text:
Q: Problems registering a receiver with Microsoft Webhooks I'm trying to register a subscriber to events for using the following example. When I use the POST method, I get a bad request error (400), so I've attempted to visit the url where the request is sent and received using a browser and received the following stack trace:
When visiting
https://localhost:44300/api/webhooks/registrations

I get:
> {"message":"An error has occurred.","exceptionMessage":"General error
> during 'Get' operation: 'An error occurred while executing the command
> definition. See the inner exception for
> details.'.","exceptionType":"System.InvalidOperationException","stackTrace":"
> at
> Microsoft.AspNet.WebHooks.DbWebHookStore`2.<GetAllWebHooksAsync>d__5.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> Microsoft.AspNet.WebHooks.Controllers.WebHookRegistrationsController.<Get>d__3.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Threading.Tasks.TaskHelpersExtensions.<CastToObject>d__3`1.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Web.Http.Controllers.ApiControllerActionInvoker.<InvokeActionAsyncCore>d__0.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Web.Http.Controllers.ActionFilterResult.<ExecuteAsync>d__2.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Web.Http.Filters.AuthorizationFilterAttribute.<ExecuteAuthorizationFilterAsyncCore>d__2.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Web.Http.Filters.AuthorizationFilterAttribute.<ExecuteAuthorizationFilterAsyncCore>d__2.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Web.Http.Dispatcher.HttpControllerDispatcher.<SendAsync>d__1.MoveNext()","innerException":{"message":"An
> error has occurred.","exceptionMessage":"An error occurred while
> executing the command definition. See the inner exception for
> details.","exceptionType":"System.Data.Entity.Core.EntityCommandExecutionException","stackTrace":"
> at
> System.Data.Entity.Core.EntityClient.Internal.EntityCommandDefinition.<ExecuteStoreCommandsAsync>d__c.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Core.Objects.Internal.ObjectQueryExecutionPlan.<ExecuteAsync>d__0`1.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Utilities.TaskExtensions.CultureAwaiter`1.GetResult()\r\n
> at
> System.Data.Entity.Core.Objects.ObjectContext.<ExecuteInTransactionAsync>d__3d`1.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.SqlServer.DefaultSqlExecutionStrategy.<ExecuteAsyncImplementation>d__9`1.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Utilities.TaskExtensions.CultureAwaiter`1.GetResult()\r\n
> at
> System.Data.Entity.Core.Objects.ObjectQuery`1.<GetResultsAsync>d__e.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Utilities.TaskExtensions.CultureAwaiter`1.GetResult()\r\n
> at
> System.Data.Entity.Internal.LazyAsyncEnumerator`1.<FirstMoveNextAsync>d__0.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Infrastructure.IDbAsyncEnumerableExtensions.<ForEachAsync>d__5`1.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Utilities.TaskExtensions.CultureAwaiter`1.GetResult()\r\n
> at
> System.Data.Entity.Infrastructure.IDbAsyncEnumerableExtensions.<ToArrayAsync>d__13`1.MoveNext()\r\n---
> End of stack trace from previous location where exception was thrown
> ---\r\n   at System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> Microsoft.AspNet.WebHooks.DbWebHookStore`2.<GetAllWebHooksAsync>d__5.MoveNext()","innerException":{"message":"An
> error has occurred.","exceptionMessage":"Invalid object name
> 'WebHooks.WebHooks'.","exceptionType":"System.Data.SqlClient.SqlException","stackTrace":"
> at
> System.Data.SqlClient.SqlCommand.<>c.<ExecuteDbDataReaderAsync>b__174_0(Task`1
> result)\r\n   at
> System.Threading.Tasks.ContinuationResultTaskFromResultTask`2.InnerInvoke()\r\n
> at System.Threading.Tasks.Task.Execute()\r\n--- End of stack trace
> from previous location where exception was thrown ---\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.ThrowForNonSuccess(Task
> task)\r\n   at
> System.Runtime.CompilerServices.TaskAwaiter.HandleNonSuccessAndDebuggerNotification(Task
> task)\r\n   at
> System.Data.Entity.Core.EntityClient.Internal.EntityCommandDefinition.<ExecuteStoreCommandsAsync>d__c.MoveNext()"}}}

Based on the source code here, my understanding is that the line below is problematic
string id = await _user.GetUserIdAsync(User);

One of my guesses is that Microsoft's Webhook library requires Identity to be installed (the application where I'm testing this uses SimpleMembership).
Is this the problem? Can this be resolved easily?


text:
Evangelista Santos
Evangelista Santos height - How tall is Evangelista Santos?
Evangelista Santos was born on 12 December, 1977 in Brazil, is a Brazilian mixed martial arts fighter. At 43 years old, Evangelista Santos height is 5 ft 10 in (178.0 cm).
Daria Ibragimova
Falaniko Vitale
Anderson Da Silva
Cortney Casey
Now We discover Evangelista Santos's Biography, Age, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of net worth at the age of 45 years old?
Evangelista Santos Age 45 years old
Born 12 December 1977
Birthday 12 December
Birthplace Brazil
Nationality Brazilian
We recommend you to check the complete list of Famous People born on 12 December. He is a member of famous Fighter with the age 45 years old group.
Evangelista Santos Weight & Measurements
Who Is Evangelista Santos's Wife?
His wife is Cris Cyborg (m. 2005–2011)
Wife Cris Cyborg (m. 2005–2011)
Evangelista Santos Net Worth
He net worth has been growing significantly in 2021-22. So, how much is Evangelista Santos worth at the age of 45 years old? Evangelista Santos's income source is mostly from being a successful Fighter. He is from Brazilian. We have estimated Evangelista Santos's net worth , money, salary, income, and assets.
Source of Income Fighter
Evangelista Santos Social Network
Instagram Evangelista Santos Instagram
Twitter Evangelista Santos Twitter
Wikipedia Evangelista Santos Wikipedia
Santos retired in January 2017. He spent a year coaching in Curibita, Brazil. In early 2018 he returned to the USA and is coaching in his own gym in Texas. In August 2018 Santos confirmed he had no plans to return to competition.
After nearly two years away from the sport, Santos returned to face Artenas Young in the main event during Legacy Fighting Championship 50 on January 22, 2016. He won the fight by unanimous decision.
On March 1, 2016, it was announced that Santos signed a multi-fight contract with Bellator MMA.
Making a quick turnaround, Santos agreed to fight Saad Awad at Bellator 154 on May 14, 2016 but lost.
On July 16, 2016, Santos faced Michael "Venom" Page and was defeated via KO by a flying knee, resulting in a frontal sinus fracture.
Santos made his GSF debut on April 28, 2014, against Melvin Manhoef in a rematch from 2006. Santos, who was knocked out by Manhoef in their first outing, lost to Manhoef again via first-round knockout. Santos then announced his retirement shortly after the fight.
Santos was expected to face Pete Spratt at Legacy Fighting Championship 17 on February 1, 2013. However, Santos was forced to pull out of the bout due to injury and was replaced by Dan Hornbuckle.
Santos challenged Strikeforce Welterweight Champion Nick Diaz for the title on January 29, 2011 at the HP Pavilion in San Jose, California. He lost the fight via armbar submission in the second round.
Santos was due to fight Paul Daley at Strikeforce: Fedor vs. Henderson but was forced to withdraw due to a shoulder injury. Santos fought Strikeforce newcomer Jordan Mein on September 10, 2011 at Strikeforce World Grand Prix: Barnett vs. Kharitonov. After a grueling back and forth fight "Cyborg" was defeated by Mein via TKO due to Elbows in the third round handing "Cyborg" back to back defeats, Santos has now suffered his fourth loss in his last six fights.
Santos made his Strikeforce debut June 19, 2009 and headlined the Strikeforce Challengers: Villasenor vs. Cyborg event, but came up short against former King of the Cage Middleweight Champion Joey Villasenor losing by a split decision. In his next fight, he went on to face and defeat Marius Zaromskis, who battled Nick Diaz for the vacant Strikeforce Welterweight Title.
Santos was married to women's MMA fighter Cristiane Justino from 2005 to December 2011. It was during this time she adopted his nickname for herself.
Evangelista Santos (Portuguese pronunciation: [evɐ̃ʒeˈlistɐ ˈsɐ̃tus] born December 12, 1977) is a retired Brazilian mixed martial artist. A professional from 1997 until 2016, Santos competed for Strikeforce, Bellator MMA, the PRIDE Fighting Championships, Cage Rage, International Vale Tudo Championships, Pancrase, Jungle Fight, Legacy FC, and World Victory Road. Known for his exciting fighting style, 24 of his 39 career bouts ended via knockout.
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redpajama_set_name: RedPajamaCommonCrawl


2019 Honda Insight Hybrid Colors Honda is taking its Insight hybrid along a different path than many other companies have followed with their electric gasoline fuel sippers. Instead of emphasizing its green CRED, Honda has designed the insight to be a fairly conventional sedan similar in character to the Honda Civic-only insight happens to get fantastic MPG. That's a good thing since the Civic is one of our favorite compact cars, and the Insight benefits from the same solid driving and comfortable ride. Its complex hybrid transmission is mostly quiet and discreet. The cherry on top of a well-rounded and pleasant package, make it look more mature and special than the Civic.
Insight is new to 2019. It is mounted on the same wheelbase as the Civic sedan but has a unique style that combines a petrol engine with a pair of electric motors, a revised interior and a completely different structure under the hood.
The Insight EX comes in just under $25,000 ($24,955) and offers no factory options. We've written before about the features and value of the 2019 Honda Insight hybrid sedan, which can offer fuel-sipping large mileage numbers for busy travelers who don't want to spend an arm and a leg on gasoline. In this blog, we decided to focus on another aspect of the purchase of vehicles: color. While most of the drivers intrigued by the 2019 Honda Insight will love the features and efficiency of the fuel, it can also be important to get the vehicle that looks the way you want. Check out the 2019 options of color Honda Insight below and see the rainbow of options available to you.
When it comes to interior upholstery options, the three embellishments of the Honda Insight 2019 have more specific options. The well-equipped LX base model comes only with black fabric upholstery while upgrading to the 2019 Honda Insight EX model makes it either black fabric or ivory fabric seats available.
The Honda Insight touring Elite 2019 model enhances the leather upholstery available in shades of black or ivory. Check out our new Honda Insight inventory at Battison Honda, OK, or contact a member of our sales team today to see what color options are available with the 2019 Honda Insight in Oklahoma City.
Crimson, Crystal Black and White Orchid have a Pearl Coat while the other shades are Metallic.


text:
Boy Story: A Q&A with Nico Muhly
By Jennifer Ashley Wright • 10/29/13 6:07pm
Nico Muhly.
While City Opera is bankrupt and Gawker is publishing articles titled "Do Not Give a Dollar to the Opera," Nico Muhly seems to be breathing new life into the art form. The 32-year-old composer is the youngest to have been commissioned by the Met. His current, much-hyped work, Two Boys, focuses on deception in circa 2000 chat rooms, as one boy adopts various online personas, while goading a second boy to commit murder. Last week, the Transom sat down with Mr. Muhly to ask how he's getting a 21st-century generation excited about opera-going.
We're constantly hearing how hard it is to attract a younger crowd to the opera. Has that been your experience?
I've always found the anxiety about the aging of the audience is something we have to calm down about. I remember Thomas Friedman saying that he was shocked young people went to restaurants. If there were a ton of young people at the opera, the press would write they should be home saving their money.
It certainly doesn't seem to be a problem getting a crowd for Two Boys.
The hype is one of the few things about which I'm not responsible. I wish there were a way to do it without all that. With operas, the natural instinct is to say this is awful if people have been hyping it a lot. I think the Met did a fantastic, fantastic job of promoting the piece, though.
In addition to doing great promotional work, the Met is also not bankrupt. What are they doing well?
Well, they have a very flexible relationship with excellence. If you consider how much is in rep at the same time, it's amazing all of these things work together and everyone who works there is happy. I didn't ever feel an adversarial relationship among the cast or the crew. And I didn't feel a rift between the orchestra and myself or others.
Is that uncommon?
If you're an orchestra and the music is aggressively against what you want to be doing, that can be a problem.
If you have a difficult orchestra, what can you do to win them over?
I figured fudge!
Sometimes, you just can't. If they've turned against you or the conductor, you just can't change the orchestra's mind. At the Met, it can feel from the outside that it's a crazy place, but it's made up of these wonderful individuals, and you can build personal relationships, which is easier than a militaristic campaign to win over everyone.
There are certainly some Met donors who seem reluctant to embrace modern opera. And yet, besides Two Boys, they also have The Nose and A Midsummer's Night Dream right now.
Really? What more do you want? If it went the other way [if modern operas actually outnumbered the classical ones], people would immolate themselves on the steps of the plaza.
In some ways, the story of Two Boys feels like a very classic opera plot.
To me, that's the most obvious thing in the world. We don't really play in disguises anymore, other than Eyes Wide Shut. It's a difficult trick to pull off dramatically. The Internet affords us a very specific version of a very classic theme.
The plot is based on a true story. Why do you think people are fooled so easily on the Internet?
It's a question of loneliness. I don't believe that anyone with the right cocktail of solitude and sadness is beyond falling for this or perpetrating this.
Do you think it's something we'll grow out of?
I don't think it has anything to do with time. These kinds of things are going to continue to happen.
Do you suppose that, when people adopt these disguises, they're satisfied, at least in the moment?
I imagine they experience so many different emotions. It's beautiful. It's lonely. It's sad. It's an act of composition. That's what makes it so operatic.
Filed Under: Opera, Politics, News & Politics, Opera, the Met, Nico Muhly, The Nose, Two Boys


Oil Painting on canvas in black and white colors .
Size: 15.7 H x 15.7 W x 0.6 in (40H x 40W cm x 0.2) Artwork.
Sold unframed and shipped in a box for security on delivery.
I use only the finest quality high grade oil paints and gallery canvas made in the France ,ready to hang so that you can enjoy your painting for a lifetime.
Finished with a glaze of varnish to protect against sunlight and dust damage.
This artwork is sold and shipped to you by Tatyana Ilieva, and will be packaged in a cardboard box. Artworks are dispatched within 4 working days from Bulgaria.


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text:
/// <reference path="PagedLoader.ts"/>

namespace SourceUtils {
    import WebGame = Facepunch.WebGame;

    export interface IDispGeometryPage {
        displacements: IFace[];
        materials: IMaterialGroup[];
    }

    export class DispGeometryPage extends ResourcePage<IDispGeometryPage, WebGame.MeshHandle> {
        private readonly viewer: MapViewer;

        private matGroups: WebGame.MeshHandle[][];
        private dispFaces: IFace[];

        constructor(viewer: MapViewer, page: IPageInfo) {
            super(page);

            this.viewer = viewer;
        }

        onLoadValues(page: IDispGeometryPage): void {
            this.matGroups = new Array<WebGame.MeshHandle[]>(page.materials.length);
            this.dispFaces = page.displacements;

            for (let i = 0, iEnd = page.materials.length; i < iEnd; ++i) {
                const matGroup = page.materials[i];
                const mat = this.viewer.mapMaterialLoader.loadMaterial(matGroup.material);
                const data = WebGame.MeshManager.decompress(matGroup.meshData);
                this.matGroups[i] = this.viewer.meshes.addMeshData(data, index => mat);
            }

            super.onLoadValues(page);
        }

        protected onGetValue(index: number): Facepunch.WebGame.MeshHandle {
            const dispFace = this.dispFaces[index];
            if (dispFace.element === -1 || dispFace.material === -1) return null;
            return this.matGroups[dispFace.material][dispFace.element];
        }
    }

    export class DispGeometryLoader extends PagedLoader<IDispGeometryPage, WebGame.MeshHandle, DispGeometryPage> {
        readonly viewer: MapViewer;

        constructor(viewer: MapViewer) {
            super();

            this.viewer = viewer;
        }

        protected onCreatePage(page: IPageInfo): DispGeometryPage {
            return new DispGeometryPage(this.viewer, page);
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Rope Access Training Overview
Cost of Training
Applied Technical Services provides rope access certification training for technicians seeking SPRAT accreditation or reaccreditation. SPRAT stands for the Society of Professional Rope Access Technicians, an administrative body that establishes industry-recognized rope access standards in North America. Most employers hiring rope access technicians will look for workers certified by either SPRAT, or the European counterpart IRATA.
Rope access is an in-demand work-at-heights skill, which enables personnel to navigate a system of ropes to scale, descend, or move laterally across buildings, construction sites, and tall structures. Because rope access allows technicians to reach high, tight, or unstable work areas, it is an efficient and safe alternative to scaffolding installation. As a professional discipline, rope access is often utilized in facade inspections, pressure washing, painting, and building installations, among other uses.
Certification With ATS
ATS' rope access certification training provides students with the necessary hands-on preparation to become familiar with SPRAT regulations and procedures. For the first four days of our 5-day course, students will be taught about the various aspects of the rope access technique, before applying what they learn into practice at our onsite training area. These classes are taught by our Level III SPRAT-certified training coordinator, who helps students learn necessary skills like maintaining equipment, tying knots, and following rescue protocol. A certification session is held on the fifth day and consists of multiple exam sections administered by an independent evaluator.
SPRAT recognizes three levels of rope access certification:
Level I: Qualifies entry-level technicians to perform basic rope access functions while under the direct supervision of a higher-level technician.
Level II: Technicians on this level are qualified to conduct rope access operations and/or safety evaluations of rope access operations under the supervision of a Level III technician; also capable of conducting basic rescue from rope access systems.
Level III: Technicians on this level are qualified to assume responsibility for the entirety of a rope access work site, can design and analyze rope access systems; capable of both directing and conducting rescue operations from rope access systems.
ATS Professional Experts
At ATS, we employ a wide range of certified experts to conduct our testing, inspections, and consulting engineering services. Our qualified lab and field personnel include certified inspectors and technicians, metallurgists, chemists, scientists, and engineers across various disciplines. ATS professionals serve customers in a variety of industries, successfully uncovering facts in nondestructive testing, materials testing, chemical analysis, accident and forensic investigations, and metallurgy.
Quality Assurance Credentials
ATS is committed to consistently providing the highest quality services, with an emphasis placed on safety, efficiency, and client satisfaction. Our quality policy is implemented through the ISO 9001 registered ATS Quality Management System. We maintain our reputation for reliability by employing engaged, well trained individuals who maintain a strong familiarity with the relevant standards and regulations of their respective industries.
ATS Accreditations and Certifications Include:
ISO 9001:2015 Quality Management System
Certified by the European Aviation Safety Agency (EASA)
Nadcap Accredited for NDT and Materials Testing
EN71 European Toy Safety Testing
FAA Repair Station
CPSC Accredited Lab
Our Quality Program Also Satisfies the Following Quality Standards:
10CFR Part 50 Appendix B Quality Assurance Criteria for Nuclear Power Plants
10CFR Part 21 Reporting of Non-compliance
ASME NQA-1 Nuclear Quality Assurance Requirements


Meeting minues help remind those who attended the meeting of important ideas and decisions made.
1 How do I Take Notes During a Business Meeting?
3 How do I Create Minutes of a Meeting?
Meeting minutes are used to remind those who attended the session of the important decisions, timetables, projects, ideas and other information provided during the meeting. When taking meeting minutes, listen carefully to each attendee and take note of ideas, decisions or key points offered. Create a meeting minutes template in advance to you to take organized notes on each topic addressed. Ask questions to clarify confusing issues during and after the meeting. Compile your notes into official meeting minutes while the meeting is still fresh in your mind.
Compile background information before the meeting to better understand meeting topics. Ask for advance copies of slide show presentations, handouts and other materials from speakers. Make a list of those attending the meeting or pass an attendance sheet around during the meeting so you can include the names in the official meeting minutes.
Create a meeting template that includes space for the time and date of the meeting, purpose, names of facilitators and the meeting duration. Fill in this information before the start of the meeting. Also ill in the duration of meeting at the end. List each discussion topic and provide enough space to take notes. Number template pages to avoid confusion when creating official meeting minutes. Create meeting templates on paper or electronic word processing document if taking notes using a laptop computer.
Listen carefully during the meeting. Record information pertaining to each topic in the corresponding section on your template. Include only pertinent information, including suggestions, complaints and resolutions along with the names of those actively involved in the conversation. Include key points made during a presentation. Record new tasks, product development ideas, timetables for project completion and list all important decisions made.
Review your notes quickly before the meeting is adjourned. Ask follow-up questions immediately while those attending the meeting are still available to clarify any questions you may have.
Create a list of official meeting minutes using the notes and presentation materials collected during the meeting as soon as possible. Review meeting minutes with another attendee or facilitator to determine if the information is accurate and complete. Distribute official meeting minutes to those who attended the meeting.
Use a recording device during long presentations or meetings with multiple speakers to ensure all pertinent information is included in meeting notes along with the names of those who presented.
Do not participate actively in the meeting if taking notes. Participating in the meeting diminishes your capacity to listen and take effective notes.
Jones, Jessica. "How do I Effectively Take Meeting Minutes?" Small Business - Chron.com, http://smallbusiness.chron.com/effectively-meeting-minutes-3152.html. Accessed 19 April 2019.


The answer to this question can be important because employers do not typically withhold federal and state taxes or social security for independent contractors and independent contractors do not usually receive benefits. Furthermore, a municipality's incorrect treatment of an employee as a independent contractor, without a reasonable basis, can result in substantial penalties being assessed against the municipality.
The Internal Revenue Service (IRS) uses 20 factors as guidelines to determine whether an individual is an employer or an independent contractor. No one factor is determinative. However, "yes" answers to the following factors indicate an employee relationship. "No" answers indicate independent contractor status.
Must comply with the employer's instructions about when, where and how to work.
Receives training from or at direction of the employer.
Hires, supervises and pays assistants for the employer.
Has a continuing relationship with the employer (worker performs work on frequently recurring, although irregular, interval).
Follows set hours of work.
Performs work on the employer's premises.
Must perform work in sequence set by employer.
Submits regular oral or written reports to the employer.
Receives payments for business/traveling expenses.
Relies on employer for tools and/or materials.
Lacks a significant investment in facilities used to perform services.
Cannot make a profit or suffer a loss from services.
Does not offer services to the general public.
May quit work at any time without liability.
In situations where a municipality is unsure whether someone should be treated as an employee or as an independent contractor, the municipality may request that the IRS make a determination. The municipality should call 1-800-TAX-FORM and request Form SS-8, Determination of Employee Work Status for Purposes of Federal Employment Taxes and Income Tax Withholding, which is then filled out and submitted to the Internal Revenue Service.


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HomeAbout Press Room 2021 Press Releases Get Growing! Expo Sprouts Up at Brookfield Zoo on June 18-20
Contact: Sondra Katzen, Chicago Zoological Society, 708.688.8351, sondra.katzen@czs.org
Kelly Wisecarver, Wisecarver Public Relations, 773.218.7285, kelly@wisecarverpr.com
NOTE: Download images at end of press release.
Get Growing! Expo Sprouts Up at Brookfield Zoo on June 18-20
Brookfield, Ill. — If you're interested in planting a garden, but don't know where to begin or just want some fresh ideas for an existing one, then head to Brookfield Zoo for the Get Growing! Expo presented by Wintrust taking place Father's Day weekend, June 18-20, from 11 a.m. to 6 p.m. The exhibit will feature beautiful garden displays and floral and home-related ideas that are sure to inspire and motivate guests to get planting in their own green spaces.
The Expo, designed for blossoming gardeners as well as those with a seasoned green thumb, will feature free educational seminars led by City Grange covering topics that matter most to gardeners. On-site sessions at noon, 2 p.m. and 4 p.m. will explore plants for pollinators, food gardening tips and tricks, and the FUNdamentals of container design with annuals. Joining the City Grange team is Chicago-based author and illustrator, Flora Caputo, who will be sharing her expertise on using pollinator plants in containers. Make-N-Take Terrarium workshops are twice daily at 1 and 3 p.m. Additionally, guests may purchase items from the Plant Truck Chicago, a mobile plant boutique.
Before or after checking out the Expo, be sure to also visit the animals, including the giraffe herd; Brutus and Titus, 5-year-old African lions; Hope and Hudson, the zoo's polar bears; and the Mexican wolf pack at Regenstein Wolf Woods.
The Get Growing! Expo is free with regular zoo admission of $24.95 for adults, $17.95 for children 3 to 11, and $19.95 for seniors 65 and over. Children 2 and under are free. Parking is $15. For additional information, visit CZS.org/GetGrowingExpo.
Safety protocols continue to be in place. Before arriving at the zoo, guests are encouraged to visit CZS.org/KnowBeforeYouGo to review guidelines as well as to get updates on what animal habitats and other amenities are open.
Photos--credit Get Growing Foundation
Composition-plants-pots
Plant Truck Chicago
Plant Truck Chicago interior-1
About the Chicago Zoological Society
The mission of the Chicago Zoological Society is to inspire conservation leadership by engaging people and communities with wildlife and nature. The Chicago Zoological Society is a private nonprofit organization that operates Brookfield Zoo on land owned by the Forest Preserves of Cook County. The Society is known throughout the world for its international role in animal population management and wildlife conservation. Its Center for the Science of Animal Care and Welfare is at the forefront of animal care that strives to discover and implement innovative approaches to zoo animal management. Brookfield Zoo is the first zoo in the world to be awarded the Humane Certified™ certification mark for the care and welfare of its animals, meeting American Humane Association's rigorous certification standards. The zoo is located at 8400 31st Street in Brookfield, Illinois, between the Stevenson (I-55) and Eisenhower (I-290) expressways and also is accessible via the Tri-State Tollway (I-294), Metra commuter line, and CTA and PACE bus service. For further information, visit CZS.org.
About Get Growing Foundation
For the past three years, Get Growing Foundation (GGF) had been the cornerstone of The Chicago Flower & Garden Show® bringing education and year-round programming to the event. Due to the COVID19 pandemic, the Show was canceled just days before its March 2020 opening, but its programs and education continue to live on through the Foundation. Now as a stand-alone 501c3 nonprofit, GGF continues its mission to provide year-round educational programming and community outreach, including garden installations, to inspire interest in horticulture and the environment, especially among youth in underserved communities. GGF produces the Get Growing! Expo and operates Plant Truck Chicago, a seasonal mobile plant boutique providing access to much needed plant material in and around Chicagoland with a special focus on under-served communities. For more information visit: getgrowingfoundation.org and follow on social @TeamGetGrowing.


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I had significant response to my recent post, "The Ultimate Sucker Punch to Emerging Leaders: Expectations of Responsibility & Accountability Without the Empowerment of Authority". The volume of interest was appropriate given that the topic simultaneously impacts individual career paths, employee morale, corporate culture and the likelihood that an entity can grow, scale and sustain.
I am using this follow-up post to address a selection of comments I received specific to the topic as it relates to performance-based compensation.
Trepidation surrounding the broad, high-level subject of responsibility vs accountability vs authority can be experienced in a variety of capacities, with perhaps none more poignant and personal than when these concepts are applied to merit-based pay. It is one thing for an employee to perceive they did not achieve an objective they were tasked with because they didn't have the right tools or influence. It is another when those breaches also impact the employee's income and compensation.
For the last 6 months, I have been earning a series of executive certificates through the Cornell University SC Johnson College of Business and Graduate School of Management. I have completed nine (9) business and accounting courses to date centered on Data Analytics and Measuring & Improving Business Performance; tomorrow I initiate another focused on Finance, Management and Capital Investment.
The volume of data available to leaders in today's business ecosystem is exceptional (in some cases, overwhelming). However, if utilized and analyzed strategically, data can be manipulated, influenced and employed to support or predict nearly any aim, goal or objective. I compare the concept to the skill set of an exceptional thought-leader and orator: Since their approach and perspective is so fluid and comprehensive, they could likely be challenged to present either side of an argument and odds would be in their favor to come out on top.
No tool for measuring and improving performance is infallible. Recognizing this reality is integral to the success of organizations and their leaders. If the risks and gaps associated with tracking, reporting and accounting are understood from the outset, it can provide executives with more accurate impressions regarding performance, costs, capacity, efficiency, margins and more.
As stated above, there is likely no greater way to personalize the issue of responsibility vs accountability vs authority than to fuse it with the topic of incentive-based employee compensation. Given the challenges outlined in my previous post on the subject, as well as the two observations mentioned above, it is critical that organizations utilizing performance-based compensation to incentivize/reward employees truly understand the opportunities and threats associated with the process.
I would argue that the realities of potentially manipulated data and infallible metrics/tracking converge perfectly (or perhaps, imperfectly) on the issue of incentive compensation. For example, if a manager knows he/she is being rewarded for achieving certain goals or outcomes, there are countless ways the individual may be able to skew the tracking data. In service-based organizations, one of the most common I have observed has occurred in the context of KPI's and compensation/bonuses centered upon productivity and efficiency of individual projects. To offset the risks, a principal or project manager who knows they will be paid based upon these measures may simply opt not to document all of the hours he/she contributed to the assignment to make the effort appear more efficient. The project appears profitable, and the organization is misled as to what it truly takes to achieve comparable work. A double-edged burden.
I am a believer that it is next to impossible to alleviate all such concerns, since human tendencies can often lead to these moral hazards. Still, it can be beneficial to the c-suite if we are simply cognizant of what the risks are. With insight on our side, we can employ strategies and tactics that can help improve measures that track performance. In entities where multiple phases of project process are required (which likely incorporates 99% of us), one of the tools to consider is the dual application of both Normal and Standard Costing systems.
As we all know, Normal Cost Accounting systems document actual costs, expenses, overhead and efficiencies and track them throughout the entire life cycle of an initiative or project. Over-production, over-runs or other concerns often don't show up on the income statement as cost of goods sold until work in production is realized, meaning that it is difficult to retroactively address issues. Typically, this costing system also doesn't alert the c-suite and management team to problems that arise early in the process that can yield worsened amplification or intensification of those issues at later phases of the initiative.
Standard Cost Accounting can add a valuable layer of oversight for executives. This accounting format forces all stakeholders to buy-in at the outset as to what costs, outcomes and measures should be, and then holds individuals accountable to those estimates and any variances from them. The approach offers the benefit of more overt isolation of deviations from goals and objectives, and more immediate reporting of such variances on the income statement. In my experience, the ability to quickly identify such critical observations before a multiplier effect can gain traction is a valuable tipping point for companies aiming to grow, scale and sustain.
In summary, if your organization utilizes incentive-based compensation and performance measures for your employees, it is worth researching if the dual lenses of Standard and Normal Cost Accounting can help improve fairness and outcome monitoring. Neither system is perfect, but their simultaneous application may help target weaknesses and strengths that the c-suite and executive managers can modify, adapt and leverage moving forward. Any investment toward fairness and transparency is likely one that employees will appreciate and value, especially if merit pay is part of the equation.
This entry was posted in Alignment, Big Data, C-Suite, Cost Control, Culture, Delegation, Entrepreneurship, Growth Strategy, Kimberly Arnold, Leadership, Operations, Scaling, Small Business, Strategy, Sustainability, Uncategorized, Vision. Bookmark the permalink.


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Interview: Charm City Art Space – 7 Years and the 1000th Show (w/ Mike Riley)
by Greg Szeto | October 8th 2009, 11:13 AM
Posted in Baltimore |CCAS |Charm City Art Space |Interview |Mike Riley |Preview |Pulling Teeth
MP3: Sick Sick Birds – Your Machine from Heavy Manners 12″ (2009)
On a particularly idyllic and cool fall evening this week, I sat on the steps of Charm City Art Space with founding member Mike Riley (the Spark, Pulling Teeth, Toxic Pop & Firestarter Records) to reminisce and reflect on the past, present and future of the iconic, long-running DIY venue.
They celebrate a mind-boggling 1000 shows this Friday with a secret, 5-band line-up. It should not be missed.
Doors at 7PM. All ages and donations appreciated, as always.
Aural States: To start, can you flesh out the circumstances leading up to the genesis of CCAS? What factors contributed to you and the other founders' desire to start up the space?
Mike Riley: Well since I moved to Baltimore in '94, I went to UMBC. I grew up in central New Jersey and there were shows left and right, bands I wanted to go see all the time. When I came down here I didn't have a car. This was obviously not pre-internet, but pre the explosion of the internet. My AOL search for Baltimore hardcore was this band called Compression, who are far from a hardcore band.
There were hardcore bands in Baltimore, just bands weren't on the internet yet. So I was lost as to where the shows were happening in the area, I couldn't find any info on the Loft, or anything in the area. So I decided I'd bring the bands in myself. I started doing shows at UMBC in '97. Did them there for a while. Then a friend told me about a space near University of Maryland, which was at the time the Supreme Imperial. I got involved with them, they let us rent out the space. Eventually when they got evicted we took it over. That became the Chop Shop. At that time, I met my friend Mike Wolf who had just moved to the area from Pittsburgh. Well, not just, he had been here a little while. He was involved in a space in Sowebo called Black Aggies, which was also the Laff n Spit. So we just became friends, kept in touch over the years.
Fast forward to 2002, and neither of us have regular show spaces to work with. DIY spaces. I was doing a lot of shows at the old Ottobar and the Sidebar. But we just wanted a non-bar venue where music was the focus. Mike and I met up at a show at the Bloodshed, a warehouse space on Preston. They had just moved in there, it was a cool, great space but I guess since people were living there, they didn't want to do more than one show a month. Mike and I were talking that night and we decided we really needed to get a space together, that's smaller and can help out smaller touring bands. So Mike found this place for rent in the City Paper Classifieds. We came and checked it out, and downstairs it was all walled off into little, separate rooms. Upstairs was a wig shop that had just closed down.
We thought, this'll work. It was cheap. We tore down all the walls and that was our basement space. To come up with first month's rent we got in touch with everyone in the Baltimore and DC area that we knew who might be interested in a space like this: "We're trying to raise money for security deposit, rent. Help us out."
We got over $1000 in donations, anywhere from $20 to $150. And it's never had to come out of pocket since.
AS: One thing you said that struck me as really interesting, and relevant: you said you wanted to start a space focusing on the music, without alcohol. Alcohol is a thorny issue for any venue, especially with liquor licenses getting scarcer and scarcer. Could you expand a little on your motivations for the space, and divorcing the music from what many see as an inextricably linked social aspect, drinking.
MR: Right. I've worked at the Ottobar and stuff. A venue like that, in a space that big. Whatever they're paying in taxes, fees…those costs add up. I know a venue like that could never survive without that alcohol revenue.
AS: Yeah, I definitely see in the case of legitimate venues with higher overhead how that could be an issue. But in a DIY space…what's your take?
MR: I can tell you in every DIY space I've been involved in, though we try not to focus on any one genre, by default it's mostly punk and hardcore. So it's younger audience. The first thing that's gonna get you in trouble is having young, drunk kids out and about. Causing trouble, disrespecting the neighbors, whatever. Obviously those things will attract the attention of the cops.
So that was our motivation behind the alcohol-free policy. 9 times out of 10, that's the first thing that will get a place like this shut down. Cops come and see a bunch of underage kids trashed and it's vague who's in charge. We primarily want to keep it all ages. It's ridiculous to shut out kids under the age of 21 from the kind of music we're doing and the kind of community work we're building and focusing on.
But really, our primary reason is survival. Don't take chances that are unnecessary.
AS: Can you say a little more about your all-ages stance and your mission statement?
MR: As far as the all-ages part…growing up, being under 18 or under 21 and really wanting to see bands that were playing a venue that was age-restricted. I got really bummed out, and completely frustrated. Personal frustration from having to deal with that. Music, no matter what kind of music you're into, is not restricted by age. I'm 33 and I listen to music that some people say they stopped caring about when they were 15. I know 12 year olds who are into jazz and classical.
The other parts of the mission statement, the people who were involved here to help get the space started…the other DIY spaces we were involved with kind of focused on music, and that was it. No matter what other ideas they had. Everything fell by the wayside to concentrate on music. We've really always tried hard to encompass the 'zine library, and the gallery. Have more than one thing going on. We've always offered it out as a venue for community-oriented meetings or whatever. Not may people take us up on it, but it is there. To be more of a community space than just a music space.
AS: As a community space, how does the organization function? Commune, collective?
MR: I guess it depends. Certain people define collective differently. Our decisions are made more on consensus basis, rather than strictly democratic or collective. I feel like other collectives I've been involved with that don't delegate responsibilities, try to keep it too…
AS: Horizontal power structure?
MR: Exactly. And decisions never get made because not everyone's gonna agree. We've been involved in enough collectives to know that if 20 people are into something and 5 people aren't, you'll never get anywhere if you try to convince those 5 people the other 20 are right. So things are done more on consensus basis.
AS: Have you had a fairly stable group of people running the space?
MR: I'm a founding member and have been involved ever since. Mike Wolf, he's since had two kids. Most of our discussion occurs on our email list-serv, so Mike's still pretty involved there. He just doesn't get to come out as often. Dan Bress, who plays bass in Dead Mechanical. He's an original member; he's still involved booking shows and his band playing here. John Bachman he's pretty early on. Rob Sullivan who sings for Ruiner.
Those people are within the first year, and are still involved. We've definitely had high turnover. We get a lot of MICA people involved because we're so close to the school. Obviously, once they graduate or get a little more involved in school, they might not be able to participate as much. I'd say most people that volunteer, become members, stick it out and stay active 3 or 4 years on average.
A lot of our members get into booking and music at the Space…punk, hardcore, indie rock, whatever. Then they sort of expand their taste and you see that at the Hexagon, Sonar, Ottobar.
AS: Kind of like Art Space alumni…
MR: Exactly. Tamara Gabai, an old member of the Space, is running a vegan bakery (Brunie's Bakery) now. She's gonna bake a cake for the 1000th show. You might consider Nolen Strals an Art Space alumni…he was very involved and did a lot of show fliers for us which has turned really successful. Things he was involved in at our space might have helped fine-tune things he was already doing with Post Typography.
AS: Would you say most of the group is pulled from MICA?
MR: It expands all the time. Primarily college kids. It's people coming to Baltimore, Towson, Catonsville from distant rural PA or Maryland. They discover independent music is easier to seek out. Through the website or fliers they find that bands they want to see are coming here. Membership growth happens in spurts though.
There's a community center in Pikesville that a lot of kids from that area played with their bands. For whatever reason, either they don't have licenses or their parents don't want them in the city alone. But they end up here once they get older. Some of them got involved, word of mouth spread, and a few years ago we ended up with a growth spurt of kids from Reisterstown and Pikesville.
I don't think there's one specific area though. Mostly college kids, area high school kids just moving into the city who are moving out of their parents' house.
AS: Do you have a direct connection with scenes outside the city, like Celebrated Summer and Ten Car Pile Up in Towson?
MR: Well I've been friends with Tony since he worked at Reptilian. We have similar music interests so we've been tight ever since. His bands have always played here. Promotionally, we definitely help each other out. I like to think that maybe kids that are into music, goto school in Towson or areas where they might not have heard of the Art Space, they go into Celebrated Summer, see a flier and come down to get involved. At Ten Car Pile Up there's Rob Sullivan, who's been a member here for years, and books a lot of the shows there. Ten Car already had an established, Towson-area younger crowd who might not be able to come to the city. Once we got started up, and some of those kids started to hear about us, we eventually saw some of them start to come down.
AS: With the group and scene around it changing and evolving, have you felt the initial goals and your vision of the space changed significantly?
MR: Well, when we signed the lease in June, we thought "If we can make it through the end of the summer, we'll be happy." The fact that we've made it over 7 years has blown a lot of our minds. The fact that we've been so lucky about people in the neighborhood being supportive and cool, not calling the cops if there's a problem and coming to us if there's an issue. Cops drive by, and we're not in a bad neighborhood by any means, but we're not too far from one. Our theory is that the cops have better things to deal with than some kids playing music in a basement.
And knock on wood, things stayed OK. When we started, it was Mike and my social circle. Those were the people we went to. It was fairly tight knit, the musical styles were not too far-ranging. Just being here, with more and more people getting involved and telling their friends, it's evolved so there are more people booking who are into more types of music. Definitely a goal. We never wanted it to be just a punk and hardcore venue. So that's really exciting.
As far as the scene stuff goes, I like to think that between bands meeting each other here, becoming members and friends, that we've spawned new bands. And then both bands go off and do things. That's another primary goal of mine. It's a place where people who might not be able to interact with each other at a more typical rock club can come and meet people. They can work on music or art projects together to make new things that would've never happened otherwise. Not anything against the Talking Head or Ottobar…but a lot of it has to do with the way we're set up here. Music in the basement, and a lounge and gallery area upstairs. People aren't going to the bar in-between bands and just hanging out with their friends.
AS: And the space is different too. It definitely feels homey…
MR: Yeah, like a basement.
AS: It's like when you get in an elevator. The social expectations for that situation are very different than in the lobby.
MR: Right. And when you're this tight-knit, I think you're bound to meet and talk to people you might never have met or talked to before.
AS: It seems like you can operate as an island, independent of any other scenes going on. That was part of the reason for creating the space, to create an island in the sea of sorts. Baltimore's always been very fertile and underground, but now there's a lot more mainstream attention, blowing up happening, because it seems a broader base is ready for what a lot of people are making. How has this growth in the city affected you guys, if it has?
MR: I don't know that it has so much. Where I feel like most of the stuff that has gotten national attention and blown up, Wham City stuff say. They already had their venues that were the sort of scene centers. Bands like Pulling Teeth, Ruiner, Sick Fix, Dead Mechanical, Animal Poison. This is the scene center for these bands. If one of them were to blow up, we'd feel it a lot more. But none of them really has. We've had some of those (Wham City) bands or affiliated artists play here. But really, neither positive nor negative influence.
AS: Landmark shows throughout the history of CCAS. Are there any major ones you can point to? You said before that you've never really had anyone from the scene blow up, but that's not entirely true.
MR: Oh certainly. It's funny things like that, a hardcore band called Modern Life Is War. I did a show for them on their first tour, they had a 7″ out and there were maybe 10 people. Then they played here 2 years ago and you couldn't possibly fit everyone in here. That's always fun, bands like the Thermals. Glass Candy who got pretty big in the dance-rock scene. I can't remember if they hopped on an existing show or if it was a short notice show. It was interesting because you'd see people who you would never see here beforehand. And it was great, everyone had a blast as far as I know. I wasn't familiar with them at the time. That was sort of a show where, that kind of band isn't necessarily always associated with the Art Space…but people came out and it was amazing.
Not too long ago a band called Polar Bear Club played here. Now, they're doing a huge tour with like the Gaslight Anthem and they're like a melodic hardcore band. Bands like that are cool because almost every member of that band played in older bands here to anywhere from 20 to 100 people. That's really cool to me to see the evolution. And they're from Rochester Syracuse, they're an upstate New York band. So it's not even a local thing. You just get to see the evolution of these peoples' music through the Art Space. I really enjoy seeing that.
Then there's bands that have come up through here, and maybe the Art Space can be a little too small for them now. Double Dagger, Ruiner, Pulling Teeth. The Art Space was a part of their history, and they haven't really moved on, but they've outgrown those shoes.
AS: What about on the community side of things? Were there any periods of major growth or was it always kind of gradual?
MR: I'd say it was fairly gradual. I guess Nolen would've been the first person associated with MICA who came over here. . This was our first year. We've never done a ton of advertising because we've always been afraid of being shut down, so we've been kind of a word-of-mouth, fliers in selected places type of promotion. Nolen was hanging show and membership fliers around campus, and that definitely led to a huge stream of people from MICA coming in and getting involved.
The fact that we wanted to have it be more than a music venue. Have gallery stuff going. Nolen was our first sort of curator, but having that separate group of people that were somehow connected or had interest in local music. But their primary focus was visual arts. That's sort of helped out as well, having people that are into music but more interested in the other aspects of the space.
AS: What about prickly, on the precipice moments?
MR: Yeah, definitely when the Bloodshed got shut down. We got really paranoid. There was a lot of interaction between our spaces where we would sort of do fests where the afternoon would be here, night time there. Things like that. So when they got shut down there definitely was a ring of paranoia about the space. We sort of went even more low-profile for a while. We might have gone as far as taking the website down. But nobody ever bothered us.
AS: So for the most part, you've been entanglement free…
MR: Yeah, the very first thing we did when we moved in, we talked to the old neighbors and let him know what we were doing. Ralph, who used to live upstairs, said "That's cool, but during the week I have to get up at 4AM for my job, so if you can cut the music by 10PM that'd be great." And we've kept that 10PM curfew ever since. So we've always tried not to be like "We're here, we're doing this. Fuck everyone else." We knew better.
AS: I gather that you never really thought about a 1000th show at the beginning. For you personally, and for the space, how is the show significant?
MR: For us as a space, we kind of got going modeling ourselves after ABC No Rio in New York, Mr Roboto Project in Pittsburgh. Gilman to an extent…obviously they're on a much larger scale. Mike was good friends with a lot of the people who got Mr Roboto going. They were a ton of help to us when we were getting started. Other than those spaces, I couldn't name another volunteer-run, DIY arts and music space in the US that's lasted this long. We're certainly proud of that and feel lucky we've been able to do it for so long.
And personally, the fact that I've seen people come and go and get burned out but I haven't gotten burned out. The first few years, I had the mentality that if I didn't book 5 or 6 shows a month, we were never gonna get by. And I sort of burned myself out on booking, and lost a lot of my own money doing things that way. I realized that I needed to take a step back from being a primary booker. I still do shows from time to time, but now I'm more comfortable being involved in the behind the scenes stuff.
AS: Can you give any details on the show?
MR: The line-up's a secret, only 2 space members know the line-up. Even the bands that are playing don't know the other bands. My one wish is that instead of wanting the 1000th show celebration BE the actual 1000th show, we would've done a celebration of 1000 shows and not have the date be so specific. Shows get booked as short as 2 weeks notice, so we've been kind of waiting to see when the actual show will be. That left us with only 2 weeks to get bands together. A lot of bands that would've been amazing had to say no because they didn't have enough time to get practices together, or they already had commitments…
For the 2000th show celebration, it'll be more of a celebration of 2000 shows, not the ACTUAL 2000th show. So we have some more time to get cool stuff. The line-up this time is still great.
When we move into the new space, we wanna have a weekend celebration. I'm hoping we can get a lot of those bands that were interested and would've been like holy shit in the basement deals. And that'll be announced. But we just thought that this would be a fun thing to do. And it's not so much about the show, it's about the space. So just come out, have fun and watch some cool bands. As far as genre-wise goes, it's pretty eclectic.
AS: All local?
MR: If you count DC. And this is memberwise, not necessarily bandwise.
AS: Having any anxiety about capacity for the show?
MR: Actually I don't really know what to expect. People might think "Oh it's a secret, I don't want to take my chances. I'll just goto the bar." But I hope people come out to celebrate the fact that we've been here for 7 years and 1000 shows. When you get here, the lineup will be posted. Hopefully that'll get people talking to their friends about it. Or they'll get here and think "I was expecting something bigger." That's the thing with the secret show. People keep hyping it and rumors. It's kind of funny.
We try to keep track and click for every show and I think 155 came for Andrew Jackson Jihad and Delay. Andrew Jackson Jihad are kind of acoustic, so on that kind of thing we can open the front door. And people for that show were everywhere, in every room and on every step.
AS: So is this going to be the last show before the move?
MR: We're still trying to figure out from the landlord when we can move in. It's this garage next door.
AS: The move is by choice then?
MR: Yes, completely by choice. When we first moved in here, the guys in the garage did installations for sound systems in vehicles. The first few years they were around a lot, but then we started seeing them less and less and less. A couple years ago, I asked the landlord what's up with the garage next door? We're looking to expand to a bigger space. He said the guy's still paying rent and using it for storage. I just happened to ask him about it again like 6 months ago. He said the guy hasn't been paying rent, and he's looking to clear and rent it out. He let us in there and basically right now it's jam-packed full of vehicles, garage junk.
The landlord got ahold of the guy and said he has until the end of November to clear his stuff out. The guy basically said if he doesn't get to it, to clear it ourselves. So hopefully we can get in there and work on it, clean it out for a month before we start paying rent. It needs a lot of work. We wouldn't be able to just stop here at the end of November and get started there at the beginning of December. We'd have to keep the current space at the same time, but there's no way we could pay rent for both.
AS: But CCAS won't be expanding to have two spaces?
MR: No…some people thought about it for a while. The one concern is we wouldn't be able to help out as many small bands as we do now. We still do lots of small shows for like 10 or 20 people, and the current space would be good for that. We're working on ways to still do this and keep it financially feasible. We'd like to keep the 'zine library and gallery section going. Since the new room will just be one straight room, we're also still trying to figure out a way to keep them safe.
AS: How big is the new space?
MR: I describe it as roughly the size of the Sidebar. Probably from the bathrooms to the front. It's nice and long. A lot of our promoters do as much as they can here, but stuff that's too big occasionally has to go to the Talking Head or Sonar. To be able to keep all that stuff here would be amazing. The rent in that room is double what we pay now though, so we're going to have to come up with more benefit shows and develping things like a new structure for taking money from the door.
AS: Is the capacity double?
MR: It's more than double. 50 is like comfortable, 75 jam-packed, and we've done shows of 100+ in the basement. Shows of 200+ are doable and comfortable in the new space. The other thing we could never do here is go legit as a venue. We don't have any rear exits, things like that. Whereas this new space we are pretty sure we can go 100% legit. How we go about doing that, we're not really sure. I know Hexagon did something where they registered as a record store to enable them to have live music.
AS: What are the other benefits of going legit at this point?
MR: Not having to be paranoid all the time if we're gonna get shut down in the middle of a lease. We'd probably incorporate…it's never happened before but if someone were to get hurt, me being the lessee wouldn't be screwed over. Be a little bit more visible. And possibly, since we're in Station North, getting grant money. So that's the eventual goal.
AS: Is that the biggest future goal right now? What else are you shooting for short-term and long-term?
MR: Yeah, going legit. For now, saving as much money as we can. We're probably gonna work out one or two more benefit shows before we move in to help pad our pockets before our expenses double. Then just getting in there and fixing it up.
I think with a space that isn't a cramped basement, that will open us up to more people. Take a band like Sick Sick Birds. They don't play around a lot locally. Their draw tends to be friends, an older crowd and maybe not one that is super cool being in a cramped basement with sweaty teenagers. To be able to appeal to more people because it's a more comfortable space.
We tried to do film and movie screenings before, but the current space isn't really ideal for that. To be able to try and do more things like that, maybe something like what MicroCineFest did. It would be really great to supply a venue for something like that.
I like the fact that us and the Hexagon, the Metro Gallery, the Talking Head or the Ottobar. We all help each other out whenever we can. I'd like to continue to foster that. I'm in a band that goes on tour a lot. I see and hear about venues shutting down other venues because they don't want the competition. I think it's amazing that in Baltimore, you don't ever hear of that at all.
AS: Where do you see your involvement with the space going? Do you ever see yourself leaving CCAS to concentrate on other things like your labels,Toxic Pop and Firestarter?
MR: That's definitely a question I find I'm asking myself a lot lately. Not just about the Art Space but music in general.
I'd say when I first got involved in all of this in the early to mid 90s, you rarely saw people that were involved beyond the age of 35, 40 even less. These days, for whatever reason, it's far more common. I'll probably not be doing loud, fast aggressive bands past another 3 to 5 years. With music, when you hear it you can tell whether the band's goals are more financial than creative. I've always been into bands that are more into the creative side. So I'll probably do labels for as long as I can afford it and have the time for it.
Over the years, I've seen myself become less involved in booking and promoting of shows, but as long as the Art Space is around and I'm in Baltimore…I'll be involved behind the scenes. I think one of the biggest assets I can provide is my experience. The fact that I've been involved in DIY spaces for so long, I've seen the things that help and hurt…whether it's venues, bands, whatever. And I can impart my wisdom on people.
I'm just super stoked we've been able to do this for so long, and I'd love to see it continue. And maybe do it on a slightly bigger level, where we can provide a bit more.
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5 Responses to "Interview: Charm City Art Space – 7 Years and the 1000th Show (w/ Mike Riley)"
Best interview I've read in a long time. Great job! Wish I had the balls to tape this show, but CCAS scares the living shit out this taper.
Awesome article/interview! I think often about how I'm no longer involved and wish I could be, but I just don't have the time at all.
Also, thanks, Mike, for mentioning the bakery!
Bruce says:
Great interview! Thanks so much, Mike (and everyone else) for making CCAS possible and thrive for so many years.
Jamie Hewlett Prints, CCAS Interview, Slacker Games, Dali Making that Skrilla | StokingtheRoots says:
[...] Read that HERE. [...]
BYT Podcast #9: Two genocides walk into a bar « CroMagnonJazz says:
[...] Sick Sick Birds — Your Machine [...]


text:
Q: Do I need decoupling capacitors in this schematic? I just read about 'decoupling capacitors' to stabilize the voltage. I have some small voltage drops on this schematic when I made it into a PCB.
Can capacitors would solve the problem?
If yes, where do I have to put them?

Here's the PCB view.  Maybe there is something wrong with it:

I measured on the M1/M2/M3 outputs. When I press SW1, I've 5.2V. When I press SW1 & SW2 I'm at 5.0V. When I press SW1 & SW2 & SW3 I land at 4.8V. Measured on the same (M1) output with both probes on GND and VCC of the connector.

A: You already have a decoupling (bypass) capacitor (C1) where it's needed (across the supply of U4). So, no, you don't need more.
Also, no, it won't solve your long-term voltage drop problem. Small decoupling capacitors supply short bursts (~microseconds) of power, not long-term power.

redpajama_set_name: RedPajamaStackExchange


text:
Q: How to get records in descending order in QLDB? Select * from Transactions where id='123'
I am trying to get transactions in descending order . But order by is not working here .

A: Unfortunately, at the time of writing this answer, QLDB does not support the "ORDER BY" clause. To learn more about QLDB supported PartiQL query language, you can reference: https://docs.aws.amazon.com/qldb/latest/developerguide/ql-reference.html


text:
Kersaint, Maité (1)
Auswärtige Kultur- und Bildungspolitik (1) (remove)
Kulturwissenschaftliche Fakultät (1)
Exploring Public Diplomacy 2.0: A Comparison of German and U.S. Digital Public Diplomacy in Theory and Practice (2013)
Kersaint, Maité
Designed as an exploratory study, this dissertation consists of a policy analysis of German and U.S. American approaches to public diplomacy 2.0, understood as public diplomacy by means of social media. The study's main argument is that in spite of claims to the contrary, social media did not substantially change the practice of public diplomacy. No digital turn took place: Both countries' governments act according to their respective foreign policy tradition and public diplomacy doctrines and, by doing so, confirm a historical institutionalist view on politics. After developing public diplomacy as an integrated concept that incorporates facets of several other related ones like propaganda, branding and cultural relations, it will be demonstrated that public diplomacy remains an instrument of power employed by a given state to reaffirm its might; it is not destined to empower other groups. It will also be shown how social media's premises like transparency and decentralization clash with those of public diplomacy and government administration, and how this impedes public diplomacy's operationalisation on the Internet. It will be explored how that contradiction affects the practice of public diplomacy 2.0 and how its stakeholders deal with given implications by laying out a methodological framework based on historical institutionalism that combines content analysis and expert interviews. On a doctrinal strategic level, the dissertation will then show how the U.S. public diplomacy endeavour is strategically embedded into a wider concept, driven by post-9/11 feelings of vulnerability and the desire to win back hearts and minds. The German approach, on the other hand, refuses such a take, which is partly due to the country's history and negative experiences with propaganda especially during World War II. To Germany, distancing itself from its eventful past through presenting the country as a peaceful, stable democracy is paramount. Combined with the process of coming to terms with the major shakeup the country's reunification brought about, this attitude leads to a struggle to find a new political identity. The body of rules restricting and guiding public diplomacy 2.0 reflects these elements of both countries' respective history and foreign policy tradition. This underscores the weight of history and reaffirms its centrality as a factor for understanding politics. The paper's centrepiece is constituted by a comparative content analysis of the Facebook pages and Twitter feeds belonging to the German embassy in Great Britain (UK) and its American counterpart. The comparison was made over three months in 2011 during discussions about the possible adoption of a financial transaction tax. This particular conflict situation – the UK opposed the measure, backed by the USA, while Germany advocated for it – could have provided a textbook case for the use of social media in public diplomacy. The analysis will, however, reaffirm the allegations made in the dissertation's theoretical parts: Contrary to public opinion, social media are neither interactive nor a mass phenomenon. Communication is employed to echo official government positions as stated in national foreign policy and public diplomacy doctrines as well as to legitimize general policy through subtle rhetorical strategies. The dissertation on hand will further come to the conclusion that the effects of public diplomacy 2.0 can hardly be assessed (if at all), mainly because of a lack of reliable measuring frameworks and monitoring tools. Rather, social media are a listening and opinion gathering device, providing governments with big data on their audience.


Driving home from work last Sunday I drove past a drain that consistently floods and in the torrential rain decided to pull over (risking the wrath of being home late) and take some images out the window of cars going past through the large puddle.
Free stuff is good even when it is not.
A large drinks producer was giving out samples at the bottom of Cuba Street… Missed out on the free sample but got a shot of it being drunk instead.
Finally got round to finishing off a roll of film I had sitting in my Lubitel 2 TLR Camera.
Lubitel 2 Camera, Ilford FP4 125 ISO Film (expired) Shot at different ISO's because I forgot what film was in the camera, CanoScan 9000F Scanner.


Do you recall that cool smartphone you originally got 5 years ago? You probably tossed it in a drawer somewhere because that's where all smartphones go when you get a newer version. Now, there may be a reason to bring that old smartphone back and it involves Pixlplay Camera, which is what we're going to introduce you to in this Pixlplay Camera review.
Pixl Toys developed a new way to bring those old smartphones back from the dead as an exciting 35mm style camera that the little ones can use. PixlPlay launched on Kickstarter not too long ago, and many people are already interested in it.
What's cool about the PixkPlay Camera is the fact that it's not hard at all – PixlPlay has done a good job at making sure they keep it simple. Children love electronics and gadgets, but those tiny hands and feet are continuously moving, which can spell a real disaster for delicate gadgets, like the newest Samsung tablet.
With the PixlPlay, you don't have to worry, because it will keep your phone secure and keep things simple. There's no pairing that needs to be done, no apps you need to install and none of those aggravating configuration headaches. All you have to do is put the phone in, plug the cable into the headphone jack and hand the 35mm style toy camera over to your children. Yes, it really is that easy.
While it's a toy, it is still exciting to use the camera to take pictures. Think about it – what child doesn't have fun taking photos? When it comes to freezing your dog, your sibling, your cat, your parents and all of the above, there's just something mesmerizing about it.
PixlPlay doesn't add any complications to this formula. In fact, the more we learn about this toy camera, the more we see that it actually enhances the excitement of taking pictures.
There's large buttons and knobs that children can turn. These buttons and knobs make it easy for a child to feel like that are professional photographers. Kid will be able to use the phone as normal through a splash-resistant, touch-sensitive protective case and simply by using the shutter button on top, they can snap photos.
Children as young as three years old can use this toy. While you aren't required to download any apps in order to use it, there is a neat companion iOS app that will let you edit photos with frames and digital features. It works well with existing photography and camera programs. Stretch goals include a sticker sheet, activity cards and an Android application.
On the Pixlplay case, you'll find the following features: Adjustable clamps for accommodating phones of different sizes, rubber handgrips, and a 3.5 mm cable that plugs into the audio jack to power the shutter button on the case. The little ones can snap photos through the phone's build-in camera app using the shutter button, or they can take the normal route and snap photos simply by touching the screen.
Think about it – what child doesn't enjoy taking pictures? That's why PixlPlay has decided to develop the PixlPlay Camera and it already has a lot of attention aimed in its direction.


If you're looking to push your Smok TFV8 Cloud Beast Tank to it's limits, the V8-T8 coils are the perfect choice. As the most powerfully designed coil option, you'll be able to test the limits of your vape mod and fire up to 260 watts. The octuple design features four barrels, with two parallel coils in each for a total of 8 coils. You'll be able to handle any high VG e-liquid you have on hand with no problems, without getting any dry hits. Now that's beastly!
Compatible with Smok TFV8 Cloud Beast tank.
Utilizes kanthal wire heating element.
Scratch off verification code on every box.


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J Edgar Akridge Jr is located at the address 505 13th St Ste B in Phenix City, Alabama 36867. They can be contacted via phone at (334) 298-6201 for pricing, hours and directions.
For maps and directions to J Edgar Akridge Jr view the map to the right. For reviews of J Edgar Akridge Jr see below.


12 days of 12 gauge, day 3!
Cyber week sale, 15% off everything including guns!
70 round rimfire drums, in stock.
Remington 597 & Marlin 795 70 rd Drums in stock!
GSG MP 40 available for preorder!
GLOCK G43 pistols on the way!
795 & 597 70 rd Drum Mags Coming!
Ruger BX25 mags in stock!


text:
Artycok.tv > Profiles > Mark Ther
Mark Ther
I regard Mark Ther's work as classic and extraordinary.Moreover he's probably our only student artist. Or at least he would like to be. In my selection he is the star. A lot of things were said about him and it would be better if the things we don't know won't be completely revealed and will become a part of a myth.
Key to the selection are different approaches of the artists to the the video medium. For Petr Krátký is video a contemporary fulfillment of his conceptual attitude, Mark Ther is familiar with a film language, and Macula uses video as a design strategy.
David Kořínek (curator of the August issue profiles)
Is this an iris?00:01:52.239
Would you like it if I wore these clothes all the time?00:02:11.954
No?00:02:17.656
I think people used to wear them before 1945.00:02:20.563
Well...00:02:26.806
As for the white socks...00:02:31.231
They used to wear folk costumes,00:02:34.730
like in Bavaria in Germany.00:02:39.168
The people who lived here00:02:59.715
had to leave their little houses00:03:05.563
with only 25 kg of baggage.00:03:10.787
They had to leave this country,00:03:14.572
the former Czechoslovakia.00:03:18.072
They had to abandon their sheep,00:03:21.515
take the most important stuff and leave forever.00:03:25.015
I'm glad you're here.00:04:05.286
Imagine if this house were mine00:04:08.954
and we would sit inside it00:04:12.454
by the light of a kerosene lamp00:04:16.207
because there was no electricity here before.00:04:19.734
So we'd sit there and I'd read tales to you.00:04:23.801
But there would have to be00:04:28.390
little blond children.00:04:32.793
And we'd read tales and have meals together...00:04:36.025
... and we'd take the train together00:04:47.411
and stuff like that.00:04:51.272
It would be a steam locomotive.00:04:54.216
We could do without a PC, couldn't we?00:04:57.716
Of course, we'd get a Mac.00:05:01.531
We'd put it somewhere in the room.00:05:04.707
Do you know who Hitler was?00:05:08.697
Nevermind.00:05:12.697
Can you hear me well? Hello?00:05:15.155
When you say Sudeten Germans,00:05:19.184
everyone thinks about nazism.00:05:23.404
But people should realize that since 1918,00:05:27.280
they were a minority and had little rights.00:05:30.780
For instance,00:05:36.040
Sudeten Germans couldn't become civil servants.00:05:38.040
A car!00:05:42.454
I haven't finished talking about Sudetenland.00:05:45.020
I created a video recently.00:05:49.020
The title is "Pflaumen" - Plums.00:05:52.739
It has about 15 minutes.00:05:56.399
It talks about the resettlement of the Sudeten Germans.00:05:59.399
It's about a mother and her son.00:06:04.866
She looks for him in the forest00:06:08.424
because he doesn't want to leave his home.00:06:11.924
I don't think it's my last work from this series.00:06:16.414
The theme is strong00:06:21.592
and it hasn't exhausted itself yet,00:06:24.092
although some more famous directors have used it.00:06:28.483
The video shows it the way a child saw it.00:06:34.684
The boy is 11 years old and others tell him00:06:38.077
that he and his mother have to leave.00:06:43.562
But he doesn't understand it so he runs away00:06:48.063
to ask his mother if it's really true.00:06:52.563
He's only 11 and he doesn't understand00:06:56.870
why he should leave his home.00:07:01.097
I think we'd all be reluctant to leave.00:07:06.680
I think the result is fine but... and so on.00:07:11.826
The title of the film is "Was für Material".00:07:32.940
Was für Material. I made it in 2007.00:07:39.943
It's not so much about Sudetenland00:07:43.896
but rather about love among adolescents00:07:50.043
who participated in the Hitlerjugend.00:07:55.844
In fact, there's a boy00:08:01.197
who is not among the Hitlerjugend00:08:04.444
and another one who is a member.00:08:07.944
I put together several scenes00:08:11.438
of a rather gay tone00:08:16.438
showing their mutual love.00:08:23.329
My purpose was not only to show Sudetenland,00:08:30.087
but also to show one aspect of the Hitlerjugend00:08:36.011
that later replicated in the Boy Scout movement00:08:41.967
and other similar groups,00:08:46.727
that is homosexual love.00:08:50.950
It was quite frequent,00:08:54.578
and although the leaders tried to fight it,00:08:58.199
I don't think they managed to do it00:09:02.109
by the end of the war.00:09:05.609
I used this theme in several scenes.00:09:08.542
There's a boy from the village00:09:12.808
and another one from the Hitlerjugend.00:09:17.079
The film depicts the time they spend together.00:09:21.541
It's a common idea00:09:26.840
that all those people were fanatics,00:09:29.840
which isn't true.00:09:34.932
In the video "Was für Material"00:09:37.979
I used a phrase uttered by Hitler in 1933:00:09:41.979
"Was für Material" - what material!00:09:46.093
He wanted to emphasize what youth meant to him,00:09:50.498
that he needed young people to be strong and fast.00:09:55.161
- What was I saying? - About the leg...00:10:05.284
Yeah, right!00:10:09.284
About the fanatics.00:10:12.198
Of course, it was whispered among the young00:10:15.731
that Hitler might be a sort of crazy.00:10:20.317
Many people thought so but couldn't say it.00:10:24.384
That's why I belittled the Hitler salute00:10:30.219
by letting the boys make fun of it.00:10:36.139
They are relaxed because they are alone,00:10:40.805
not knowing they're being watched.00:10:45.113
Here you can express yourself. (*required)
email (won't be published) *
David Kořínek
Petr Hátle
Eva Maršíková
Tags: video, videoart
Published: 21.8.2011


Definitions from BallroomDancer.com's excellent Glossary of Terms.
A style of Tango which originated in the streets and salons of Buenos Aires, characterized by its passionate hold and complex leg and foot movements.
A smooth dance introduced to the public in 1913 by Harry Fox, noted for being the first dance to incorporate into the rhythm a combination of Slows and Quicks. Foxtrot is characterized by smooth, walking-style movements, but can be adapted to fit a variety of musical tempi and style, or to fit onto small, crowded nightclub dance floors.
A fast but smooth-moving dance which originated in the nightclubs of the 1970's disco era, as a modified version of swing. Hustle is noted for its fast and elaborate spins and turns, especially for the lady. It is also very easily adapted to crowded, nightclub dance floors.
A fast Latin dance, similar to Salsa, which comes from Cuba. Mambo was brought to America in the 1940's and 50's and eventually adapted as an American style ballroom dance. Most of the movements emphasize the second beat in the measure, suggestive of the Clave rhythm which is fundamental to Mambo music.
An energetic Latin-style march which originated in the Dominican Republic, which emphasizes a straight-ahead 8-count rhythm taken with Cuban Motion. Merengue is now also a subset of the modern club-style Salsa dances.
An easy-going social dance, similar in movement to the Bossa Nova, first introduced in the 80's by Buddy Schwimmer and popular amongst the West Coast Swing crowd. Nightclub 2-Step is normally danced to medium-tempo pop love songs and M.O.R., using combinations of Slow-Quick-Quick and Quick-Quick-Slow rhythms.
A dramatic French-Spanish Flamenco-style march danced in 2/4 time, with man portraying the matador in a bullfight, the lady as his cape. Paso Doble is usually danced to Espana Cani, the Spanish Gypsy Dance.
An English style ballroom dance which is characterized by fast movement, often including a variety of hops, kicks, skips, lock steps and chasses.
A slow- to medium-tempo Latin American dance in 4/4 time, which is characterized by sensual, provocative movements and gestures, Latin-style hip motion, and playful and flirtatious interplay between man and lady.
A rhythmical Brazilian dance in 2/4 time which has been adapted for modern Ballroom dancing and incorporated into the repertoire of the International Standard syllabus.
The International version of Foxtrot characterized by long, slow linear movements.
In the American and International ballroom styles, a dance in 2/4 time, which originated in Argentina and is characterized by catlike walking action and staccato head movements.
A fast ballroom dance in 3/4 or 6/8 meter, often associated with the music of Johann Strauss.


Brick 1-Story house in a quiet neighborhood, has 3 bedrooms, 2 full baths, 2-car attached garage, central A/C, original septic system, 1,856sf living area on 2/3 of an acre, and was built in 1971.
House in pretty good condition, interior has been renovated with new paint and tile throughout. It may need a roof. Repairs could be minor to moderate– depends on whether or not the septic system would need to be replaced. If not, most everything is cosmetic.