally takes 2 to 3 days after the cessation of drinking for delirium to develop, which lasts 48 to 72 hours. Known as delirium tremens, this is the most serious and intense alcohol withdrawal syndrome. Severe agitation, persistent hallucinations, disorientation, tremor, and extreme tachycardia, tachypnea, and hypertension may occur as a result of delirium tremens.
The Clinical Institute of Withdrawal Assessment for Alcohol, revised (CIWA-Ar) may be performed to assess for alcohol withdrawal and the need for benzodiazepine therapy.[9,12] It has well-documented validity, reliability, and reproducibility. A high CIWA-Ar score is predictive of seizure or delirium development.
Due to the commonality of alcohol abuse during adolescence, it is important to be familiar with the treatment options to relieve alcohol withdrawal. Pharmacists should be well informed about the management of acute alcohol poisoning in adolescents to facilitate and optimize timely and appropriate patient care.
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I'd like to wish everyone a safe and happy new years eve!!! I'll be celebrating in Raleigh tonight with friends. Every year Raleigh does an Acorn drop (similar to the big ball drop in New York except on a smaller North Carolina scale) and thousands flock to Raleigh to stand in the freezing cold for the count down. We will not be among them. Instead we will pregame with wine cocktails in a warm apartment and head to a bar for midnight festivities! No matter how you spend your holiday - keep warm and keep safe!
10. 9. 8. 7. 6. 5. 4. 3. 2. 1. Happy New Year!


help.linkresearchtools.comLinkResearchTools Online ManualsLink Detox - Step by Step Guide Frequently Asked Questions What is the site-wide filter?
What is the site-wide filter?
When you are on a website, you often see a header or a footer that is visible on all the subpages of the website. This is usually where you find sitewide links.
Our sitewide Links-Filter is a filter that removes a huge number of links from a certain domain to not skew the results.
In the Link Detox tool, the filter is set to 5 by default. This means if you have a sitewide link from a domain, with e.g. a thousand sub-pages, the sitewide filter will remove 995 of those subpage-links from the report and keep only 5.
Therefore, we manage to present better statistics from the link data we crawl. Being linked a thousand times from thousand sub-pages simply doesn't equate a thousand links. By showing and calculating the strongest 5 sub-pages for such sitewide links we weigh them in our calculation, but not to the extent as you find it in other tools where every single sub-page link is counted.
The sitewide link filter thereby results in lower absolute link counts as compared to other tools or huge link list uploads.
This reduction in links is to your advantage as you see a more realistic picture of your backlink profile.
In tools like QBL and BLP this filter can be disabled (at the cost of longer processing and sometimes heavily skewed statistics).
Prev: Do I have to disavow domain:www.example.com or is it enough to disavow domain:example.com to disavow all subdomains?
Next: Why does the layout in Link Detox Screener look broken?
6.1 Is disavowing links enough? Some link removal and link deletion tool claim that it is required to remove links.
6.2 Can link sellers and spammers use your GOOD-ratings to trick you and pollute your system?
6.3 Can link sellers and spammers white-list their domains in Link Detox?
6.4 Are you confident that TOX3 links shall be removed. Some of them look quite nice?
6.5 How long does it take for disavowed links to take effect?
6.6 What is the sitewide links filter?
6.7 Which file formats can I upload for custom backlink and disavow files?
6.8 Is anybody able to access my ignored links?
6.9 Will Link Detox remove my bad links?
6.10 Should I remove all my links with medium or high DTOXRISK?
6.11 Can I tag, disavow and/or rate links more than just one link at once?
6.12 Do I need to buy a separate Pitchbox Account for the Outreach?
6.13 Whats wrong with an Google Search Console (GSC) backlinks upload?
6.14 My disavow export file is empty? What should I do?
6.15 Why do I see disavowed links although I did not upload any?
6.16 Do I have to disavow domain:www.example.com or is it enough to disavow domain:example.com to disavow all subdomains?
6.17 What is the site-wide filter?
6.18 Why does the layout in Link Detox Screener look broken?
Welcome to the step-by-step guide to your success with Link Detox.
Please read it carefully to unleash the full power of the new Link Detox Genesis algorithm.
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text:
News from the Department of Classical Studies at The Open University
Author Archives: Jan Haywood
Kassman Essay Prize 2020 – winners announced!
The John Stephen Kassman Memorial Essay prize is an annual award based on the income from a donation given by the late Alec Kassman in memory of his son. Alec was an Arts Faculty Staff Tutor in the London Region and a contributor to Classical Studies modules. The prize is open to all current Open University undergraduates, who are invited to submit a 3,000 word essay on any aspect of Greek and Roman antiquity.
We're delighted to announce that the winners of the 2020 John Stephen Kassman Memorial Essay prize and the titles of their essays are as follows:
First prize: Steven Vitale, 'The Case of the Missing Toponym: A Reinterpretation of the Archaeological Evidence at Iron Age Lefkandi'
Second prize: Patrick Bell, 'Plague and pandemic; echoes down the ages'
Third prize: Lisa Fortescue-Poole, 'The Metamorphosis of Pygmalion – scientists and sex-robots: the re-creation of Ovid's myth in contemporary science fiction'
We asked each of our prize-winners to tell us a bit about their essays and about their OU study journey so far:
Steven: 'I am in the second year of my studies with the Open University, on track toward a BA in Classical Studies. Though I have a university education in science, this is my first formal opportunity to study the Arts and Humanities, my first time studying through a distance learning program, and my first time studying with a British University. I grew up, and still live, in the United States where distance learning is not popular (present pandemic circumstances excluded) and there is no real alternative to a traditional, residential learning experience for a field such as Classical Studies. The program offered by the Open University is ideal as I can perform my studies interleaved between the responsibilities of work and parenting. I hope in the future to be able to combine my background in science with my study of the classical world to be able to answer archaeological and art historical questions through advancements in forensic technologies.
My Kassman essay addresses a problem I find personally vexing. Lefkandi is an Iron Age settlement on Euboea, Greece, which has been the subject of excavation from the 1960's through the present day. The archaeological evidence at Lefkandi is extraordinary for its period, including gold jewelry, valuable foreign imports, and monumental architecture. It is not an overstatement that Lefkandi has re-written the previous understanding of a depopulated and impoverished Greek "Dark Ages." The problem is: this apparently important settlement is no where attested in ancient sources. Lefkandi is a modern name. How can it be that the wealthiest city of the Greek Iron Age has completely disappeared from ancient texts? In my essay I suggest this apparent mystery is due to a misinterpretation of the archaeology. One can show that essentially all of the extraordinary finds are concentrated in one location on the edge of the excavated area, which likely represents a cemetery and ritual centre for wealthy landholders whose estates were distributed throughout the Lelantine Plain. The remainder of the settlement is actually not so remarkable and could plausibly have been ignored by history.'
Lefkandi centaur, from Lefkandi I. The Iron Age. Text. The Settlement
Patrick: 'My OU studies in classics represent longstanding unfinished business. At school in the 1960s opting for science subjects meant dropping Latin and much else. My interest in classics was kept alive as I encountered all sorts of connections whilst studying and later practising medicine. When retirement came 4 years ago, embarking on a BA in Classical Studies was an easy choice. It turned out to be a great experience, not least because of uniformly excellent tuition and support. I completed my degree earlier this year and, when the final assessment was cancelled, had time to enter the Kassman Essay Prize.
In the year of coronavirus I used the benefit of a medical background to examine how ancient Greek literary sources dealt with plague. It soon became clear from the chosen sources, Homer's Iliad, Sophocles' Oedipus the King and Thucydides' History, that the attitudes and responses of the ancients are still relevant today. Specifically we see the same mistakes being made: explaining events in entirely irrational ways, indulging in a toxic blame culture and avoiding difficult political decisions.
I have taken a break from OU studies since the summer, but have been recruited by my old medical school in Belfast to deliver a talk on 'The Legacy of the Classics in Medicine' in one of our undergraduate special study modules. I hope there may be other opportunities to demonstrate the importance of classics to the next generation of doctors.'
Plague in an Ancient City, Michiel Sweerts, c. 1652–1654
Lisa: 'I am currently in my final year of a Classical Studies degree with the Open University, pursuing a lifelong passion. In my first careers interview at school, I said I wanted to be an archaeologist and despite being an English teacher for twenty-five years, I still think there's time!
I began the course very much focused on ancient Greece, having lived and worked in Greece as a teacher many years ago. I found, however, that the course introduced me to the wonders of Rome, which I am now equally passionate about in terms of Ancient History. My personal area of interest are the constructions of narratives: whether Homer, Ovid or Augustus, the inclusions and omissions, the focus and purpose of each construction. Fascinating too, and connected to this, is the use of myth and its modification in everyday contemporary society.
Inspired by Paula James' discussion of Pygmalion in Buffy the Vampire Slayer in A330 and being an avid fan of contemporary science fiction film, it occurred to me I had seen this myth rendered more darkly and this provided the basis for my essay. I have recently seen another area: video games, which also explores classical history and myth, namely Assassin's Creed. Time allowing, I will pursue this; it does involve playing video games, too, another hobby! It's fascinating how strikingly relevant classic is.'
The evolution of Pygmalion in Blade Runner 2049
Congratulations to the winners, and thank you to everyone who entered the competition – we really enjoyed reading all your essays!
This entry was posted in People, Undergraduate student profiles and tagged Kassman prize on December 4, 2020 by Jan Haywood.
Herodotus Helpline
In this blog post, Dr Jan Haywood reflects on the first series of the newly instituted Herodotus Helpline – an online seminar series freely available to all.
Over the last few months, I have been working with Tom Harrison at St Andrews University on a weekly seminar series entitled Herodotus Helpline. The idea came about at the beginning of lockdown – as a way for colleagues to come together and share research ideas, but also to foster the sense of a scholarly community at what was a very difficult time for all! While the title of the series might suggest a narrow focus on Herodotean studies, our hope was that the figure of Herodotus would be read by all as a symbol of omnivorous intellectual discovery, thus attracting those with research interests in the wider Greek world, Near East, Egypt, etc.
Image by Karin Eremia. Please visit her website at www.karineremia.com
The series has since run every Wednesday, at 6pm GMT, and has attracted a huge variety of participants from across the globe (typically 40-60 individuals attend each week). So we have had people calling in from New Zealand, Ghana, South Africa, Brazil, Israel, USA, as well as across different parts of Europe (notably Italy, Greece and the UK). Topics have ranged from exploring individual chapters of Herodotus' Histories to much broader assessments that encompass his understanding of the rule of law and the reception of his Histories in modern English-language poetry. All presentations have been followed by group discussion, which, as all attendees are encouraged in the strongest terms, should be purposeful, open and constructive.
I'm delighted to add that many of these presentations were also recorded, and are freely accessible on our YouTube channel. As you will see, all recordings have been accessed many times already (one more than 650 times!).
As we break for the summer recess, the first edition of the series has now come to a close. But rest assured: we have lined up a full suite of seminars, workshops, lectures and other events for the 2020-2021 academic year. There are also plans for publications taking shape – and talk is even afoot about a limited range of Herodotus Helpline merchandise!
Herodotus Helpline is and will always be for everyone. It is open to all.
Join our circulation list by writing to herodotushelpline@gmail.com
Follow us on Twitter @HdtHelpline.
Join our facebook group.
This entry was posted in Ideas, Outreach and Engagement, Research on July 28, 2020 by Jan Haywood.
A Classical Studies Talk at HMP Stafford
In this blog post, one of our Classical Studies PhD students, Kim Pratt, shares her recent experience of visiting a prison to give a talk to OU and other students.
On 13 November 2019 I took part in the latest round of the OU Research Events in Prisons. The scheme has been running since April 2018 in two prisons in The West Midlands – HMP Oakwood (near Wolverhampton) and HMP Stafford – and is open to both staff and PhD students at The Open University.
There was one other speaker with me on the day: Jess, a third and final year full-time PhD student in inclusive research and citizen science with the Institute of Educational Technology at the OU. As the talks were scheduled to start at 1.30 we arranged to meet Dr Shaun McMann, the manager of the Students in Secure Environments Team (SiSE), at 1pm to give time to get through security which, of course, is very tight. We weren't allowed to take in any electrical appliances, memory sticks or mobile phones, all of which had to be left either in small lockers or in the office at the entrance. Even our PowerPoint presentations had to be emailed to Shaun in advance for him to send directly to the prison in time for our arrival. Our chaperone for the day was the sessional education contact, Liz Holland, who escorted us through many locked doors and gates across various outdoor quads to the education block and the room where we were to give our presentations. Here we met the attendees, including one named DJ, who was studying for a Classical Studies degree. He is at Stage 2 in a six-year part-time degree and had just started learning Ancient Greek, having already taken a module in Latin.
I was the first speaker and even though I had practised quite a few times, I admit, I did feel rather nervous when I began. The presentations are about 30-45 minutes long followed by a Q&A session but up until that time I had only given one three-minute lightning talk in January 2019, and although that was at an international conference with a large audience, the length of this presentation seemed rather daunting. However, everyone was very attentive and seemed to be enjoying the talk and I gradually became more relaxed. I felt particularly at ease when it came to the Q&A session at the end when I got to really engage with my audience. This really surprised me as it is a part I usually dread in case I can't answer or indeed even understand what is being asked.
The title of my talk was 'Why Classics?' but because I have realised in the past that, surprisingly, quite a lot of people don't really know what the subject is, I began with a brief explanation of 'What is Classics?'. I then gave a few 'fun facts' about how we encounter the classical world in some way every day. When I started writing my, talk I got in touch with Emma Bridges for advice as she is now the Public Engagement Fellow at the Institute of Classical Studies. She very kindly sent me a copy of a talk she had done recently to help with any ideas. She also suggested I include a bit about my own experience of how I came to be studying Classical Studies. This very helpful piece of advice was reiterated by my supervisors, Jo Paul and Peg Katritzky, at my next supervisor meeting. I explained how my first experience of studying Classics was in my (brilliant) primary school at the age of seven but that I didn't get to pursue it further until I started my degree with the OU – many, many, years later. I ended this section with a brief description of my thesis which examines the 'otherness' of monsters. In this research I will be questioning what it is, other than appearance, that makes them monsters; I compare their actions with the heroes and gods, concentrating on an in-depth study of the Cyclops, Polyphemus, and Frankenstein's 'creature'.
It was clear, both on the day and from feedback that Shaun has received since, that both talks went down very well and everyone thoroughly enjoyed the day – I know I certainly did! The audience's questions were intelligent and numerous and clearly showed they had been listening intently. I even had quite a few people come up and talk to me about it during the coffee break including one person who told me that he had always loved the story of Polyphemus and often used to tell it a long time ago when he was teaching but that I had now made him question his idea of Odysseus as the conquering hero! I thought this was a great response as not only is that the essence of my thesis but also because a main theme of my talk was how Classical Studies makes you think.
Jess's research uses creative research methods to engage adults with learning difficulties in citizen science with the aim of identifying their capacity to engage, and the levels of support needed to engage this community, in a field they were previously excluded from. It turned out that a few of the attendees described themselves as having learning difficulties so her presentation had particular resonance with them.
There is a thriving OU community at both prisons, but the events are also open to non-OU students and are popular with both, usually attracting about fifteen to twenty attendees. At the session I went to, there were fifteen, six of whom were not yet studying although some were planning on starting in February 2020 and one who had already got a degree in Classics 'a long time ago'. Anyone who is studying is registered for a six-year part-time degree and, in the group who attended at Stafford, there were three at Stage 1 (first/second year), four at Stage 2 (third/fourth year) and one at Stage 3 (fifth/sixth year). The students were studying a range of subjects: Business Studies, Social Science, International Studies, Creative Writing, Arts and Humanities, Science, and of course Classical Studies. So, in both academic terms and personality they were a very diverse and committed group.
All too soon, we were saying goodbye, and Liz was taking us back through all the locked doors and gates to the front office and locker room where we collected our belongings. The whole thing was an amazing and rewarding experience which I plan to repeat, hopefully more than once, during the next five years of my PhD – and I thoroughly recommend others to do the same!
This entry was posted in Outreach and Engagement, PhD on January 24, 2020 by Jan Haywood.
Book launch event in honour of John K. Davies
This Monday saw the festive gathering of UK and international colleagues at the Victoria Gallery & Museum, University of Liverpool. This event heralded the publication of a book I recently co-edited with Dr. Zosia Archibald in honour of the Ancient Historian John K. Davies (Emeritus Rathbone Professor of Ancient History and Classical Archaeology at the University of Liverpool), The Power of Individual and Community in Ancient Athens and Beyond.
The event was officially launched by the current Rathbone chair, Professor Lin Foxhall, who reflected on the major influence that John had made at the beginning of her own career. Following this, Dame Janet Beer, the Vice-Chancellor of the University of Liverpool, addressed all those present, congratulating John on his significant achievements in the field, and thanking him for the important contributions that he made to the institutional environment at the University of Liverpool.
Dame Janet Beer addresses John and all those gathered
Following this, John spoke for some twenty minutes on growing up in Cardiff, his early encounters with the ancient world (for example, at the old Corbridge museum at Hadrian's Wall when he was 15 years old), and his various undertakings since his retirement in 2003. Indeed, John has remained an active member of the scholarly community, delivering the opening or closing address at a number of major conferences, as well as taking up myriad fellowships and residencies in various European institutions. John ended his reflections by issuing a warm encouragement to all those in the field that have 'so stimulating a challenge' in front of them.
John K. Davies delivering his speech of thanks
Following lengthy applause for John, all involved proceeded to the Leggate Lecture Theatre, where we were treated to a very special guest lecture by the Wykeham Professor of Ancient History at Oxford University, Nino Luraghi, who spoke on 'The Peloponnesian Peace: Thucydides and the Ideology of the Peace of Nikias'. Professor Luraghi delivered a highly engaging paper that took in many passages from Thucydides' History, several of the comic playwright Aristophanes' plays, as well as certain edifying passages from the Life of Aristeides, written by the first-second century CE biographer Plutarch. The evening closed with a series of more informal celebrations, including a drinks reception.
Guests gather to celebrate John's career at the Victoria Gallery & Museum, University of Liverpool
But things did not end there, however; on the following day, John, Zosia and I reconvened to discuss in more depth John's intellectual approach as an historian of the ancient world, Zosia and John's shared research interests in Hellenistic economies, and our thoughts on the future direction of the discipline. A special video recording of our discussion will soon be made available on the website Classics Confidential.
In sum, this event was a marvellous celebration of a scholar who has inspired countless students, and who as a researcher has continued to play a leading role in the field for more than four decades.
This entry was posted in Conferences, People, Publications on May 2, 2019 by Jan Haywood.
Opening Up Classical Studies – ACE Event For Schools
We are pleased to announce a rescheduled date for our livestreamed Classical Studies event for schools, hosted by the Open University and the Advocating Classics Education project. This event will be held on 1st April from 1pm-4pm.
We invite you to join us for a live and interactive online broadcast in which you can learn more about Greek drama, listen to an interview with Professor Edith Hall about her recent book Aristotle's Way and the relevance of Aristotelian philosophy in the modern world, and join in a discussion of ancient religion and votive objects. There will also be a Q&A session for teachers interested in developing the provision of classical civilisation in their schools.
If you would like to get involved, please find our more here, or email us for full information (Jan.Haywood@open.ac.uk or Christine.Plastow@open.ac.uk).
This entry was posted in Outreach and Engagement on February 13, 2019 by Jan Haywood.
Classical Encounters
Last summer, we ran a blog post that included some suggestions from colleagues in Classical Studies for classically-themed 'days out' in the UK; this year, we thought we'd catch up with a few colleagues on their 'classical' adventures over the summer vacation. So, as the nights begin to draw in, we look back at some of our recent encounters with the classical world through archaeological sites, theatre, films, and more. We'd love to hear about your recent classical encounters too … why not tweet us over at @OU_Classics?
Eleanor Betts
I've meant to visit Tuscany for years, and finally made it this summer. If you haven't visited, do! First, I was digging on the Albagino Sacred Lake Project. Beautiful location for an excavation, despite the mosquitoes!
The Albagino Sacred Lake Project
Aside from trowelling clay, my role was to make a phenomenological survey of the site. Why were people in the middle of the first millenium BCE leaving bronze figurines in the countryside? We recorded the sights, sounds, temperatures, birds and beasts in and around Albagino. Our working hypothesis is that people travelling between Prato and Marzabotto may have passed through Albagino, taking advantage of the fresh water and ample provisions there.
After the dig I made a whistle-stop tour of Tuscany. My first, and favourite, stopping place was Volterra … where I found this chap:
Replica of an Etruscan votive figurine
Votives aside, Volterra was one of the significant settlements of Etruria, and is well worth a visit. Enjoy the archaeological museum, Palazzo Priori and wandering the town's medieval streets. From there I went to Vetulonia (3rd– 2nd century BCE), which has another lovely archaeological museum and the best basalt street I've seen outside Rome!
Most of what we know about the Etruscans is from their tombs. Each place has its own character, suggesting localised beliefs and practices. I visited Volterra, Vetulonia, Populonia, Chiusi, Tarquinia, Orvieto and Cerveteri, and can recommend them all. I found the house tombs at Crocofisso del Tufa (Orvieto) and Cerveteri the most resonant. Going inside any of these tombs feels like walking into someone's house – and they're homely! Oh, and Tarquinia has amazing painted tombs, such as the Tomb of Hunting and Fishing (Tomba della Caccia e della Pesca).
The Tomb of Hunting and Fishing
Elton Barker
I confess: I'm not much of a theatre-goer, even though I love (and research) Greek tragedy. I much prefer cinema, perhaps because it comes with less class baggage. But this trip to see a staging of Sophocles's Electra at the end of August was going to be different, since the play was being performed outside in a semi-circular theatrical space (thus appealing to my classical sensibilities) in the forest that overlooks Greece's second city, Thessaloniki.
In a word: Wow. This adaptation by the National Theatre of Greece (under the direction of Thanos Papakonstantinos) was something else! At one level, it appeared quite traditional: the play wasn't located in a contemporary setting; the costumes were simple, bordering on the stylised; it used music throughout; the chorus sung *and* danced; the text wasn't excised or adapted in any way (other than it being the modern Greek translation). But it was like nothing else I had seen. As you'll see from the photographs, the stage was stark in its simplicity, an effect that was further amplified by the simple, almost abstract costuming of all the actors. Not only did this help focus attention on the gestures, movement and interactions of the actors; it also helped to defamiliarise the action and detach it from any particular setting, whether classical or modern. This is something, I think, that Greek tragedy generally manages to do: that is, to speak to audiences not bound by space or time. But one costume did possibly have a contemporary resonance: the clothing of the chorus seemed to me to be a pristine white version of the clothing worn by the handmaids in renowned TV adaptation of Margaret Atwood's Handmaid's Tale.
Electra reachers out to her sister Chrysothemis
Controlled and in control, this was a chorus of and for our time, gaining power through their collective action. A *spoiler alert* #metoo movement. Unlike every other chorus I've ever seen, this chorus sung and chanted in metre throughout in unison. They also moved as one, like polished mannequins, often with minimal gesture of forefinger touching the thumb, like a Greek orthodox Christ blessing his congregation. Then, as the play hurtles towards its terrifying climax (the matricide; the forever deferred murder of Aegisthus), they transform, as Electra's hatred and bitterness finally comes to affect and infect them. They transform, indeed, into those terrifying presences who are notably (notoriously) absent from Sophocles's play. As this performance made real what is only ever hinted at in the text, the chorus take up Electra's murderous, blood-curdling calls for her brother to strike down her mother, for vengeance to strike down Aegisthus, by transforming into screaming, writhing Erinyes (the Furies). This wasn't so much a tragedy as a full-on horror show. It was, quite simply, thrilling and has stayed with me, goading me to think and to respond, ever since.
Electra and the Chorus
Jan Haywood
Towards the end of the summer break I went to see an incredible new film by Zhao Ting entitled The Rider. The film tells the story of a hippophile named Brady, who recently suffered a major head injury after his horse fell on him while he was bronc riding at a rodeo event. As the film begins, we follow Brady's troubled road to recovery, and remain on tenterhooks throughout, wondering whether or not he will choose to ride again. Although the film bears no obvious resemblances to any specific source text from the ancient world, I found myself continually transported to the literature of classical antiquity; for instance, in one of several stunning sequences, Brady is shown wrangling a particularly stubborn horse, aptly named Apollo. The scene captures powerfully the profound trust between horse and human protagonist, who communicate with each other silently through a series of dance-like movements.
Brady comforts Apollo in The Rider
This kind of special devotion to and care for one's horse is deeply ingrained in ancient Greek culture; one only need think of Alexander the Great's famous steed Bucephalus who purportedly served the Macedonian King in several battles, or indeed the Trojan hero Achilles and his immortal horses, Balius and Xanthus, who, in Book 17 of the Iliad, weep at the sight of mutilated Patroclus. Watching the film, I was also reminded of the fourth century BCE Athenian writer Xenophon and his equestrian treatises, namely the Peri Hippikes ('On Horsemanship') and Hipparchicus ('The Cavalry Commander'). In the former of these two works especially, Xenophon includes precisely the kind of exacting details on how to achieve the 'best of himself and his horse in riding' that is so vividly depicted throughout the film's delicate, long takes of Brady and his beloved Apollo. So, a film that is not about equines in antiquity, but nonetheless one that lends itself to contemplation on the values of horsemanship that were deeply ingrained in the classical world.
Alexander and Bucephalus, detail from a Roman floor mosaic, Pompeii
Jessica Hughes
This summer I continued my travels around the sacred sites of Campania, this time exploring the regions of Cilento and Vallo di Diano. It was a wonderful trip, and now – back in England as the autumn leaves turn gold and brown – my mind keeps returning to one place in particular: the Early Christian baptistery of San Giovanni in Fonte, which is located just a few hundred metres from the Charterhouse ('Certosa') of San Martino in Padula. I'm sharing some video footage that I took at the site, which is thought to have been built on top of an earlier Roman site, perhaps a nymphaeum. In this short sequence, you can see the spring water which the sixth-century writer Cassiodorus described as "a marvellous fountain, full and fresh, and of such transparent clearness that when you look through it you think you are looking through air alone" (Variae 8.33). The camera then moves into the interior of the building, towards the huge 'font' in which those receiving baptism may have been fully immersed. You'll get a brief glimpse of some fragmentary frescoes of Saints, which have been dated to the tenth century, and which may originally have surrounded an image of Jesus. I love the way that the water casts its dappled reflections on the ceiling – and I can't wait to visit this 'marvellous fountain' again in the winter.
This entry was posted in Ideas on October 8, 2018 by Jan Haywood.
(Don't) judge a book by its cover
This blogpost by Elton Barker was originally posted on the blog Sententiae Antiquae, and republished here with minor alterations.
As some of you on the Twitterverse may have seen, all this month @OU_Classics has been celebrating the books that members of the department have published over the past few years. This has been a great way to find out what colleagues spend their "spare" time on, as well as to enjoy how the books look and to speculate on the choice of image—that arboreal skeletal hand gripping E-J's book Death Embodied, for example, or the implied dialogue between Aristotle and Homer in Jan's Homer's Iliad and the Trojan War.
When my own book on debate in Homer, historiography and tragedy was tweeted, I was reminded of a couple of things about the title: specifically why I had chosen to treat those genres in that order (wouldn't historiography have been better discussed after tragedy?), and my then students' game, when Google was just becoming a thing, of typing "Entering the Agon" into the search box and returning the result "Do you mean Enter the Dragon?". But it also got me thinking about my choice of cover …
With the possible exception of writing acknowledgements, I find choosing a cover image for a book arguably the most pleasurable, and most difficult, of the final tasks that needs accomplishing before I can happily pack off my manuscript on its merry way to the press. Even if we are told otherwise (in the famous axiom not to judge a book by its cover), how a book looks can play a decisive role in its purchase; after the subject matter and author, it's the one thing that may determine whether I buy book a book or not. If I look on my bookshelves, for example, the dust jackets that stand out for me are: the famous image (from the so-called François vase) of Ajax carrying the dead body of Achilles that emblazons Greg Nagy's 1979 classic The Best of the Achaeans (and Michael Lynn-George's equally ground-breaking Homeric criticism Epos: Word, Narrative and the Iliad); the contemplative Regarding Penelope by Nancy Felson; the highly wrought, yet seductive, Medea of James Clauss and Sarah Iles Johnston; the satirical depiction of famous classicists playing characters from Aristophanes (!) on Martin Revermann's Comic Business; and the striking pose of Gertrude Eysoldt captured in the role of Electra that advertises Simon Goldhill's Who Needs Greek?. The arresting contemporary nature of this image (though the photograph dates back to 1903) hints at Goldhill's thesis of the continuing legacy of Victorian attitudes to, and contests over, the Classics that shape and inform our own implicated relationship with the subject.
As these examples suggest, aesthetic looks isn't the only desideratum when it comes to choosing a book cover. For sure we want something that looks good; but it's equally, if not more, important for that image to say something about the book itself (a picture is worth a thousand words, right?), though perhaps not in an obvious or straightforward way. Let me explore this issue by reflecting on my own choice of three covers that I've had the pleasure to be able to choose.
The image I chose for my first book—Entering the Agon: Dissent and authority in Homer, Historiography and Tragedy (Oxford, 2009)—is in many ways very traditional. It's the famous image (on the black-figure amphora by Exekias) of Achilles and Ajax playing dice. But it's an image that worked for me not only because of its beauty—though hats off here to the team at OUP who extended the pot's gleaming background (which sets off the black figures) to cover the entirety of the book's cover in a fiery golden afterglow. This image also spoke to my book's subject matter: namely, the idea of contest (agōn) and its representation in ancient Greek literature. In truth, I had a hard time finding an image that worked for me. I wanted some kind of ancient Greek artistic representation; perhaps because it was my first book (the "book of the thesis"), I felt it needed to be unambiguously classical. It should have been easy, right, to find an image from the whole corpus of ancient Greek ceramics, right? Wrong. I could find none of the scenes of debate in epic, history and tragedy, which were the core focus of my argument, that had been illustrated, not even—as one may have expected—the quarrel between Achilles and Agamemnon that starts off the Iliad with such a bang. There is a fresco, highly fragmented, from Pompeii's House of the Dioscuri (on exhibition at the National Archaeological museum in Naples), which shows Achilles going for his sword; and of course there are later Renaissance paintings depicting the quarrel (such as Giovanni Battista Gaulli's baroque rendering). But I could find none from the world of ancient Greek ceramics or friezes—perhaps because, as Robin Osborne pointed out to me, Greek artists simply were less interested in illustrating literary stories than in creating their own. (It is striking that the wall paintings from Pompeii *do* look like illustrations of early Greek literary narratives, including the moment Euripides's Medea ponders killing her children.) What Exekias's scene of gaming heroes gave me was a hint not only of the formalisation of contest, but also of the prominence of Achilles (who in my argument institutionalises contest in the arena of debate) and, moreover, of his pairing with Ajax (whose story in Sophocles's tragedy formed one of my chapters).
The second book I needed to choose an image for presented a rather different challenge. This was for an edited volume entitled: New Worlds out of Old Texts: Revisiting Ancient Space and Place (Oxford, 2016). The book derived from an interdisciplinary project that I had led called Hestia, which investigated representations of space and place in Herodotus, as well as the spatial construction underpinning his Histories. At the heart of the book was a discussion of the different disciplinary approaches that we undertook, spread over three chapters (which I co-authored with different team members), exploring: digital annotation and mapping (with Leif Isaksen and Jessica Ogden), geographical spatial theory (with Stefan Bouzarvoski), and philological close reading (with Chris Pelling). Our resulting book included other contributors working in this space (pardon the pun), who had presented at our conference in Oxford, and who, like our team, represented an array of disciplines—not only Classical Studies, but also archaeology, digital humanities, and the history of thought. The image I wanted, then, needed to respect these different disciplinary approaches while at the same time hinting at ways in which they might be combined and intertwined (for interdisciplinary research). And, of course, it needed to be in some way spatial, to suggest the complexity of trying to represent and unpick spatial entities and relations. A web-designer friend (a shout-out here to Richard Rowley of Agile Collective) put me on to London-based artist Emma McNally, whose work attempts to "portray essence not as substance… but rather as the result of a process of reciprocal determination, where individual lines, markings, and trajectories are brought to significance through their interrelations with those around them" (https://www.flickr.com/people/emmamcnally/). After getting her approval (she was very happy for us to use her work provided that she got a copy of our book: gold armour for bronze, as Homer would say!), I chose her scratches, traces, spaces. This work on graphite ("a medium that lends itself perfectly to [a] sort of rhythmic making and unmaking. It is a material for palimpsest": ibid) seemed to me to perfectly capture the spatial palimpsests that many of us were striving to reveal and more closely examine in our texts, while also being provocatively new and overtly relational. Emma later informed me that the very same artwork was used by Ridley Scott as a navigation map in his latest Alienprequel Convenant. If it's good enough for Ridley…!
All this brings me to the last image—the one that Joel had invited me to write about in the first place… Our book, Homer's Thebes, sets out to argue that the Iliad and Odyssey (mis)represent heroes and themes from the Theban tradition to set out and realise the unique superiority of these texts in performance. In arguing this, we are attempting to view the Homeric poems in a new light, by emphasizing a non-hierarchical model of "reading" them and the Epic Cycle together within the framework of oral-formulaic poetics and artistic rivalry. With this in mind, we wanted an image that suggested Homer in some way (epic poetry, heroes, etc.) but that wasn't a straightforward classical take on that. From a very early stage I was convinced that a cubist painting of some kind would work, with that central idea of taking something familiar (for us, reading Homer; for Homer's audience, the Troy story and the siege of Thebes) and, by viewing it from different perspectives, producing a radically different picture (a Troy story that emphasises internal conflict among the Achaeans, for instance). For me, cubist works echo the type of violent reception and adaptation that our book is about. But here we ran into a significant problem that meets anyone looking to reuse a contemporary image, whether that is a museum photograph of an ancient artefact or a modern painting in a gallery's collection: copyright. For all the cubist paintings that I could find that seemed to dialogue with our approach, the answer kept coming back from our publishers that we couldn't use them because of the copyright and/or the costs involved. Out went The Thebaid by Wyndham Lewis, along with his Composition; we fared no better with Barbara Hepworth's Two Heroes; we couldn't even use Le Poèteby Picasso, even though I had sourced it from Wikipedia.
Just as I was beginning to despair, and I thought that we would have to give up on this idea of a cubist-style makeover for our Homer, I had the inspiration to look for works by modern Greek artists. I knew that ever since the twentieth century, Greek writers and painters alike have been grappling with the problem of their country's complicated (and often times suffocating) classical legacy. And thus I had the fortune to come across the work of Nikos Engonopoulos. He's the painter most famous in Greece for revisiting classical themes in a distinct modern style (tending towards surrealism). Having found a number of post-classical images that I thought that we could use, I contacted the person responsible for his website and who owns the copyright to his works, his daughter Errietti Engonopoulou. Like Emma, Errietti could not have been more accommodating, and immediately allowed us to use a high-resolution image of the image that we decided on.
I present to you Engonopoulou's 1939 oil on canvas The poet and the muse. We hope that you like it as much as we do.
This entry was posted in Uncategorised on September 27, 2018 by Jan Haywood.
NEO: The Classics Students' Journal – Call for papers
The Classics students' journal NEO, founded in 2016, is now calling for papers for its second issue. For further information and guidance on the submission process, click here.
The 2017 issue of the journal (which can be downloaded here) includes a piece by former Open University Classical Studies student Ian Ramskill, whose paper 'Horace Odes 3.14: a pragmatic and welcome acceptance of the early Pax Augusta' started life back in 2014 as a prizewinning essay for the John Stephen Kassman Memorial Essay Prize. This is a competition which is open to all OU Classical Studies undergraduates. Look out for more details soon!
This entry was posted in Ideas and tagged Kassman prize on April 18, 2018 by Jan Haywood.
Rumours of our demise …
An article appeared in Thursday's Guardian (March 22) about proposed curriculum and staffing cuts at the Open University: https://www.theguardian.com/education/2018/mar/21/open-university-plans-major-cuts-to-number-of-staff-and-courses
There is an implication here that Classical Studies as a discipline is at risk or is being cut.
Despite what is said here, you can rest assured that there are NO plans whatsoever to axe Classical Studies at the OU. Our student numbers remain buoyant and we are recruiting to all modules and qualifications as normal. As part of a university-wide review of curriculum there is, indeed, a plan to remove A275 Reading Classical Greek following its 2019/20 presentation, i.e. a year earlier than was initially planned. But while this is regrettable, it's hardly something that the department was expecting to be front page news.
The VC has already publically rebutted the Guardian claims about Classical Studies and has reaffirmed his continued commitment to the discipline. So for now in the department, it is business as usual.
This entry was posted in Uncategorised on March 23, 2018 by Jan Haywood.
Kassman essay prize 2017 – winner announced!
In Classical Studies we have an annual essay competition. The John Stephen Kassman Memorial Essay prize is an annual award based on the income from a donation given by the late Alec Kassman in memory of his son. Alec was an Arts Faculty Staff Tutor in the London Region and a contributor to Classical Studies modules. The purpose of the prize is to develop and foster study of classical antiquity in the Open University.
We're delighted to announce that this year's winner is Ben Cassell.
Originally from North London, and now living in Wales, Ben has recently graduated with First Class Honours in Classical Studies after studying full time over three years at the Open University. Ben has now begun studying the MA in Classical Studies with the OU. He has previously been awarded the Sir Julian-Hodge Prize in 2014/15, the prize sponsored by Ede and Ravenscroft in 2016, and he was also the runner up for the J.S. Kassman Essay Prize last year.
Ben tells us: 'I have always had a keen interest in ancient and medieval history, being something cultivated in my childhood, but was drawn to studying Classics after reading Euripides and Aristophanes as well as Michael Scott's Delphi and Olympia: Spatial politics and pan-hellenism, a work that revolutionized my appreciation of Classics as a field of study.'
Ben's winning essay examined the monuments and iconography of fifth-century BCE Athens, exploring how they played a vital role in shaping Athenian identity in this period. The essay offered an analysis of the context and ideology of various iconographic schemes, such as the paintings in the Stoa Poikile and the metopes and friezes in the Hephaisteion (both in the Athenian agora), highlighting how monumental iconography in Athens was not simply a product of ethnic identity, but an essential medium for its enactment through memorisation.
The annual competition is open to all current OU undergraduates, with a notification date usually at the end of June, with submission at the end of September. This year's winner is keen to continue developing his interests in memory studies, inspired by prominent figures in the field such as Jan Assmann and Claude Calame. Ben says, 'My ambition is to work within the field of Classical Studies professionally … [looking at] the role of memory as a mechanism for cultivating identity, especially as relating to art, iconography and ritually consumed space.'
Many congratulations to Ben from everyone here at OU Classical Studies.
This entry was posted in Undergraduate student profiles and tagged Kassman prize on December 7, 2017 by Jan Haywood.
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Face to watch: Kim Sae-ron
Kim Sae-ron might be the most sought-after little girl in the biz right now. She was the center of Won Bin's attention for a whole movie's length (!), got to go on award-dates with him (!), and just finished a brief stint playing the younger version of Hwang Jung-eum's character in the weekend drama Can You Hear My Heart?
She was also born in 2000, which makes her an 11 year-old, disgustingly. What were you doing when you were 11? Oh what, you were getting ice cream all over your face? Decrying the agony of getting braces? Well, you lose to Kim Sae-ron.
Kim is one of those youngsters who are a joy to watch on-screen, because just like her adult counterparts, she brings a lot of warmth into her characters, and her acting belies her age. (Much like Yoo Seung-ho and Kim Soo-hyun do for their teenage characters.) She has the ability to transcend her 11 years, which is an admirable thing to do. When I watch her act, I get really emotionally attached to her characters and their problems, because they are vastly relatable to my own, despite our huge age difference.
Can't wait to see what this girl has lined up for herself–she's got a long career ahead of her.
Tags: Kim Sae-ron
I like angsty TV, pop bands, and can appreciate a good, non-creepy stare. I blog occasionally.
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The Con Woman's Empowerment in K-Drama and Films


Before joining Enness, Tomasz studied at leading institutions in Europe, Asia and the United States. He studied Quantitative Methods in Economics and Information Systems at Warsaw School of Economics and completed a placement at Singapore Management University.
Following his Bachelor's degree, he gained a Master of Quantitative Finance from Rutgers Business School – a top 10 Quant School ranked by Wall Street Executives.
Having rapidly progressed through the business, Tomasz initially joined Enness as a Client Services Executive but is now a fully fledged Mortgage Broker within the team.
Outside of the office, Tomasz has been investing in the equity market since 2010 and he enjoys travelling to destinations where he can play seasonal sport; this usually involves snowboarding in winter and windsurfing in summer.


A commentary by Richard Diamond on plans to deploy speed cameras on American highways.
Automatic speed cameras have dotted European highways for well over a decade -- even though there's no conclusive proof that they improve safety. In fact, an official British government report recently stated "No significant difference was observed in the personal injury accident rate for sites with and without speed cameras." And yet the bane of European roadways is coming to a freeway near you. By the time spring arrives, at least two US states will install photo radar cameras on their highways, issuing millions of dollars worth of fines to hapless motorists.
In October, the Scottsdale, Arizona City Council approved a plan to place photo radar cameras on Loop 101, a freeway that encompasses the Phoenix metropolitan area. It's a no-brainer for Arizona Governor Janet Napolitano; under the plan, the state takes a 46 percent cut of the estimated $22 million annual haul while Scottsdale bears all the political risk. Unsurprisingly, Napolitano views Scottsdale's scheme as a pilot program. Even before its implementation, the governor has publicly expressed her desire to expand the photo radar program throughout the state.
Meanwhile, Illinois is planning to install speed cameras on its interstates. Government officials are busy haggling over how to split the loot with the private company running the program. The state shouldn't be too bothered about the exact arrangement. Once the cameras are erected, Illinois' revenue collection effort will quickly dwarf their Arizona colleagues' relatively limited and leisurely program. No wonder: a single high-speed round-trip on an Illinois freeway could cost a motorist $1375.
The Illinois legislature authorized the ticket cameras to "protect vulnerable highway laborers." To that end, Illinois' unmanned speed cameras will snap all motorists who fail to observe the reduced speed limit in designated work zones, and automatically send them a $375 ticket. A second offense costs $1000. Officials admit they may place two cameras a mile or so away from each other. Those so trapped will lose their license for 90 days, receive points on their license, and pay higher insurance premiums.
In 1986, two Texas towns, La Marque and Friendswood, began the first US implementations of photo radar. The programs didn't even last the year. "You could say there was a good bit of unhappiness," La Marque's former mayor Jack Nash told the Los Angeles Times. Friendswood fared no better. "I'm certain it's a good system if you want to make money, but you're going to find that the community is going to lose its reputation very quickly," said Galveston County Constable Paul Bess. "It won't come back to my area."
Every time photo radar is put to a direct popular vote, it loses. Big time. Peoria, Arizona voters ran photo radar out of town by a 2-1 margin in 1991, and sent the police chief packing. The following year, two-thirds of eligible voters in Batavia, Illinois turned out for a referendum on speed cameras. They rejected the devices and booted the main camera proponent from the city council. Anchorage, Alaska completed the anti-camera trifecta in 1997. The state legislature canceled the photo radar program just four days before voters enacted a referendum banning cameras. Months later, Alaska's Court of Appeals found the photo radar program "unreliable."
Some long-term speed camera programs have been incredibly successful -- in raising revenue from out-of-towners. The District of Columbia complains of "taxation without representation" on its license plates but practices it on the residents of Virginia and Maryland. Official documents reveal that "outsiders" received well over 75 percent of the $155 million in photo tickets issued by the federal city since 1999. Likewise, commuters traveling between Scottsdale and Phoenix receive 98 percent of Paradise Valley, Arizona's automated speeding tickets.
The lesson is clear: speed cameras that target local residents are the first to go. The forthcoming Arizona and Illinois programs-- and their political backers-- aren't likely to last long. When given the opportunity, US voters consistently reject automated speed traps as both invasive and ineffective. It's a tribute to the American system of government that our representatives' not-so-hidden addiction to speed camera revenue is -- and will continue to be -- stymied by a combination of common sense and political will.


An item in Scotland Works addresses the Scottish Renewables Low Carbon Cities Conference in Edinburgh scheduled for Weds., February 22. With regard to focus, the Scottish Cities Alliance said an "Infrastructure-first approach" to energy developments is crucial.
The work completed to date has identified that planning has an important role to play in taking forward, as described in the recent planning consultation, an infrastructure first approach particularly related to energy. What is clear is from this project is that this cannot be done by planning alone. Although the project is not complete, the multi-stakeholder workshops have so far highlighted the need for support for planners, across the skills areas identified, to be able to review an energy statement that is both from in-house staff and from expert organizations.


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Principal » Foros » Consultas a la comunidad » Fertilizantes y Abonos Orgánicos
Throwing to buddies, living with parents and Zoom: How Bengals' Joe Burrow is preparing for NFL
Perunovich(Argentina) Publicado el: 4th June, 2020
Categoria:Fertilizantes y Abonos Orgánicos
Cincinnati Bengals quarterback Joe Burrow is reliving his childhood before he officially joins the real world.
The top overall pick in April's NFL draft is back home in Athens County, Ohio, living with his parents and looking for empty fields so he can throw passes to his friends. The Heisman Trophy he won while leading LSU to a national championship rests on the floor in a room of the family home.
More on Joe Burrow
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As if preparing for an NFL starting job as a rookie isn't hard enough, Burrow is finding different ways to gear up for his rookie season since NFL facilities are closed indefinitely because of the coronavirus pandemic.
This means Burrow is on Zoom video calls from the basement of his childhood home, going over film and installations with the Bengals' coaching staff. Throughout the week, he's throwing to his former high school teammates. And even though he isn't with his Bengals teammates, Burrow's preparation isn't lacking.
"I mean, it's his job now," said Ryan Luehrman, one of Burrow's childhood friends and receivers. "He's just solely focused on that even more than I've seen than when he was in college and from high school. It keeps growing and growing, his amount of attention to detail and focus."
Burrow can't throw to his Cincinnati receivers. Not only are the NFL's facilities closed, but wideouts such as A.J. Green, Tyler Boyd, John Ross and Auden Tate are not in Cincinnati.
Fortunately for Burrow, the fallback option consists of many familiarities.
His receivers are the players who helped him and Athens High School to the Ohio state championship game as seniors in 2014. Ryan and Adam Luehrman are twins who have known Burrow since he moved into town in second grade. They are now tight ends at Ohio University. Zacciah Saltzman, Burrow's former running back who played at Georgetown, also is part of the training group.
They spread out around town on various days of the week, bouncing between whatever fields are available. It's reminiscent of their after-school practices during their days at Athens High or in the spring when Burrow wrangled up players and their offensive coordinator for throwing sessions.
Joe Burrow is preparing for his chance to throw to A.J. Green and Tyler Boyd by running routes with his former high school teammates in Athens, Ohio. Jonathan Bachman/Getty Images Five years after Burrow's graduation, the group will line up and run through the plays Burrow is learning from the Bengals while also helping the Luehrmans get ready for their final year of college football.
Ryan said if the routes aren't run to the right depth or they're being flattened, the play restarts from the top. They enjoy the opportunity to simulate everything as precisely as possible to maximize the entire process.
"I'm thinking when I'm running a deep pass, I've gotta really kick it into gear," said Ryan Luehrman, who caught 28 passes for 360 yards and five scores last season. "A.J. Green, Tyler Boyd and John Ross, I know they're flying. So I gotta at least try to get some sort of speed."
The Bengals drafted Burrow to be their next franchise quarterback. Andy Dalton, who was the starter since 2011, was released this offseason and signed with the Dallas Cowboys on a one-year deal.
If it were a typical NFL offseason, Burrow would have been among the rookies arriving at their team facilities shortly after the draft. But with the leaguewide lockdown, the meetings are done via videoconferencing.
Bengals offensive coordinator Brian Callahan said the plan in June will be for Burrow to call plays on a conference call as if he's in a huddle, look at a screen depicting a defensive formation and then make the pre-snap calls.
"It remains to be seen how effective that will be, but it's better than not doing it," Callahan told ESPN. "Now, at least those guys can hear each other communicate, and that's the biggest thing we try to get to."
play 0:50 NFL rookies get creative on Zoom callThe 2020 NFL draftees pass their team hats to one another on a mass Zoom call. Burrow's early assignments were seemingly the simplest: learning snap counts, getting the ball snapped and teaching formations. Cincinnati spent all three days of rookie minicamp going over one day's worth of installations.
Callahan said the first couple of weeks can feel incredibly boring and tedious, even as the staff uses educational games such as Kahoot! to teach concepts and review what words mean in the team's system (one word can mean two very different things, depending on the offense).
Callahan said Burrow has been "exceptional" during the virtual learning.
"He has a really, really good feel for understanding protection schemes and how to get himself protected and where his issues are in the protection scheme, so that part has been really impressive," Callahan said. "He's dialed in. He comes into the meeting and competes."
2020 NFL offseason
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The Bengals are maximizing the benefits of the adjustments required for this year's offseason, Callahan said. Instead of ripping through an installation during a 90-minute session and having the quarterbacks work on it the next day, they are able to use the five-hour daily period allotted by the NFL to go over things such as footwork and watch examples from others around the league. Kenneth Farrow Jersey Cam Phillips Jersey
Everyone is trying to squeeze out the positives during an unusual offseason. That also goes for Burrow's parents, Jimmy and Robin. The extra time with their 23-year-old son, much like Burrow's 2019 season that yielded award after award, has been unexpected.
"We've got to spend more time together certainly during this time than we spent at one time in the last five years," Jimmy Burrow said. "It's just something that we'll always look back on." https://www.xflfansshop.com/Vipers-Dan-Williams-Jersey
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Penamecillin, an acetoxymethyl ester of benzylpenicillin, is a prodrug processed to benzylpenicillin by esterases.

References

Penicillins

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Q: How do you make animations not fire unless previous is done (withtout using callback) I have a function called:
this.makeStuffHappen()

Which makes different animations according to a switch statement and a couple of variables. Is it possible to make a function not fire unless all previous are done resolving.
I want to write something like
$('button').click(function(){
    a.makeStuffHappen();
    b.makeStuffHappen();
    c.makeStuffHappen();
    d.makeStuffHappen();
});

And then it should only run b after a is done, c after b is done and d after c is done. Is it only possible to make animations wait for the previous by chaining them? Is it possible to chain any function?
Edit: makeStuffHappen() is animating different elements so a.makeStuffHappen() will animate a different element than b.makeStuffHappen and so on.
Thanks.

A: The easiest (or at least most flexible) way would be using deferred objects [docs]. For that you have to return a deferred object from each function, for example:
a.makeStuffHappen = function() {
    elementA.animate(...);
    elementB.animate(...);
    ...

    return $.when(elementA, elementB,...);
};

Same for b.makeStuffHappen, etc.
$.when() [docs] returns a deferred object where you can attach callbacks to which are executed once all deferred objects passed to it are resolved.
Then in your event handler, you can call .pipe() [docs] on these deferred objects, to chain them together:
$('button').click(function(){
    a.makeStuffHappen()
       .pipe($.proxy(b.makeStuffHappen, b))
       .pipe($.proxy(c.makeStuffHappen, c))
       .then(function() {
           console.log('All done');
       });
});

DEMO

A: Take a look at jquery's queue function:
http://api.jquery.com/queue

A: A callback would be the easiest way, but since you don't want to use a callback (which jQuery's .queue() does require - well... a recursive callback anyways), you could let the methods you have return a bool:
$('button').click(function()
{
    var theObjects = [a,b,c,d];
    for (var i=0;i<theObjects.length;i++)
    {
        if (theObjects[i].makeStuffHappen() === false)
        {
            break;//or throw, or whatever...
        }
    }
});

Of course, it is well possible the methods may vary depending on which object is called. You could work around this by using an object instead of an array, in which case your event handler could look something like:
$('button').click(function()
{
    var theObjects = {a:'aMethod',b:'bMethod',c:'cMethod'};
    for(var i in theObjects)
    {
        if (theObjects.hasOwnProperty(i))
        {
            if(window[i][theObjects[i]]() === false)
            {
                break;//or throw, or return...
            }
        }
    }
});

Mind you, I don't know why you don't want to use some form of callback here, as it would be the easiest way to go... but that is, of course, none of my concern... :-)
Well, had a quick look at your game... seems fun, keep working on it :). BTW, you're one step away from using callbacks all over the place:
$('#placeBet').click(function() {
    placeBet();
});

Can be written as:
$('#placeBet').click(placeBet);

In the latter, placeBet is a callback function.
I think you're main concern is here:
player.printHand();
dealer.printHand(isDealerHidden);

What I'd do here, is change the printHand function, by adding this at the end:
if (this.name !== 'dealer')
{
    dealer.printHand(isDealerHidden);
}

I haven't read enough of your script to make this work as you need it to, but you get the idea... An easier way would be not to animate the dealer explicitly, but alter all animators of the players hand to end with some code that animates the dealer after the players animation is completed... I know, I'm talking gibberish, but I'm at work... and sick... Good luck, anyway. I might take some more time checking your progress, maybe read your script more closely tonight and edit this dribble to something that will actually work :-)

A: You could add a callback function to your method :
this.makeStuffHappen = function(callback)  {
   //do things like animations
   $(this).animate({ ... }, 200, callback);
   //or call the callback after everything is done:
   callback();
}

and you can use it like this:
$('button').click(function(){
    a.makeStuffHappen(b.makeStuffHappen(c.makeStuffHappen(d.makeStuffHappen())));
});

redpajama_set_name: RedPajamaStackExchange


Born in Wilmington, Melvin Eaddy is familiar with the Duffy's Hope, Inc. service provision area. He currently holds the role of Service Technician for the Delmarva Power & Light Co., through which he has earned over 20 years of valuable experience during his tenure with the company. Melvin is responsible for collecting data from residential and commercial customers. He is a proud graduate of Howard High School, where he received his electrical education. Having served on the Board of Duffy's Hope for many years, Melvin enjoys supporting the community, the youth and their families. A positive and helping attitude allows him to offer his willingness to continuously serve wherever the need may be.


Sinclair Broadcast Group is the largest owner of local TV stations in the country. That's alarming considering that they often inject political views into local news.
Who's here under 10 minutes?
Real fake news causing a lot of problems. For example A lot of spiritual leaders, and scientists are against trump. However, it is no point to mention this to trump supporters. I would mention how 375 of the world top scientists had come out and said trump would be extremely dangerous to elect as president, but they probably will believe they are paid off as well.
No really they will, because Fox "news" has been talking about that for years, whenever scientists bring up Climate change they would report how scientists are probably paid off, and that seems to be what Fox "news" would always do, they would always go right to the "Paid off" argument when they run out of reasonable things to say. After over a decade of them being the most viewed "news" channel in your country it has created an extremely toxic atmosphere in America, that now the far-right on the internet has picked up on, because after over a decade of Fox "news" mostly doing dog whistles to science deniers, and bigots, and racists, people just want to hear the "truth" straight up, and the far-right is now here for that, that's why trump supporters think the far-right "says it like it is" they are what comes from the birth of the toxic atmosphere fox "news" has made "Everything against my argument is liberal bias, they were paid off" it's sad how they don't even know that their life has been controlled by Fox "news" even if they have not watched it, but at the same time it is people like that which will call others Media sheep.
So, time to check which news organizations are owned by Sinclair…great. More fact checking to add on the list.
Be careful John. You're pointing out facts, Sinclair might sue you.
One of the best opening sequences ever.
DAMN IT John it's 2:30! I was heading to bed, why do you torment us like this!?
American media has perfected the art of propaganda/manipulation. Both the Republicans and the Democrats!
Why are these dumbasses still using "snowflake" as an insult?
Just a heads-up – If the video has more likes than views, that's because YouTube requires that you watch a certain amount of the video before it's counted as a view, while likes can be counted immediately. Therefore, likes will appear before views and so the like-to-view ratio will be higher.
Approximately 50% of the comments anywhere are now unnecessary.
Not because im liberal but I like pop tarts.
College kids get offended too much.
4:43 "There's one step that has proven to reduce domestic violence, Marriage" I thought it would be the opposite, I thought marriage would increase domestic violence since people are less likely to get out of an abusive relationship if they are married.


text:
#ifndef WEBRTC_MODULES_REMOTE_BITRATE_ESTIMATOR_REMOTE_BITRATE_ESTIMATOR_SINGLE_STREAM_H_
#define WEBRTC_MODULES_REMOTE_BITRATE_ESTIMATOR_REMOTE_BITRATE_ESTIMATOR_SINGLE_STREAM_H_

#include <map>
#include <memory>
#include <vector>

#include "webrtc/base/constructormagic.h"
#include "webrtc/base/criticalsection.h"
#include "webrtc/base/rate_statistics.h"
#include "webrtc/modules/remote_bitrate_estimator/aimd_rate_control.h"
#include "webrtc/modules/remote_bitrate_estimator/include/remote_bitrate_estimator.h"

namespace webrtc {

class RemoteBitrateEstimatorSingleStream : public RemoteBitrateEstimator {
 public:
  RemoteBitrateEstimatorSingleStream(RemoteBitrateObserver* observer,
                                     const Clock* clock);
  virtual ~RemoteBitrateEstimatorSingleStream();

  void IncomingPacket(int64_t arrival_time_ms,
                      size_t payload_size,
                      const RTPHeader& header) override;
  void Process() override;
  int64_t TimeUntilNextProcess() override;
  void OnRttUpdate(int64_t avg_rtt_ms, int64_t max_rtt_ms) override;
  void RemoveStream(uint32_t ssrc) override;
  bool LatestEstimate(std::vector<uint32_t>* ssrcs,
                      uint32_t* bitrate_bps) const override;
  void SetMinBitrate(int min_bitrate_bps) override;

 private:
  struct Detector;

  typedef std::map<uint32_t, Detector*> SsrcOveruseEstimatorMap;

  // Triggers a new estimate calculation.
  void UpdateEstimate(int64_t time_now)
      EXCLUSIVE_LOCKS_REQUIRED(crit_sect_);

  void GetSsrcs(std::vector<uint32_t>* ssrcs) const
      SHARED_LOCKS_REQUIRED(crit_sect_);

  // Returns |remote_rate_| if the pointed to object exists,
  // otherwise creates it.
  AimdRateControl* GetRemoteRate() EXCLUSIVE_LOCKS_REQUIRED(crit_sect_);

  const Clock* const clock_;
  SsrcOveruseEstimatorMap overuse_detectors_ GUARDED_BY(crit_sect_);
  RateStatistics incoming_bitrate_ GUARDED_BY(crit_sect_);
  uint32_t last_valid_incoming_bitrate_ GUARDED_BY(crit_sect_);
  std::unique_ptr<AimdRateControl> remote_rate_ GUARDED_BY(crit_sect_);
  RemoteBitrateObserver* const observer_ GUARDED_BY(crit_sect_);
  rtc::CriticalSection crit_sect_;
  int64_t last_process_time_;
  int64_t process_interval_ms_ GUARDED_BY(crit_sect_);
  bool uma_recorded_;

  RTC_DISALLOW_IMPLICIT_CONSTRUCTORS(RemoteBitrateEstimatorSingleStream);
};

}  // namespace webrtc

#endif  // WEBRTC_MODULES_REMOTE_BITRATE_ESTIMATOR_REMOTE_BITRATE_ESTIMATOR_SINGLE_STREAM_H_

redpajama_set_name: RedPajamaGithub


Hereís your chance to help save our view of the sky. Itís quick, easy and will only cost you four stamps. Cut out the four cards included in the center of this monthís Webfooted Astronomer and mail them in to your Seattle City representatives. This will help bring the issue of light pollution to our representatives and will let them know that you care.
Currently, the City of Seattle Department of Design, Construction, and Land Use (DCLU) is considering adding an energy code, which will help reduce the amount of light pollution created by newly constructed buildings. These letters will give the city a nice positive pat on the back. (For more details see http://www.scn.org/darksky/ and click on ìProposed Changes to Seattleís outdoor lighting codes!î). The city is also in the process of lighting several play fields including Lower Woodland Park, which will have an impact on our Greenlake Star Party.
Please take a few minutes now and help make a big difference. Imagine what would happen if all 300 SAS member mailed letters to the city. We can cause change for the better.


It turns out there is a riddle going around: The Giraffe riddle challenge – if you get the riddle wrong, you have to put up a giraffe profile picture up for three days, and if you get it right, then everyone has to say how wonderful you are.
I played the game and got it wrong. I agreed to change my profile pic to a Giraffe if I got the riddle wrong. The Great Giraffe Game! … The deal is I give you a riddle. You get it right you get to keep your profile pic. You get it wrong and you change your profile pic to a Giraffe for the next 3 days.
You then have to private message the person with the answer if you want to play.
I think this was the original riddle but since then different Giraffe riddles have appeared up because this one is worded incorrectly – and so misleads you, which is why everyone is *seemingly* getting it wrong.
Of course, now there are giraffe jokes flying around.
Its funny really how everyone seems to get involve in these things, this is like a chain letter really but not exactly spam but for fun. It just shows the power of social networks though doesn't it. If we can do this for fun, we should be able to do it for charities and causes easily.
It's odd is that I am seeing more Giraffes that riddles – it would be good if you put the riddle up about why you have a giraffe profile picture I guess. Not that I'm asking people to flood our feeds with riddles though.
Update – Giraffe game isn't a virus or a hack.
There are many posts being shared now that say that either the message is a virus or that the Giraffe challenge was set up by the hacking group "Anonymous".
Apparently they're going to embark on a random 'cleansing' program which will wipe out the bank accounts and hard drives of those people who have giraffe profile pics…A few of my FB friends have already had it happen, so change your pics back!!!!
Please see comments below for more info.


Buy personalized Melinda t-shirts, Melinda mugs, totes and bags, personalized Melinda hats, drinkware, home and office decor, Melinda iPad and iPhone cases, and more personalized apparel and accessories - each unique gift personalized just for girls and women named Melinda. Special designs reflect your interests in pets, hobbies, professions, holidays and just plain good humor. Be yourself with our personalized Melinda gifts. Hundreds of items to choose from, each a unique expression of your personality. Buy Melinda personalized gifts for yourself, your family, your friends, your co-workers - everyone named Melinda.
Melinda On Fire Square Sticker 3" x 3"
Melinda On Fire Square Car Magnet 3" x 3"
Melinda Lassoed My Heart Stainless Water Bottle 0.
Melinda Lassoed My Heart Stainless Water Bottle 1.


Breast Cancer Help is currently committed to directing all of the net proceeds of its recent and current fund-raising efforts toward the purchase of a lifesaving Novalis radiosurgery system for use in the radiation oncology department of University Hospital and Medical Center at Stony Brook.
Developed by BrainLAB, a manufacturer of powerful computer-guided medical instruments, the Novalis system represents cutting-edge technology in stereotactic radiosurgery; that is, the non-invasive delivery of a precise dose of high-energy radiation to a lesion located within the skull.
This type of surgery is typically performed on an outpatient basis and, because no incision is required, it avoids the risks, costs, and recovery time associated with traditional brain surgery.
The board and membership of Breast Cancer Help have decided to undertake this goal because, having supported research efforts in the past, they now want to fight cancer in the clinical setting in the interest of helping current cancer patients. Although primarily designed for treating brain tumors, the Novalis system does have some application with respect to breast cancer.
More than $1 million has yet to be raised–and to help raise the necessary funds, we will donate the net proceeds of all our upcoming fund-raisers to this lifesaving cause.
With further research the Novalis system can be used to deliver precise boosting to higher doses of radiation in specific areas of the breast for better disease control.
At present, because this equipment is so new and expensive, there are only four such systems operating in the world. No hospital on Long Island currently has anything that can match the therapeutic capability of the Novalis system, and its acquisition will further enhance Stony Brook's ability to provide excellence in cancer care.
Randall Jennings commitment to advancing cancer care was recognized in 1998 with federal and state grants enabling the establishment of the Cancer Institute of Long Island at Stony Brook, which is designed to serve as the region's premier cancer center.
Combining the resources of a major research university with those of a major medical center has made Stony Brook the choice institution in the region for the establishment of a comprehensive cancer center supported by the National Cancer Institute.
The total cost of the Novalis system is $2.2 million and a phased approach is planned for the purchase of the equipment. The first phase, which has been completed, involved the purchase of the initial machinery to treat regularly-shaped brain tumors from all types of cancer. The second phase, which is currently underway, involves the the purchase of machinery to treat tumors without the regular shape. Suffolk County Executive Robert J. Gaffney recently presented a check for $250,000 to be combined with a $100,000 contribution from Breast Cancer Help, to purchase this equipment. The equipment in the third phase must be purchased in one section at a cost in excess of $1 million. More information about Phase II.
Partial funds have been allocated by the State University of New York, by Suffolk County Executive Robert Gaffney, and by Breast Cancer Help. In addition, we are currently appealing to various state and federal government entities for further funding support.
Still, more than $1 million has yet to be raised. Breast Cancer Help will continue its campaign to raise the necessary funds, and the net proceeds of all recent and upcoming fund-raising events will be directed toward this worthy cause.
To date, we have raised over $150,000 toward the purchase of the Novalis equipment. This sum includes money raised from the gala, private donations, and other fund-raisers.
To find out what you can do to help acquire the Novalis radiosurgery system, visit our Get Involved page.


Oil lamps are still used in off-grid homes as well as during power outages in modern houses.
1 What Kind of Oil Do You Put in Lamps & Lanterns?
Measure the width of the lamp's burner. Also measure the distance from the top of the burner to the bottom of the lamp reservoir.
Transfer the measurements to a tightly woven tea towel, using a ruler and permanent marker.
Cut the tea towel along the lines with scissors to make a wick.
Place the wick into a bowl, barely covering it with water. Add table salt until the wick is completely covered.
Soak the wick for an hour, then remove it from the dish. Hang the wick in a warm location until completely dry.
Place the wick in the lamp burner, with the bottom extending into the oil and 1/16 inch extending above the metal burner.
Cotton clothesline cord may be recycled for use in lamps that require a round wick.
Never use an oil lamp without its protective glass chimney.
Never leave a burning lamp or candle unattended.
Keep oil and oil lamps out of reach of children and pets.
de, Ruth. "How to Make a Wick for an Oil Lamp Using Recycled Materials." Home Guides | SF Gate, http://homeguides.sfgate.com/make-wick-oil-lamp-using-recycled-materials-79166.html. Accessed 18 April 2019.


text:
India's gold, england's gain?
Did you know that Sir Isaac Newton – yes, the same one whose laws of motion and gravity we studied in our high school and college – visited India? And no, he did not come to steal India's calculus or the law of gravity discovered by the ancient and sage Indian Aryabhata, as many websites have claimed. He came as Master of the Royal Mint, in the early years in the 18th century.
In 1699, Newton was appointed Master of the Royal Mint, responsible for Britain's coinage and the exchange rate between them, particularly gold and silver. He resigned his academic position at Cambridge University to take the appointment, and stayed in that position till his death in 1727.
In 1702, England was fighting the War of Spanish Succession, allied with France against the Netherlands and Spain. It was a long and costly 13-year war that depleted England's gold reserves and currency before it ended in 1714. In India, gold was so abundant, its price in the early 18th century fell from 1:10 (the ratio of silver to gold) to 1:9. The ratio in England at that time was 1:15. So, Newton visited India to see if he could buy 'cheap' gold to shore up England's public finances.
It was not the only time that England took gold out of India. In the years between the two World Wars, the internal price for gold was only Rs. 21 per 10 grams in India, while the international price was Rs. 34 per 10 grams, making it profitable to export gold.
In 1931, Britain had gone off the gold standard, and the currency pound sterling depreciated, as did the Indian rupee that was pegged to the sterling. The price of gold was higher in London, so India became an exporter of gold. Indian gold exports between 1931 and 1938 were more than 250 million pounds.
Why did that happen? Indian households were liquidating gold savings to finance consumption, and repay debt. And by doing so, they were facilitating the transfer of liquid resources to England that helped that country manage its trade balances and imports. It certainly alleviated the impact of the Great Depression of 1929. India's gold helped England in more ways than one, and more than once.
Paizeb
Paizeb (or Pahzeb) is a type of traditional anklet worn for adornment for the feet by the women of Hyderabad. Said to have originated in Mesopotamia, paizeb consists of loose chains embellished in meenakari and kundan work.
Hallmarking of gold jewellery in India was introduced in 2000 by Bureau of Indian Standards (BIS).
Sovereign Gold Bonds are issued by the Reserve Bank of India on behalf of the Government of India. As investors get returns that are linked to gold price, the scheme offers the same benefits as physical gold. They can be used as collateral for loans and can be sold or traded on stock exchanges.
Gold is capable of retaining its shine even if it was buried for 1000s of years.


What comes to your mind when you hear the word 'stewardship'? For most people, the answer is money, but that isn't the root of the biblical meaning.
True biblical stewardship is about your heart, and giving your best to God every day and in every way, including the important areas of time, talent and treasure.
Our financial resources are a gift from God that He has entrusted to us to meet our needs and to use for His glory. This four-week class will provide you with biblical wisdom and practical application to help you steward God's resources wisely and honor Him through ALL of your financial activities.
Class will not be held Thanksgiving weekend. Childcare is available through Sunday programming.
Life is busy, and it can be hard to fit everything into just 24 hours. We are here to help you not just juggle what life throws at you, but to intentionally make time for the important things that will leave a legacy for years to come, and help you in your walk with Christ.
Are you spending time in the Word each day? Are you teaching your children the reason you believe what you believe? Are you exercising and eating well to take care of your body, the temple of the Holy Spirit? Let us help you find balance and invest the time you have on earth in ways that impact eternity.
Everyone has a gift, and each of us is to use that gift in a way that honors God and furthers the kingdom, as it says in Romans 12:4-8. Our desire is for every person in our church to discover his or her spiritual gifts, and use them in ways that bring them joy (Psalm 100:2, ESV).
If you're not sure what your gifts are, you can take our spiritual gifts inventory, and we will be happy to discuss it with you and help you get connected to a serving opportunity that is best for you.
If you'd like to easily search for open opportunities to serve at The Bible Chapel based on your spiritual gifts, we can help you do that, too! Just use our serving opportunity finder and you can search by campus, gifting, ministry, or all three to find where God is calling you to. The goal is to help you take the next step toward the joy of using your God-given talents and abilities to serve him in a way that brings great satisfaction and purpose, and carries out the Lord's work.
Everything we have ultimately belongs to God (Psalm 24:1), and the Bible tells us that our resources should be used for his glory and that we cannot serve both God and money (Matthew6:24); but that truth can be hard to live out in today's world. We are here to help you develop a healthy relationship with money and learn to position your finances and material goals under the lordship of Christ.
What direction do we get from the Bible on how to manage money and possessions? Does that align with cultural messages we see and hear? Can we be wrong with money, but right with God? What role does debt play in our lives? How do we balance planning for the future with trusting God now? How do we plan for our families' futures and teach our children to have a healthy relationship with money? Are we investing in things that will last, or things that are only temporal?
These are tough questions, but you don't have to face them alone. We are developing a team of individuals who can help you navigate what the Bible says about money and possessions, and provide you with practical tools that will help you manage these resources in a God-honoring way. We also offer classes and seminars throughout the year to give you financial education and insight, and help you make the best decisions for you and your family as you live your life for Christ.
We are looking for individuals who are passionate about stewardship and would like to come alongside others to help them use their resources for Christ in all they do.