text:
In the MMIW inquiry, don't forget about girls
If we don't understand the violence and exploitation that Indigenous girls face, we won't be able to fully tackle the issue before us.
by	Cherry Smiley October 11, 2016
On August 3, 2016, the federal government formally launched the long-awaited, hard-won National Inquiry into Missing and Murdered Indigenous Women and Girls. Indigenous women and girls and their allies across the country celebrated the launch of this inquiry as a victory unto itself, as advocates had been pressing for this crisis to be acknowledged and taken seriously by all levels of government and the general Canadian public for decades.
While the launch of the inquiry does illustrate a shift in the response to this issue, we need to move forward carefully. The inquiry will only happen once, and we'll need to make sure that we actually get to the root of the issues that so desperately need to be addressed. With an inquiry time-period of two years, to the end of 2018, and a budget of $53.86 million, some advocates are rightly concerned that both the time frame and the budget may not be sufficient for it to meaningfully investigate and address such complex and multi-layered issues.
In some ways, the broad terms of reference are a good thing, as they will allow the commissioners to address a wide range of issues and provide them the flexibility to shift focus so that they are most productive. One key group they should be keeping in mind is Indigenous girls.
While the inquiry's title and terms of reference include women and girls, there is a risk girl-specific issues may not be addressed meaningfully. Addressing girl-specific issues will allow for a more comprehensive investigation into the root causes — to expose, address, and end the lifetimes of male violence experienced disproportionately by Indigenous women and girls. Too often Indigenous girls are the victims of incest, sexual abuse and sexual exploitation. When they grow up many are then trapped in violent relationships with abusive men or are sexually assaulted and prostituted as adult women.
These incidents of male violence form a continuum that has been experienced by too many Indigenous women and girls over the course of our lifetimes. If the unique circumstances and barriers faced by Indigenous girls are not specifically addressed by the inquiry, we won't be able to gain a comprehensive understanding of the issue. We will fail to examine the child welfare system, the youth criminal justice system, the harms of sexual exploitation and prostitution, the education system, and the hypersexualization of girls by adult men and other institutions and circumstances, which affects girls in profound and particular ways.
To remedy these situations there have to be recommendations that are unique to women. One way we can begin these discussions is by making sure that we keep the focus on women and girls in our research, statistics, and examination, but in arriving at solutions. We need to ensure that we are consistently naming who is doing what to whom, and that we provide specific and concrete recommendations that take issues of power and inequality (sexism, racism, classism) into consideration.
This brings me to the large-scale invisibility of the perpetrators, when we talk about missing and murdered Indigenous women – in the terms of reference for the inquiry, in the media, and elsewhere. If we don't name the problem, if we don't explicitly start by naming who is doing what to whom, we will be far less likely to get to the actual root of the issue.
Naming men as the perpetrators of the violence against Indigenous women and girls is a vital step in addressing these root causes. It provides an important framework for the inquiry to provide concrete recommendations that address the vulnerabilities of Indigenous women and girls and the men who take advantage of and exploit those vulnerabilities. If we are explicit and brave in our language, and discuss masculinity head on, we can also begin to look at what kind of shift needs to happen so that boys don't grow up with the messaging that male violence against women and girls is acceptable and part of being a man. It is incredibly important that the inquiry examine the issue as one where race, class, and sex intersect, and that it position male violence against Indigenous women and girls as the starting point for an uncomfortable, brave, but necessary investigation.
Having had the honour of working with a group of Indigenous girls in an anti-violence drop-in group, I can say that having girl-only space and support allows girls to speak freely about their experiences and share their analyses of male violence against Indigenous women and girls. These groups can provide sufficiently generalized terms of reference, and the inquiry can be conducted with an Indigenous feminist analysis that consistently names who is doing what to whom and focuses equally on the circumstances of women and girls.
We have one chance at this national inquiry, and it will take great courage from all who participate and engage with the inquiry to say and hear what needs to be said and heard. Hopefully, this inquiry will make us angry, uncomfortable and frustrated; hopefully, we will feel rage, despair and sadness, as we clear room for healing, safety, liberation and peace. This will not be an easy process, but it is a necessary step as we work toward reclaiming values of collectivity, interconnectivity, honesty and respect for all, including Indigenous women and girls, the earth, sky, waters and all our nonhuman relations.
Photo: Geraldine Mattinas, Attawapiskat First Nation
This article is part of the Public Policy and Young Canadians special feature.
Cherry Smiley
Cherry Smiley is a feminist from the Nlaka'pamux and Diné Nations. A former front-line anti-violence worker, she is a PhD Candidate in the Department of Communication Studies at Concordia University in Montreal, where she works to end prostitution and all forms of male violence against women and girls. She is the founder of Women's Studies Online and co-founder of Indigenous Women Against the Sex Industry.
by Cherry Smiley. Originally published on Policy Options

In the MMIW inquiry, don't forget about girls

by Cherry Smiley. Originally published on Policy Options
October 11, 2016

On August 3, 2016, the federal government formally launched the long-awaited, hard-won National Inquiry into Missing and Murdered Indigenous Women and Girls. Indigenous women and girls and their allies across the country celebrated the launch of this inquiry as a victory unto itself, as advocates had been pressing for this crisis to be acknowledged and taken seriously by all levels of government and the general Canadian public for decades.

While the launch of the inquiry does illustrate a shift in the response to this issue, we need to move forward carefully. The inquiry will only happen once, and we'll need to make sure that we actually get to the root of the issues that so desperately need to be addressed. With an inquiry time-period of two years, to the end of 2018, and a budget of $53.86 million, some advocates are rightly concerned that both the time frame and the budget may not be sufficient for it to meaningfully investigate and address such complex and multi-layered issues.

In some ways, the broad terms of reference are a good thing, as they will allow the commissioners to address a wide range of issues and provide them the flexibility to shift focus so that they are most productive. One key group they should be keeping in mind is Indigenous girls.

While the inquiry's title and terms of reference include women and girls, there is a risk girl-specific issues may not be addressed meaningfully. Addressing girl-specific issues will allow for a more comprehensive investigation into the root causes — to expose, address, and end the lifetimes of male violence experienced disproportionately by Indigenous women and girls. Too often Indigenous girls are the victims of incest, sexual abuse and sexual exploitation. When they grow up many are then trapped in violent relationships with abusive men or are sexually assaulted and prostituted as adult women.

These incidents of male violence form a continuum that has been experienced by too many Indigenous women and girls over the course of our lifetimes. If the unique circumstances and barriers faced by Indigenous girls are not specifically addressed by the inquiry, we won't be able to gain a comprehensive understanding of the issue. We will fail to examine the child welfare system, the youth criminal justice system, the harms of sexual exploitation and prostitution, the education system, and the hypersexualization of girls by adult men and other institutions and circumstances, which affects girls in profound and particular ways.

To remedy these situations there have to be recommendations that are unique to women. One way we can begin these discussions is by making sure that we keep the focus on women and girls in our research, statistics, and examination, but in arriving at solutions. We need to ensure that we are consistently naming who is doing what to whom, and that we provide specific and concrete recommendations that take issues of power and inequality (sexism, racism, classism) into consideration.

This brings me to the large-scale invisibility of the perpetrators, when we talk about missing and murdered Indigenous women – in the terms of reference for the inquiry, in the media, and elsewhere. If we don't name the problem, if we don't explicitly start by naming who is doing what to whom, we will be far less likely to get to the actual root of the issue.

Naming men as the perpetrators of the violence against Indigenous women and girls is a vital step in addressing these root causes. It provides an important framework for the inquiry to provide concrete recommendations that address the vulnerabilities of Indigenous women and girls and the men who take advantage of and exploit those vulnerabilities. If we are explicit and brave in our language, and discuss masculinity head on, we can also begin to look at what kind of shift needs to happen so that boys don't grow up with the messaging that male violence against women and girls is acceptable and part of being a man. It is incredibly important that the inquiry examine the issue as one where race, class, and sex intersect, and that it position male violence against Indigenous women and girls as the starting point for an uncomfortable, brave, but necessary investigation.

Having had the honour of working with a group of Indigenous girls in an anti-violence drop-in group, I can say that having girl-only space and support allows girls to speak freely about their experiences and share their analyses of male violence against Indigenous women and girls. These groups can provide sufficiently generalized terms of reference, and the inquiry can be conducted with an Indigenous feminist analysis that consistently names who is doing what to whom and focuses equally on the circumstances of women and girls.

We have one chance at this national inquiry, and it will take great courage from all who participate and engage with the inquiry to say and hear what needs to be said and heard. Hopefully, this inquiry will make us angry, uncomfortable and frustrated; hopefully, we will feel rage, despair and sadness, as we clear room for healing, safety, liberation and peace. This will not be an easy process, but it is a necessary step as we work toward reclaiming values of collectivity, interconnectivity, honesty and respect for all, including Indigenous women and girls, the earth, sky, waters and all our nonhuman relations.

Photo: Geraldine Mattinas, Attawapiskat First Nation

This article is part of the Public Policy and Young Canadians special feature.

Do you have something to say about the article you just read? Be part of the Policy Options discussion, and send in your own submission. Here is a link on how to do it. | Souhaitez-vous réagir à cet article ? Joignez-vous aux débats d'Options politiques et soumettez-nous votre texte en suivant ces directives.

This article first appeared on Policy Options and is republished here under a Creative Commons license.
Time to put action behind university land acknowledgements
by Christopher Alcantara January 10, 2022
A citizen's guide to reconciliation
with Tara Williamson, Robert Houle August 11, 2021
Winnipeg's Boldness Project reimagines an urban landscape with Indigenous voices shaping policy
by Diane Roussin, Taylor Wilson July 26, 2021


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However, creative writers and musicians sometimes go beyond just sprinkling hymns and choruses throughout the worship list for the day and take the extra step of creating one piece of music that is more a "fusion" of something old and familiar with something fresh and new.
Using symbols to describe th e process—just placing two different worship styles one after another (for example, a contemporary chorus after a traditional hymn) can be represented as A + B = AB. Whereas creatively fusing these elements together in such a way that both are mutually transformed into a new third thing can be seen as A + B = C.
ChristianityToday has referred to the poem by Newton—former slave trader turned pastor—as "probably the most famous hymn in history." The article Whatever Happened to Amazing Grace, from the March 2011 edition, traces the song's origins as well as major differences in the circumstances and timing of its publication, acceptance and popularity on each side of the Atlantic.
In many non-Anglican, independent churches, parishioners sang the hymns of Isaac Watts (1674-1748). Watt's hymns were also sung in Baptist churches, such as the one in London pastored by John Rippon (1751-1836) [who] wished to expand hymn-singing options and bound many of Netwon's poems with Watt's hymns, titling the volume A Selection of Hymns from the Best Authors…..
In any case, "Amazing Grace" went missing from English hymnbooks from the early 1800s, and did not appear in England, with the familiar "New Britain" tune, until 1964.
Across the Atlantic the situation was quite different. Some historians think Olney Hymns came to the United States with Scottish immigrants who settled in Kentucky and Tennessee…[and became] particularly popular in Methodist camp meetings in the first decades of the 19th century. In 1835 it appeared in William Walker's Southern Harmony, wedded to the now-standard New Britain tune… [and reaching] a circulation of 600,000—about one copy for every 40 people in the country. However "Amazing Grace" remained absent in many of the major Protestant denominational hymnals in the North.
To provide the beloved old hymn with new life and a fresh voice for today's worshipers, Tomlin and Louie Giglio added the powerful chorus, "My chains are gone / I've been set free / My God, my Savior has ransomed me / And like a flood His mercy reigns / Unending love, Amazing grace!"
A less obvious but important part of this "worship fusion" creation is that the entire piece is now sung in the 4/4 time signature, whereas "Amazing Grace" is more traditionally played with a waltz feel. As evidence of its popularity, for the past several years Amazing Grace (My Chains Are Gone) has consistently been listed in the CCLI's top ten worship songs, as reported by churches in their copy activity reports.
Traditional versions of "Amazing Grace" will no doubt continue to be sung for many generations to come. But this new version with the inclusion of "My Chains Are Gone" is one more way the Spirit has inspired current generations to tell the story of the Eternal Father's unending love for each person and all creation—the amazing redeeming grace and freedom found in Jesus.
Please share what other "worship fusion" songs are being sung in your congregations.
Another great post, Mike, thanks. One thing that is helpful about older hymns is that many of them sing praise to the Father, Son and Spirit, or speak of God in the ancient language of the Church as "one in three" or "three in one." So, I think fusing some of these hymns into our worship by either by placing them alongside choruses or, even better, updating them the way Tomlin did Amazing Grace, could really help us recover the Trinitarian heart of worship that we have lost. One modern Tomlin song that both of my congregations love is "Praise the Father, Praise the Son." We've just started singing it in the last few months because it has the lines "Praise the Father, Praise the Son, Praise the Spirit, Three in One" at the start of the chorus. The worship team in one of my churches strongly dislikes hymns but in my other church, where we use recorded music, we've been singing some hymns such as "Come Thou Almighty King" and "All Creatures of Our God and King" because of their Trinitarian language, so that's given us a fusion within the order of worship, but what I'm really longing for is more of what you describe here - taking the Trinitarian hymns and language of the Church throughout history and fusing it with modern music and choruses. I love the idea of blending within songs themselves and not just within the order of worship. Thanks again for this post and keep up the good work!


text:
Alberta Literary Awards Allegheny BC Andrew Binks Brad Cran Carleton Wilson Carolyn Black Children of Air India Christian McPherson Cold Sleep Permanent Afternoon Darren Bifford Earworm Elizabeth Bachinsky Embouchure Err For the Boy with the Eyes of the Virgin Gillian Jerome Gregory Scofield Imperfections In Antarctica Ink on Paper Jamella Hagen Jay MillAr Jay Ruzesky Joe Denham John Barton Kerosene Kevin McNeilly Laisha Rosnau Matt Rader Nick Thran Ray Hsu Red Nest Renee Sarojini Saklikar Rita Wong Rodney DeCroo Sandy Pool Shane Rhodes Stephen Rowe Tenderman The Cube People The Material Sublime The Odious Child Tim Bowling Undark Wedding in Fire Country
Tim Bowling, the Acorn-Plantos People's Poet of 2012!
Published on November 19, 2012 By admin
Congratulations to Tim Bowling who has been selected as 2012 Acorn-Plantos Peoples Poet, based on his latest poetry collection, Tenderman! The Acorn-Plantos Award for Peoples Poetry is awarded annually to a Canadian poet, based on a book published in the previous calendar year. The work should follow in the tradition of Acorn, Livesay, Purdy, Plantos and […]
Tim Bowling shortlisted for the Acorn-Plantos Poetry Award
Published on October 11, 2012 By admin
Tim Bowling, renowned author and winner of the 2012 Alberta Literary Award for Poetry, has just received another accolade for his work. Bowling's most recent collection of poetry, Tenderman, has just been nominated for the Acorn-Plantos Award for People's Poetry, which is awarded annually to a Canadian poet whose work is accessible to all people […]
New Prairie Fire review of Tim Bowling's Tenderman
"By turns ironic, sardonic, and lyrical, Tenderman banters with the reader even as it seduces and enrages…" You can read the full review of Tim Bowling's Tenderman in the July 3rd issue of Prairie Fire (Vol 12, No 2 (2012): http://ojs.lib.umanitoba.ca/prairie_fire To see Tim Bowling live, join us at the FREE reading event at the Gibsons & District Public […]
Award-winning poet Tim Bowling comes to Gibsons!
Join Nightwood poet Tim Bowling as he reads from his new book of poems Tenderman, and his new novel, The Tinsmith (Brindle & Glass) at the Gibsons & District Public Library in Gibsons on July 25. Wed, July 25 – 6 pm to 7:30 pm Gibsons & District Public Library, 470 South Fletcher Road (Gibsons, […]
Tim Bowling Wins Stephan G. Stephansson Award for Poetry
Congratulations to Nightwood's Tim Bowling whose latest collection, Tenderman, won the 2012 Stephan G. Stephansson Award for Poetry. Tim is celebrating his third win of this Alberta Literary Award, which recognizes excellence in poetry by Alberta writers and carries a $1500 cash prize. The 2012 winners of the Alberta Literary Awards were announced at the Writers Guild of Alberta gala on Saturday […]
Tim Bowling Shortlisted for the 2012 Alberta Literary Awards
Nightwood Editions is excited to announce that Tim Bowling's Tenderman has been short-listed for the 2012 Stephan G. Stephansson Award for Poetry. Winners will be announced at the Alberta Book Awards Gala in Calgary on Saturday June 9, 2012. Good luck, Tim!
Nightwood Poets Read at VERSeFest in Ottawa
OTTAWA: Check out Nightwood poets Shane Rhodes and Tim Bowling at their VERSeFest reading on Saturday, March 3rd at 5 pm at Arts Court Theatre (2 Daly Ave, Ottawa). VERSeFest is an annual international festival of poetry, showcasing the artistic accomplishment and high-level activity of the Ottawa poetry scene. The festival is organized by VERSe Ottawa, a collective of […]
Tim Bowling Launches Tenderman in Edmonton
Join poet Tim Bowling for the Edmonton launch of his poetry collection Tenderman at Audrey's Books (10702 Jasper Ave.) on Thursday, November 17 at 7:30pm. Tim Bowling has published numerous poetry collections and is also the author of three novels. He is the recipient of the Petra Kenney International Poetry Prize, the National Poetry Award, […]
Tim Bowling Launches Tenderman in BC and Reads at the Calgary Wordfest
Nightwood poet Tim Bowling will celebrate the launch of his poetry collection, Tenderman, on Thursday, October 6 at the Ladner Pioneer Library in Delta, BC. This event is made possible in part by the support of the Canada Council for the Arts, and admission is free. Tim Bowling is an accomplished poet, having published numerous […]

redpajama_set_name: RedPajamaCommonCrawl


text:
Ganapavaram may refer to:

Ganapavaram, Guntur district, a village in Guntur district, Andhra Pradesh, India
Ganapavaram, Prakasam district, a village in Prakasam district, Andhra Pradesh, India
Ganapavaram, Eluru district, a village in Eluru district, Andhra Pradesh, India
 Ganapavaram mandal, one of the 28 mandals in Eluru district of the Indian state of Andhra Pradesh

redpajama_set_name: RedPajamaWikipedia


The Wells Fargo building, located in the Hamilton Park neighborhood in Jersey City, was built at the end of the 19th century as a stable for the company's iconic stagecoach horses. Having long since functioned as a working carriage house, the building was renovated in the 1990's and demised into several residential units. Our clients, who are working artists, had acquired the double-height ground level space hoping to transform it into a live/work studio.


Background and Goals Elevated degrees of myeloperoxidase (MPO) have already been found in individuals in different phases Belnacasan of coronary artery disease (CAD). assay. In individuals undergoing MPS the MPO amounts had been measured before and following the stress tests serially. Results From the 76 individuals going through MPS 38 had been identified as having a tension inducible myocardial ischemia. The individuals with a tension induced ischemia got considerably higher basal MPO amounts than those without it (32±3 ng/mL vs. 24±4 ng/mL p=0.03). Nevertheless there is no relevant modification in the MPO amounts after the tension test set alongside the baseline. The individuals with ACS demonstrated considerably higher MPO amounts than the individuals going through MPS (131±14 Rabbit Polyclonal to CDC2. ng/mL vs. 28±2 ng/mL p<0.01) as well as the healthy topics (131±14 ng/mL vs. 26±2 ng/mL p<0.01). Summary Because the MPO plasma amounts did not boost after the tension MPS MPO shows up never to be considered a useful biomarker for discovering a tension inducible myocardial ischemia. The MPO amounts correlate with the various phases of CAD and could keep significance as an sign for its medical severity. Belnacasan Keywords: Myeloperoxidase Coronary artery disease Myocardial ischemia Myocardial perfusion imaging Severe coronary syndrome Intro Myeloperoxidase (MPO) can be a leukocyte enzyme and an integral part of the innate sponsor defence.1) By generating an extremely reactive oxygen varieties it plays a part in the pathogenesis of Belnacasan atherosclerosis e.g. by lipoprotein oxidation matrix metalloprotease degradation and nitric oxide usage.2) Lately MPO offers been shown to become elevated to different phases of coronary artery disease (CAD) 3 4 notably in acute coronary symptoms (ACS).3) 5 Several research possess identified the elevated MPO amounts as an unbiased predictor of potential cardiac occasions.8-11) Myeloperoxidase is physiologically secreted by polymorphonuclear neutrophils (PMNs).1) PMNs have already been been shown to be mixed up in pathogenesis of atherosclerotic plaques12-14) and in the reperfusion damage of myocardial cells after their activation via an ischemia/reperfusion (I/R) response in acute ischemic syndromes.15-17) We hypothesized that We/R reactions inside a transient tension induced myocardial ischemia might create a neutrophil activation and the next secretion of MPO in to the circulation. To check this assumption we looked into if the MPO plasma amounts correlate with the severe nature of tension inducible myocardial ischemia using myocardial perfusion scintigraphy (MPS) Belnacasan in individuals with suspected CAD. If therefore MPO may be a good biomarker for enhancing the precision of noninvasive myocardial ischemia diagnostics inside a regular medical placing and help identify haemodynamically relevant coronary artery stenoses. Additionally we likened the MPO plasma degrees of the individuals undergoing MPS as well as the individuals offered ACS who received a percutaneous coronary treatment (PCI). Topics and Strategies Individuals A complete of 147 topics were one of them scholarly research; 76 individuals having a suspected haemodynamically relevant CAD underwent a tension MPS and another 59 individuals with ACS received a coronary angiography and (PCI). 12 healthful volunteers Belnacasan who refrained from acquiring any medicine for at least ten times before the research served like a control group. The exclusion requirements were thought as cardiac revascularisation methods within a month a serious heart failing (NY Heart Association course III-IV) a haemodynamically relevant cardiac valvular disease immunosuppressive disorders or medicine acute or persistent inflammatory illnesses an anti-inflammatory medicine (except aspirin) serious liver organ or renal impairment and malignancies. The analysis was approved by the neighborhood ethics written and committee informed consent was from each subject matter. The scholarly study was performed relative to the ethical principles outlined in the Declaration of Helsinki. Tension myocardial perfusion scintigraphy and percutaneous coronary treatment The individuals underwent MPS utilizing a one-day tension/rest protocol. A graphic acquisition and a tracer software were performed relative to the American University of Cardiology/American Center Association/American Culture for Nuclear Cardiology recommendations for the usage of a cardiac radionuclide imaging.18) Initially the scintigraphic pictures for both tension and rest were visually evaluated.


text:
How long is 0.084 shackles?
It's about one-forty-five-thousandth as long as The English Channel.
In other words, the length of The English Channel is 46,500 times 0.084 shackles.
(average width between Isle of Ushant and The Walde Lighthouse) (La Manche, Ärmelkanal, Mor Breizh, Mor Bretannek) (a.k.a. The Channel)
The English Channel measures between 3,900 shackles, narrowing as it flows northeast. The world speed record for a Channel crossing by swimmer was set by Australian Trent Grimsey in 2012, with a time of 6 hours, 55 minutes.
It's about one-fifty-thousandth as long as The 405.
In other words, 0.084 shackles is 0.0000197730 times the length of The 405, and the length of The 405 is 50,574 times that amount.
(a.k.a. I-405, Interstate 405, San DIego Freeway) (Southern California)
Running from Irvine to San Fernando, The 405 runs a total of 4,248.40 shackles. The 405 is the most heavily-trafficed freeway in the United States, with an average speed as low as 8 kph during rush hours.
It's about one-fifty-five-thousandth as long as Hadrian's Wall.
In other words, the length of Hadrian's Wall is 53,000 times 0.084 shackles.
(a.k.a. Roman Wall, a.k.a. The Wall, a.k.a. Vallo di Adriano, a.k.a. Vallum Aelium, a.k.a. Severus' Wall) (from North Tyneside, Tyne and Wear, England, United Kingdom to Cumbria, North West England, United Kingdom)
Hadrian's Wall, which crossed England form the North Sea to the Irish Sea during the time of Roman rule, measures 4,400 shackles (about 79 Roman miles). Roman soldiers — at one time up to 10,000 of them — only occupied Great Britain for about 246 years after the wall was built, after which time the local Brits began to take residence the wall's garrisons.
It's about one-two-hundred-thousandth as long as The Grand Canyon.
In other words, 0.084 shackles is 0.000005170 times the length of The Grand Canyon, and the length of The Grand Canyon is 193,000 times that amount.
(a.k.a. Gran Cañón) (Arizona) (Colorado River miles measure)
The Grand Canyon has a total length of 16,300 shackles along the course of the Colorado River at its bottom. Having opened in early 2007, the Grand Canyon Skywalk allows tourists to stand on a horseshoe-shaped glass walkway 40.10 shackles above the floor of Granite Gorge.
It's about 300,000 times as long as a Red Blood Cell.
In other words, 0.084 shackles is 310,000 times the length of a Red Blood Cell, and the length of a Red Blood Cell is 0.00000320 times that amount.
(a.k.a. RBCs, a.k.a. haematids, a.k.a. erythrocyte, a.k.a. erythroid cells, a.k.a. red blood corpuscles) An average Red Blood Cell measures 7.5 µm (micrometers) in diameter. An average human has 20 - 30 trillion red blood cells in their body and each cell completes a circulatory lap in about 20 seconds.
It's about 400,000 times as long as a Nucleus (Cellular).
In other words, 0.084 shackles is 380,000 times the length of a Nucleus (Cellular), and the length of a Nucleus (Cellular) is 0.00000260 times that amount.
(for animal cell)
The nucleus of an animal cell measures an average of 0.000000220 shackles. The nucleus is the largest organelle in these cells, accounting for about 10% of the cell's total volume.
It's about one-five-hundred-fifty-thousandth as long as The Rhine.
In other words, 0.084 shackles is 0.000001750 times the length of The Rhine, and the length of The Rhine is 571,000 times that amount.
(a.k.a. Rhein, a.k.a. Rijn, a.k.a. Rhin, a.k.a. Rain, a.k.a. Reno, a.k.a. Rhenus, a.k.a. Ryn) (from near Reichenau, Switzerland through Hoek van Holland, Rotterdam, Netherlands)
The Rhine river runs 48,100 shackles in total length. The World War II Battle of Arnhem, as memorialized in the 1974 book and 1977 movie A Bridge Too Far, was the first of several attempts to capture key bridges across the Rhine, beginning with the Arnhem Bridge in the Netherlands.


text:
Awkward in the Midwest
Dear Dr. Donna
Psych Pstuff
Broken Meter, Needs Fix
Jul 20, 2015 •	1 Comment
by Emile DeWeaver
Last month, I read Eliza Gabbert's advice column "Blunt Instrument" over at Electric Literature. The leading question, from an anonymous poet, saddened me. He wrote:
"Sometimes I feel like the time to write from my experience has passed, that the need for poems from a white, male perspective just isn't there anymore, and that the torch has passed to writers of other communities whose voices have too long been silenced or suppressed… I want to listen but I also want to write—yet at times these impulses feel at odds with one another. How can I reconcile the two?"
Gabbert admits that, as a white woman, she's "not necessarily the best person to answer" his question. She advises him to keep writing (great advice) but to submit less, in a personal attempt to balance inequalities in the male-dominated literary landscape (great uhmmm…).
Before I comment, here are my credentials: I'm a poet. I'm black. And once a year I go to a mountain top to meet with all the African-Americans in the world where we read Rotten English and talk about white, male poets. I'm not saying I can speak for all African-Americans. But I do know a lot of black people.
As an American, I don't think I can be completely rational about race and masculine power. Two of my best friends are former skinheads, and when they complain about the plight of white men in America, I smile because I love them. Then I form a responsible alternative to, "Brother, have you lost your fucking mind?"
In these moments, I remind myself that the pains we suffer in life vary, but the pain scale is a myth. Pain is pain. Silence is silence. Which brings me back to Gabbert's advice to submit less to provide more space for other voices.
Mr. Anonymous wrote, "I want to write." Of course he does! The urge to communicate what is important to us comes down to our need to be heard. We've developed every friendship we have because of the stories we've told and heard. Whoever invented gossip had nothing to say, but the human need for an audience is so pressing that he or she just made some shit up.
I've been navigating oppression since skinheads chased my 8-year-old self through Pleasant Hill, California. It's a relentless spiritual violence that I wouldn't wish on anyone. The thought of someone, especially a poet, assaulting their own humanity by suppressing their own voice shocked the words from me—a soft appeal against the madness that is American slavery's legacy. Gabbert doesn't tell Mr. Anonymous to suppress himself, but that's what I heard. Advising Mr. Anonymous to submit less to address inequality in publishing feels like advising me to shoot myself to address gun violence in Oakland.
I agree with Gabbert on some points, and I add my encouragement to hers. Mr. Anonymous can promote exposure of suppressed voices by reading more diversely and sharing the books he enjoys with friends. A culture's literature lies at the heart of its perspective, and anyone interested in validating marginalized voices would do well to read authors like Ta-Nahesi Coats, Chimimanda Ngozi Adichie, Justin Torres (please read Torres), and err … me. Read all my work. For the good of the country.
I've digressed. What I'd like to say: Gabbert offers worthwhile suggestions like cultivating diversity in submission selection should Mr. Anonymous ever edit a magazine. I'm inspired by anyone who believes we all must find our unique contributions to social equality, but I hope no one will consider spiritual suicide as a viable solution.
Racial and gender oppression are real and horrible. Despite one commenter's response to Gabbert's guidance, neither is a "defunct power structure." They're systematic, so they can flourish without the ill intent of an individual. They will flourish without the concerted efforts of people willing to grapple with realities that make us cringe.
Mr. Anonymous, definitely do something about this. Inform yourself about domestic policy and mount letter-writing campaigns to your representatives about the changes you want to see (I have it on good authority that poets persuade masses). Volunteer in a prison. Donate your time and expertise to schools with no money for Arts classes. Locate the dignity in every human being you meet and praise it. Be the change you want to see. If we meet one day, I'll bring you a thousand more ideas to fight oppression.
You asked what you should do with your writing.
Consider that I can't reach every audience, and of those I do reach, there are certain things I can't say without fatally alienating myself from the people to which I want to connect. You can't say a bunch of things that I can. During my annual meetings on the mountaintop, I can say to African-Americans:
You know, Negro slaves gained emancipation because white activists helped them do it. These activists couldn't have known what it meant to be a black slave, just as Mr. Anonymous isn't likely to know the full impact of being an oppressed demographic in a country built on freedom's principles, but neither example is a sin. It's the human experience.
Cue the crickets, but I can say it.
Questions of class and race can divide you and I. Despite this default setting, nothing can stop you and I from bridging our separation, learning, and then sharing wisdom with our respective audiences. If we do this, our respective audiences will eventually become one audience with one hell of a reading list.
So what should you do with your writing?
Rip the top off the sky with the most honest thing you can write, right now. If you manifest poetry as an extension of you, it'll always be relevant. It'll hold power to edify a fisherman in Trinidad for the same reason that my friendship with two former skinheads runs as deep as brotherhood. Despite the differences between their history and mine, between you and I, between Seattle and Trinidad, we're all living the same story. You are relevant because I am relevant. The greatest poets have tapped into this, and we who hear their lines love the truth of it.
Emile DeWeaver is a columnist for Easy Street. His work has appeared or is forthcoming at The Lascaux Review, The Doctor T. J. Eckleburg Review, Nth Degree, Drunk Monkeys, and Frigg. He lives and writes in Northern California.
This essay presents a clear and cogent answer to an oxymoronic (and perhaps ironic) problem: suppressing narrative voice to end suppression of narrative voice. Of course it is no secret that the literary sphere has long been saturated with straight, white, male voices, and all who read would infinitely benefit from a greater diversity of available voices. But to silence some voices poses far too great a risk, the potential for so much lost brilliance and influence. Instead, the solution must be to encourage everyone to speak who wishes to be heard, be they born of black, white, brown, male, female, queer, straight, or any other sort of bodies. This is a wonderful essay.
Hatchlings
Click on cover to visit Amazon page
A sci-fi novel about the pursuit of happiness
I loved Katie Williams's debut novel so much that I read it twice —Jason Sheehan for NPR
A novel about trees by NBA winner Richard Powers
Soars up through the canopy of American literature —Ron Charles, Washington Post
The true story of a wilderness girl turned socialite
Concise, thoughtful, and well-researched —Kirkus Reviews
A provocative debut about the emotional price of success
Beautifully imagined and flawlessly executed —Joyce Carol Oates
A poetry debut that boldly confronts addiction
An electric current runs through the collection that keeps the reader going —Library Journal (starred review)
A new biography of Ezra Pound
A wonderful portrait of Ezra Pound in all his moods —A. Alvarez
From the bestselling author of Hotel on the Corner of Bitter and Sweet
Heart-rending, tragic, disturbing, sanguine, warm, and life-affirming —Historical Novel Society (Editors' choice)
Poems about the experience of motherhood
Smith's poems affirm the virtues of humanity —D.A. Powell
A story of Appalachia in the 1970s
An impressive debut from a talent to watch —Kathleen Grissom


Because there are two moving averages with different "speeds", the faster one will obviously be quicker to react to price movement than the slower one.
When a new trend occurs, the fast line will react first and eventually cross the slower line. When this "crossover" occurs, and the fast line starts to "diverge" or move away from the slower line, it often indicates that a new trend has formed.


Brazilian scientists have rejected claims that the Nazi doctor Josef Mengele – notorious for his experiments at Auschwitz – was responsible for creating a tribe of twins in a small town near the border with Argentina.
In his book, Mengele: The Angel Of Death In South America, Argentine historian Jorge Camarasa claims that Mengele made regular trips to Linha São Pedro, a small and predominantly German settlement near the city of Cândido Godói in Brazil, during the 1960s. Shortly afterwards, the birth rate of twins began to spiral, he says.
However, Ursula Matte of the medical genetics unit at Porto Alegre Hospital in Brazil and her colleagues reject any notion that Mengele was responsible for the phenomenon. Her team was invited to Linha São Pedro during 1994 to investigate reports of a higher than average number of twin births in the town.
From 1990 to 1994, the proportion of twin births in Linha São Pedro was 10%, compared to 1.8% for rest of the state of Rio Grande do Sul.
"Even though we could not find a definitive explanation for this higher incidence, the existence of other 'twin towns' around the world – most of them in remote isolated areas with high levels of inbreeding just as Linha São Pedro – shows that external influence is not needed for this to happen," Matte says.
Her team interviewed and conducted blood tests on 17 of the 22 pairs of twins living in Linha São Pedro, around half of which were identical twins.
Genealogical analysis showed a high recurrence of multiple births within families, as well as a high level of inbreeding within the community, suggesting the presence of genetic twinning factors.
The high level of inbreeding, combined with an absence of twins every other generation would suggest a recessive trait, Matte adds.
Although Camarasa argues that the high prevalence of blonde hair and blue eyes among the twins could be evidence of Mengele's "Aryanising" influence, Matte points out that the village was founded by German immigrants who often have such features.
"In addition, I don't think Mengele would have the knowledge, not to mention the means, to engender the rise in twin births in this community," she says. "It's noteworthy that twin births occurred there in almost every time period, even in the 1990s, so what kind of long-lasting manipulation could he have perpetrated?"
Twin births have been linked to exposure to toxic waste and increased use of IVF, but even now, says Matte, we don't fully understand the mechanisms involved, "and it is extremely hard for me to think that Mengele would have known it in the late 1960s," she says.


Also, on a daily basis, take good sized doses of vitamins a, b complex, c, d3, e, k1 and k2 along with Co-Q 10 or ubiquinol, turmeric or curcumin, fish oil and flaxseed oil supplements along with coconut oil.
Daily exercise is important along with getting outdoors and into nature often. Daily exercise includes cardio, light weights and stretching. It is also important to avoid conflict, drama and stress when you are healing and to drink mostly pure water.
Bitcoin – Of course or No? Must You Make investments in Bitcoin?


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Carus Thompson – Caravan
Posted in Country / Folk, Music, Music Genre, New Release	| Leave a comment
Label: MGM
1. Red Sky
2. You Can't Find Me
3. Fifteen
4. Imperfect Circle
5. You Made Me
7. Inland Sea
8. Bright Star
9. Beauty Is Your Way
10. I Believe In Love
11. Headstrong
12. Whistleblower
13. Luke's Song
Subculture Media 'Caravan – Carus Thompson' Review:
While Carus Thompson has been winning over fans as he supports famous acts such as Dave Damien Rice, Jack Johnson and Dave Matthews he has pretty much remained unheard of in his home country of Australia… a shame when you consider just how talented a musician he really is. The good news though, is you get that feeling though that his new album Caravan might be about to change all that.
This is one remarkable brilliant country album that showcases Carus Thompson's own unique style. "Red Sky" shows just how beautiful a love song can be without being too soppy while the catchy "You Can't Find Me" will soon win over any listener.
Fans of Australian legend Paul Kelly will easily be won over by "Fifteen" and "You Made Me" which are only separated by the best track on the album, "Imperfect Circle" which shows that Thompson is one of the finest country guitarists going around. The chords on "Imperfect Circle" will make most guitarists extremely jealous.
Carus Thompson showcases his amazing voice on "Caravan" and then does what so many artists have tried to do over the years and capture Australia's beauty in song with "Inland Sea"… good on him for also taking a swipe at city-slickers in the track as well. Thompson then pays tribute to Australian sporting hero, Peter Norman. While many wouldn't know of Norman, he was the Australian track star who after winning silver at the 1968 Olympics took part in the famous Black Power Salute. Thompson's tribute to him hear is truly heartfelt and deserving.
Once again Thompson produces a beautiful love song with "Beauty is Your Way" and then he captures an amazing bluegrass sound on "I Believe In You". A trip to the beach this summer is wasted if you don't have "Headstrong" playing on your stereo (it's obvious on this track that Thompson has been spending some time with Jack Johnson) while "Whistleblower" sees him slow Caravan down completely. Residents of Ocean's Grove will also love the heartfelt "Luke's Song".
Caravan really is an amazing album that sits somewhere between country and folk, but is good enough that it has the potential to win over fans of both genres. His great song-writing ability and brilliant delivery really does make you glad that you discovered his album. Carus Thompson announces himself to Australia and the world with Caravan, an album that is uniquely beautiful.
Other Subculture Media 'Caravan – Carus Thompson' Reviews: This review of 'Caravan – Carus Thompson' by David Griffiths first appeared in Buzz Magazine.
Carus Thompson is one of those Aussie artists who has been making a name for himself overseas while people back home have been unaware of what he is achieving. And with just one listen to his new album Caravan it is easy to see why Thompson has one over fans as he supports the likes of Dave Matthews, Damien Rice and Jack Johnson.
Caravan is a truly beautiful album and Thompson's great style should attract more fans to his unique country style. "Red Sky" is a great country love song that shows that love songs don't have to be all soppy while "You Can't Find Me" has some great lyrics and is extremely catchy.
Both "Fifteen" and "You Made Me" are very Paul Kelly-esque, the former being one of the best tracks on the album. It is only pipped for the 'Best Song On Album' gong by "Imperfect Circle" that shows that Thompson is also one hell of a guitarist… it's chords sound amazing.
The title track off Caravan sees the album slow down and Thompson's great voice is on show for all to hear while "Inland Sea" truly captures Australia's beauty and rubs it to those who won't the cities. Thompson returns to his Paul Kelly style of songwriting with "Bright Star" which is a tribute to an Australian Olympian, Peter Norman who took part in the famous Black Power Salute protest at the 1968 Mexico Olympics which saw him shunned by the Australian Olympic Committee until his death.
"Beauty Is Your Way" is another beautiful love song while "I Believe In Love" is bluegrass at its best. "Headstrong" announces itself like a light breeze and is the perfect summer beach song while Caravan again slows down for "Whistleblower". The album then closes with "Luke's Song", another great track that sends a shout out to Ocean Grove.
It's not hard to see why Carus Thompson has been winning over fans overseas. With just one listen to Caravan and you'll be adding yourself to that list of fans.
Sleepwalks – The Milk Has Gone Sour
Posted in Alternative, Music, Music Genre	| Leave a comment
Subculture Media Reviews:
(originally published on Suite 101)
Brisbane, Queensland. You couldn't get farther from Seattle or Colorado, yet it is in Brisbane where Grunge music is being reborn, for it is here that Sleepwalks call home. Over the years, many young bands have claimed that "they are the new Nirvana", but Sleepwalks don't even have to make that claim, because after just one listen to their debut album The Milk Has Gone Sour, their audience will be doing all the talking for them.
It's not surprising that this trio has been able to capture the Grunge sound so well — not when you realise that The Milk Has Gone Sour is produced by Steve Albini, a producer who has worked with the likes of Nirvana, Stooges, The Pixies, PJ Harvey and Dirty Three in the past. With his experience and Sleepwalks' talent mixed together, The Milk Has Gone Sour is an album that allows you to lay back, close your eyes and then find yourself being transported back to the glory days of grunge. The good news is that Sleepwalks haven't just rehashed an old sound; no, they have actually pushed it forward into modern day and completely reinvented… and as a result, The Milk Has Gone Sour is a must-have. It is 11 tracks of pure Grunge bliss.
This is a bliss created by lead vocalist Kevin Fincham's vocals. After just a few lines of opening track "Clicks", you realise that he captures the 90s Grunge sound to a "T" with his vocals, and by the time "Pith" swings on by, you are completely in love with the sound of his voice. He has one of the finest styles of any vocalist going around at the moment.
"Grimless" sees Sleepwalks pick up the pace, and its raw sound will be welcomed back with open arms, as computer technology has meant it is now a rarity. But if its the Nirvana sound that you are craving then you can't go past "Bottle It". This is a great Grunge track that proves that Sleepwalks have a solid future ahead of them.
The faster pace of "Negatives" and "Rufus" gives drummer Damian Masters a chance to showcase his wares, while Fincham ones again steals the show on "Rufus". Even punk fans may find themselves impressed by "No No Yes Yes", a track that opens with a sweet instrumental beginning and then gives one to some strong brute force.
Fincham once again proves why he is one of the best vocalists going around when he wails "just as long as you feel alright" (on "Fingers") and "not my problem" (on "Bile Duct"). It is this kind of styling that made Nirvana's Bleach such a masterpiece, and Grunge lovers will be ecstatic to hear this style reborn in the hands (or should that be vocal chords) of Kevin Fincham. Sleepwalks are such a good band that even when they produce a slower track like "Grenadier", it sounds awesome and not like they have lost their way.
Hearing how great The Milk Has Gone Sour really is is a terrifying prospect when you realise that this is Sleepwalks' debut album. It really makes you realise that you have discovered something great, and only time will tell if these guys are the next Masters of Grunge.
Subculture Media Review #2: This review first appeared in Buzz Magazine.
Hailing from Brisbane, Queensland Sleepwalks are a trio that really know how to surround themselves with the right people. The Milk Has Gone Sour may be their debut album but it was produced by the legendary Steve Albini, who can list artists such as Nirvana, Stooges, The Pixies and PJ Harvey on his CV. And he certainly brings the best out of these guys. There are many bands who claim that they will be loved by Nirvana fans, but Sleepwalks can (and have) produced the goods. Close your eyes while listening to The Milk Has Gone Sour and you are quickly transported back to the glory days of grunge.
The good news is that Sleepwalks haven't just rehashed an old sound, no they have actually pushed it forward into modern day and completely re-invented… and as a result The Milk Has Gone Sour is a must have. It is eleven tracks of pure grunge bliss.
As soon as the opening track, "Clicks" starts pumping out of your stereo Kevin Fincham's vocals transport you back to the 90s and by the time "Pith" swings on by you are completely in love with the sound of his voice… he has one of the finest styles of any vocalist going around at the moment.
"Grimless" is faster-paced and has a great raw sound to it… something that computer technology has wiped out for many bands. But it us on "Bottle It' where Sleepwalks really capture that old Nirvana sound. This is a simply a brilliant grunge track that showcases a band that must have a great future ahead of them.
The short and sweet "Negatives" shows that Sleepwalks gets better the faster they play while drummer, Damian Masters' skills are there for all to see on "Rufus". 'Sheep" once again displays some brilliant vocal work by Fincham while a soft instrumental opening on "No No Yes Yes" gives way to some pure brutal force… that may even win over some punk fans.
Fincham sounds even more like Kurt Cobain as he wails 'just as long as you feel alright' (on "Fingers") and "not my problem" (on "Bile Duct"). It is this kind of styling that made Nirvana's Bleach such a masterpiece, and grunge lovers will be ecstatic to hear this style re-born in the hands (or should that be vocal chords) of Kevin Fincham. And just to show that they really can't put a foot wrong Sleepwalks close with the slower "Grenadier"… which may be slower but is no less fine.
Hearing how great The Milk Has Gone Sour really is, is a terrifying prospect when you realise that this is Sleepwalks' debut album. It really makes you realise that you have discovered something great and only time will tell if these guys are the next Masters of Grunge.
Foo Fighters – Wasting Light
Posted in Music, Rock	| Leave a comment
Bridge Burning
Dear Rosemary
White Limo
Arlandria
Back & Forth
Miss The Misery
I Should Have Known
Subculture Media Foo Fighters: Wasting Light Review:
(original appeared on Suite 101)
Nirvana and Foo Fighters' fans will be rejoicing in unison as Dave Grohl certainly embraces his Nirvana roots with Wasting Light ,the Foo Fighters seventh studio album. Not only does Grohl invite Nirvana bassist Krist Novoselc on board for one song but Butch Vig is once again sitting in the producer's chair. Grohl also welcomes Pat Smear back into the Foo Fighters fold.
Butch Vig sets out to separate the Foo Fighters from the pack by not allowing modern technology to "cramp" the Fooies style. Gone is the multi-million dollar recording studio (replaced with Dave Grohl's garage), and gone are all the computers (instead Vig captures them using analog equipment). The resulting rawness is one of the things that makes this album so special.
Wasting Light has a haunting beginning with the opening line of "Bridge Burning" consisting of Grohl declaring 'these are my famous last words', eerie considering the album was released only days after the 17th anniversary of Kurt Cobain's death. "Bridge Burning also sees the Foo Fighters get off to a brutal beginning, this is much heavier than what we have heard from The Fooies recently, however the melodic chorus also promises that Wasting Light is going to be something special.
It is easy to see that first single, "Rope" will instantly become a fan favourite, considering it is a million times better than their dismal last single "Wheels" that left a bad taste in a lot of people's mouths. The greatness then continues with "Dear Rosemary" a sweet rock song that proves that the Foo Fighters still know how to write with emotion.
Wasting Light's heaviness returns with "White Limo", a track that sees Grohl give screamo-singers a run for their money. This should also silence those who have been saying that the Foo Fighters' heavy days are well and truly behind them now. "White Limo" is followed by "Arlandia", "These Days" and "Back & Forth", three catchy rock tracks that will further endear Wasting Light to fans… it is also obvious that "These Days" should become a successful radio single if it is released.
The Fooies mix up "A Matter Of Time" with a splatter of both their heavy and soft sounds while Pat Smear's return to the band is never more obvious than on "Miss The Misery" where he produces a classic rock guitar sound that many of the bands circa the 1970s and 1980s would be extremely proud of.
However the highlight of this album is "I Should Have Known" (the track which Krist Novoselic appears on). With Grohl, Novoselic and Vig in a studio together magic was bound to happen, and it certainly does here. If people are in doubt whether modern rock is still producing classic songs, then this is the track that they should be pointed towards.
Fans alarmed by Grohl's opening statement can put their hearts and minds at ease when he sings "I never want to die. I'm here forever" on "Walk". If the Fooies are going to continue releasing albums as good as Wasting Light then you can only hope that this statement is true, as you get the feeling that the best is still to come from these guys.
David Griffiths' 2nd Foo Fighters – Wasting Light Review
If the fact the Dave Grohl led Foo Fighters released their new album only days after the 17th anniversary of Kurt Cobain's death didn't already have starved fans already thinking back to Nirvana then certain facts about Wasting Light certainly will. See Grohl returns to his Nirvana roots big time this time. He once again teams up with producer, Butch Vig and even invites Nirvana's bassist, Krist Novoselic back for a track. And for those who jumped on the Foo Fighters after the Nirvana days well you can rest easy knowing that Pat Smear is back in the fold.
Like he did with Nirvana's Nevermind Butch Vig works some amazing magic on Wasting Light. He throws the computer out the window, records in Dave Grohl's garage and captures the Foo Fighters the analog way, and it certainly does make a huge difference. This is the Foo Fighters as you have never heard them before.
Wasting Light kicks off with the brutal "Bridge Burning" which opens with Grohl eerily declaring 'these are my famous last words'. Haunting, seeing the closeness of the anniversary of the death of Cobain. This is soon forgotten though as "Bridge Burning" has it brutal first verse switched to a melodic chorus that promises that this album will be something special.
First single, "Rope" will easily win over fans and is clearly one of the better Foo Fighters to surface in a long time, especially considering it follows the dismal, "Wheels" off their Greatest Hits album. The greatness then continues with "Dear Rosemary" a sweet rock song that proves that the Foo Fighters still know how to write with emotion.
"White Limo" sees Wasting Light's heaviness return and shows that if its screamo that fans want then Dave Grohl can pull that off as well… this is an amazing effort by Grohl and clearly shows that the Foo Fighters can still match the competition when it comes to heaviness. This is quickly followed by "Arlandia", "These Days" and "Back & Forth", three extremely catchy rock tracks with "These Days" certain to become a radio single sometime soon.
"A Matter Of Time" sees the Foo Fighters mix the heavy and soft sounds remarkably well, while some expert guitar playing from by Pat Smear on "Miss The Misery" produces a classic rock sound that a lot of younger bands could learn a hell of a lot from.
However the highlight of this album is "I Should Have Known" which to be blunt is one of the finest rock songs ever recorded. This beautiful song is the track that Krist Novoselic makes an appearance on and its easy to see that he and Grohl (teamed with Vig) still have the chemistry to produce some special magic.
Wasting Light then closes with "Walk", a track where Grohl sings "I never want to die. I'm here forever". And when he is still creating albums as great as this we can only hope there is some truth in these lyrics.
[PODCAST] Subculture @ BRICKVENTION 2020 Part 1
[MUSIC NEWS] GAB DE LA VEGA Releases New Track
[MUSIC NEWS] DEVILSKIN Release New Single
[ALBUM REVIEW] GLASS TIDES – In Between Review
[FILM REVIEW] 1917 (2019)
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Nicholas wanted to celebrate his 11th birthday at Urban Air Trampoline Park in Southlake. It's a fun place with wall-to-wall trampolines, a foam pit, and a brand new Warrior Obstacle Course. The kids wanted to try the obstacle course first!
Rachel insisted on wearing her red velvet Christmas dress to the party because she wanted to dress up for Nicholas' party. It may have hindered a little on the obstacle course but it certainly didn't stop her.
Here's my boy doing a flip on the trampolines. My heart skips a beat!
We told Rachel she could wear the party dress but pointed out that there would be lots of jumping around and she really should wear pants instead. So what did she do? She put pants on underneath her party dress! But soon she realized that the dress was too much of a hinderance and fortunately Mommy had planned on that and had a change of clothes for her.
Nicholas loves trampolines! He had so much fun!
There is even a Dodgeball court where teams face each other and throw balls trying to get the other team "out". Nicholas enjoyed running across the center aisle teasing the other team to knock him out.
As much fun as he was having, there were several times that I caught Nicholas just sitting still for a few minutes. I checked with him and he said his asthma made it hard to breathe if he bounced around too much. That made me sad to see that he couldn't do everything he wanted to do because of a medical problem.
Everyone had worked up a good sweat so we took a break for cake!
Nicholas designed the cake himself and we had a Casa Linda Bakery make it for us. He gave them a picture of what he wanted it to look like - sand with some greenery and rocks. Then we found the little fighting guys to stick on it. He said it is the best cake he's ever had!
Make a wish! I personally wish for this young man to grow to be healthy and strong, to keep Jesus in his heart, find his passion in life, and fall in love with a Christ-loving girl.
He loves everything Pokemon, Minecraft, and Halo Mega Blocks.
Back to the trampolines and dodgeball!
Rachel didn't really follow the rules of dodgeball but she had a lot of fun running all around the court!
Everyone had a great time and no one got hurt! Happy Birthday sweet Nicholas!


Dismas House of Kansas City serves as the Access Site for the NW Region of Missouri's Recovery Support Services. Consumers and providers receive the benefit of having an experienced team of clinicians, peers and administrative support staff working together to provide immediate access to vital treatment and recovery support services.
Want to Become A Recovery Support Provider in Missouri?
Is your agency interested in becoming a recovery support provider or an accredited recovery home? If so, click here to be connected with a representative from the Missouri Coalition of Recovery Support Providers.
Additional information is available from the Missouri Department of Mental Health.


B737-300 Project Freeware model in America West colors prepared for use with Dreamfleet panel with F/O Vspeeds callouts and real wing passenger views. Watch the flaps extend/retract, ailerons move and spoilers extend/retract! You need Dreamfleet's Greatest Airliners B737-400 installed on your system!


Are you trying to connect with the US Congress but can't seem to make heads or tails of the Institution? Congressional staffers are who you need to be connecting with.
You can keep up with the latest legislative activity in Congress using GovTrack.us.
GovTrack.us is a tool by Civic Impulse, LLC to help the public research and track the activities in the U.S. Congress, promoting and innovating government transparency and civic education through novel uses of technology.


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Promenade eight ivhen you come straight!
Repeat 2 and 3 entire for second, third, and fourth couples.
Hug those girls and go like thunder!
Hold your holds and go like thunder!
Ox-Squeeze 'em tight and go like thunder!
It is best, perhaps, to keep changing the last line, as you call, for the sake of variety.
1. See page 14*8 for directions or substitute any introduction given there.
b) The two ladies join both hands across rights to lefts, and the two gentlemen likewise join their hands to�gether over the ladies' hands.
c) The two ladies bow low and pass in under the gentle�men's joined arms which are raised and swung back so as to rest around the ladies' shoulders. The gentle�men then bow and pass their heads under the ladies' joined hands, which now rest behind the gentlemen's necks.


The OPPO Metatarsal Pad provides proper support to metatarsal heads and can be used to help treat metatarsalgia.
It provides shock absorption and helps to prevent calluses and inflammation of the forefoot.
The pad is placed under the ball of the foot with the ring slipped into the second toe. It is recommended to remove the product once daily for a few minutes.
The OPPO Metatarsal Pads are provided as a pair and are made from 100% gel.
Hand wash and air dry, then spread with talcum powder. Do not machine dry.


This Managing People Training is recommended for professionals just starting to manage people. Attendees will learn ways to motivate and reward their people and therefore how to run their teams more effectively.
"I thought the examples were very realistic and enabled us to put into practice what we were trying to learn. The presenter's style made the topic interesting when it could have been a very dry 'let's get back to school' approach. Excellent course."


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redpajama_set_name: RedPajamaGithub


Take Your Parents to the Playground Day & Little Free Library Dedication - Children's Communication Center, Inc.
As May is Better Hearing & Speech Month transitions to June, Children's Communication Center will be dedicating three book- filled Little Free Library units at the City of Tallahassee's Winthrop Park playground focusing on our theme of Language, Literacy & Learning and highlighting the importance of reading to your child/ren, reading together, and building a "love" for words and books.
Research shows early language develops stronger literacy and both create a foundation for learning & academic success. A child who reads will become a child who writes!
The three Little Free Library units will be painted by a local artist, Peter Koenig. He is a member of the BAET Design Group which is a Tallahassee based artist collective which also includes members Alex Koenig and Soymeeshii.
In addition, local children's author, Willie Brown, also known to many in the community as Coach Brown, will be reading and signing his children's books. Visit our Philanthropy Share story featuring Rockhead Synergy & Willie Brown.
We are fortunate to have Shelley Harshbarger, a professional and local storyteller, joining us and spinning tales to stir each listener's creativity and imagination. Her connection to our theme of Language, Literacy and Communication is highlighted in her 2001 article.
Each family is encouraged to bring a book or two to gift to the children/families supported by the Guardian ad Litem program.
During the event, the children will enjoy the Winthrop Park playground as well as other child/family activities.
Be sure to read The Art of Playing describing the types of play and the importance of play for our children!
Tasty bakery treats will be provided by Q-Ti Cakes to top off the day's event! Be sure to read our Community Partner Share feature about Lolani 'Q' Green & her bakery!
Bring a book, hear a book, make a book & take a book, plus more!
As an ASHA certified Speech-Language Pathologist celebrating almost 25 years in this community I am proud and thrilled to be highlighting Language, Literacy & Learning with the Little Free Library dedication, featuring many talented community partners, and donating books to the young children & families of GAL!


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Ignatian Volunteer Corps Honors John and Mariann Horejsi of Vienna
James Kelley, retired director of IVC's Northern Virginia region, presented the Della Strada Award to John and Mariann Horejsi at IVC's annual Evening of Gratitude. Photo by Jim Webster
Photo by Jim Webster
John and Mariann Horejsi, members of St. Mark's parish in Vienna, received the Ignatian Volunteer Corps Della Strada Award for their service and advocacy on behalf of the homeless and poor in the community. The event, which celebrated IVC's 20th anniversary, was held April 26 at Gonzaga College High School.
Pope Francis, who became the Catholic Church's newest leader in 2013, has been universally praised for emphasizing the plight of the very poor and calling for compassion for those less fortunate and marginalized by society.
Many credit the pontiff's Ignation aesthetic – "to love and to serve" the poor - for bringing the Catholic Church back to its social justice roots.
John and Mariann Horejsi of Vienna, longtime members of St. Mark's parish in Vienna, have dedicated their lives to those values in many different ways.
On April 26, The Ignatian Volunteer Corps (IVC) presented the couple with the prestigious Della Strada Award for their decades of work to alleviate poverty and suffering in their community.
THE AWARD celebrates volunteers whose work and lives reflect the Ignatian values of direct service to the impoverished and of working and educating for a more just society.
"The Horejsis have devoted 30 years to alleviating poverty," said Joan Coolidge, Northern Virginia regional director of IVC. "Mariann's direct volunteer service and John's nonpartisan advocacy as founder and coordinator of Social Action Linking Together have helped to improve the lives of thousands who have no voice in the public arena."
IVC's Della Strada Award is named for St. Ignatius Loyola, who founded the Society of Jesus (Jesuits) in 1541 and established the first church - Santa Maria Della Strada - to serve the poor in Rome.
James Kelley, retired director of IVC's Northern Virginia region, presented the award to John and Mariann Horejsi at IVC's annual Evening of Gratitude, held at Gonzaga College High School in D.C.
"John and Mariann Horejsi have demonstrated the values that IVC cherishes: service to people who are poor, social justice and spiritual growth," Kelley said at the event.
"Mariann, on the one hand, has dedicated herself to service in many different ways," Kelley said, noting that she is a tireless volunteer for the homeless at Christ House in Alexandria, and dedicates her time to many other organizations, including tutoring adults to earn their high school diplomas through the Fairfax Volunteer Learning Program, helping out at the Western Fairfax Christian Food Bank, and serving the homeless at Fairfax County's hypothermia shelters.
"While Mariann was engaged with direct service, John, who was employed by the Department of Health and Human Services, became increasingly aware of the need for advocacy for people who are poor, people who are marginalized, people who are voiceless," Kelly said.
Kelley noted that John Horejsi's advocacy led him to establish Social Action Linking Together (SALT) in 1983 to advocate for those in need.
"Today, SALT is a faith-based network of 1,200-plus Northern Virginians who support the passage of legislation directed to affordable housing, hunger relief programs, humane treatment of the incarcerated, tax relief for the working poor and more," Kelley said.
"Legislators know John as the man who does the right thing for the 'least among us'."
ABOUT IVC
IVC was founded by Frs. Jim Conroy, S.J., and Charlie Costello, S.J., in September 1995 with 11 volunteers in Baltimore, Philadelphia and Washington. Now in its 20th year, IVC has more than 300 volunteers providing service in 16 regions. The Northern Virginia and Washington D.C. Metro/Maryland regions account for 96 volunteers serving at 45 different partner agencies.
To volunteer with IVC or request an IVC volunteer to work with a non-profit agency that serves the needy, contact Joan Coolidge at 703- 352-4140 or jcoolidge@ivcusa.org
HUNTER MILL SUPERVISOR Cathy Hudgins, who has nominated John Horejsi for several community service awards in the past 20 years, praised his service to the community.
"John's countless hours of volunteer service to fight homelessness have greatly impacted the quality of life for those less fortunate in Fairfax County and the Commonwealth," Hudgins said.
"I am so proud to be honored," Horejsi said when accepting the award, "I'm especially proud and happy that my wife of 46 years, Mariann, is here with me. She is my partner and best friend."
Horejsi said he takes inspiration from a sign above a door in a tiny church in Doswell, Virginia: "Enter to Worship; Leave to Serve."
"Our appeal to the faith community is to get involved, to get 'Out of the pew and into the Lobby'," Horejsi said.
IVC's ninth annual "Evening of Gratitude" began with Mass concelebrated by Monsignor Ray East, pastor of St. Teresa of Avila Catholic Church in Southeast Washington and seven other priests at St. Aloysius Catholic Church. More than 200 in the congregation joined the singing led by the St. Teresa of Avila young adult choir.
Coolidge introduced the ceremony by quoting Pope Francis.
"The thing the church needs most today is the ability to heal wounds and to warm the hearts of the faithful… I see the church as a field hospital after battle."


The Geothermal Energy & Geofluids group is endowed by the Werner Siemens Foundation and investigates reactive fluid (water, CO2, CxHy, N2) and (geothermal) energy (heat, pressure) transfer in the Earth's crust employing computer simulations, laboratory experiments and field analyses to gain fundamental insights and to address a wide range of societal goals and concerns.
ETH is listed number one among the 200 best academic institutions in Earth & Environmental Sciences in the Nature Index 2018. This index is based on publications in the 82 journals selected as the most important journals by two panels of scientists, which are independent of the Nature Publishing Group.
Dr. Allan Leal has been awarded an SNF Ambizione grant to develop innovative computational methods for ultra-fast simulations of coupled physical and chemical processes using machine learning and GPU parallel computing, starting on January 1, 2019.
Dr. Friedemann Samrock has been awarded an SNF R4D grant to develop a geoscientific framework for geothermal exploration and energy utilization in Mongolia, started on September 1, 2018.
Earth and marine sciences at the Federal Institute of Technology (ETH) in Zurich was ranked the best in the world for the 4th time in a row. The results were published by the QS World University Rankings.
Werner Siemens Foundation visits the Geothermal Energy & Geofluids Group and has a guided tour at the GEG Laboratories.
Inexhaustible resource of clean, renewable Geothermal Energy.
Grimsel rock lab, feasibility of geothermal power plants.
Grimsel rock laboratory, safer drilling methods.
Computers and Mathematics with Applications, 2019.
The value of bulk energy storage for reducing CO2 emissions and water requirements from regional electricity systems.


I dedicate this post to all those digital rhetoricians out there who made it a goal to "learn to code" this Summer. I hope you did, and I hope you had fun. But I also hope you get back to doing your real job. We need you. Don't panic, I'm not against making stuff with programming languages. I make software. And I think you should too. But writing code? You should leave that to other people.
As for my summer, I spent a lot of time thinking about teaching and learning in online spaces. I taught an online first-year writing course that began just one week after the Spring semester ended. I taught a hybrid graduate seminar called Teaching with Technology. And my colleagues and I saw our online review service – Eli Review – through three different three-week development sprints to improve the user experience and add new features.
As a digital rhetorician, I make software for the same reasons I write journal articles or teach classes: to put ideas into the world in a way that might make a difference. But I don't write the code. I hire folks who do. And that's…ok.
It's fine to want to know how to do things with programming languages. I do. And I love it when I can put some characters in a row that – almost like magic – do things that a traditional text cannot. It is a thrill. But let's not confuse knowing how flow control variables are used and how to call a function from a script library with developing commercial-grade software. It would be sort of like suggesting one could build a commercial airliner after putting a radio-controlled model plane together from a hobby store kit. Real airliners are built by teams of specialists. So is most of the software that is worth using.
When I came to Michigan State to join the Writing in Digital Environments (WIDE) research center, I was excited to have the chance to make software in a way that could have reach and impact as well as academic integrity. I saw it as a chance to move beyond the software equivalent of making digital videos with a consumer-grade camera and iMovie and into the world of making feature-length productions that folks pay money to see. Indeed, that's how I understand what I do in conjunction with Eli. I'm something like the director of the picture. We also have the equivalent of producers, a cinematographer, and a host of technical people who do sound, cinematography, editing, casting, costumes, and even craft services. I yell cut. I review the dailies. I take the heat if the algorithm does violence to writing pedagogy.
It's much more valuable and important to be able to think computationally about rhetorical issues than it is to be able to write a program that simulates blackjack or even one that, say, computes a score for evaluating students' performance as reviewers. The hard part is designing the algorithm that produces a valid result, something that not even an advanced programmer can do without knowing what makes one review performance better than another. So my advice to my fellow and aspiring digital rhetoricians is this: forget about code. It's like mastering the five paragraph essay rather than learning to write well. Instead, learn to make algorithms. Learn to tune them and do useful things with their output. Work in a programming language to do this if you like, or pseudocode, or just plain math. But make a rhetorical idea computational. That's a cool Summer project!
I teach professional writing and editing, and I worked as a professional writer for several years before grad school. I regularly had to fix crappy Dreamweaver code when I was on the job. Yes, the writing is the most important part of what we teach – but I feel I would be remiss if I didn't even explain to my students the very basics of HTML to prepare them for work. In PW, it's a balancing act between teaching theory and preparing students for what they'll be doing on the job.
I began building webpages w/ Janice Walker and Todd Taylor at USF's first computer writing lab (early '90s). Since then, my work overtook my time for writing code. I have felt *guilty* for not participating more fully in many of the recent conversations and activities surrounding code talk in the field. Yet, my time is still oppressively thin for such work, though I'm glad that the conversation is ongoing and in the hands of experienced and enthusiastic scholars such as yourself, Karl Stolley, Dave Reider, (and many more).
More to my point, I am simply writing to thank *you*, Bill, for you unburden me, a bit, when you write, "But I also hope you get back to doing your real job. We need you. Don't panic, I'm not against making stuff with programming languages. I make software. And I think you should too. But writing code? You should leave that to other people." I thank you. My teaching load thanks you. Great post!
We read the entry and dwelt on its more polemic points the other day in ENGL444, Bill, which is a course for upper-division undergraduates at EMU in which they gain experience with XHTML and CSS, many of them for the first time. We talked about whether basic introductions to code ought to be required in Gen Ed, whether there was value for them in learning more about code, and why. Almost everyone maintained that they wished there was more willingness on the part of faculty across the disciplines to venture into code, to demystify it at the very least. More than "Code: Not so much," we generally agreed that a set of related questions–Code: How much? When?–would be more helpful to students and faculty alike, especially when we don't have the means to hire programmers. And I should add that "code" probably could use more specificity in this discussion because some would discount XHTML/CSS as code, while others would probably identify them as solid markups for beginners to start with. There's quite a separation, in other words, between fine-tuning a style sheet or setting up a simple PHP form that helps run an online writing center and the months and years-long development of more complicated software, such as Eli.
Both Karen & Derek make a great point. I use the word "code" here without being careful to distinguish it from working with markup languages, CSS, and even some scripting languages. That is too imprecise, given the way we talk about "code" when we refer to all of these. I was thinking of commercial-quality programming, and not those things by and large. I agree that learning markup and working with unrendered source for authoring in XHTMl, certain XML variants like DITA, and CSS is absolutely important and necessary for digital rhetoricians.
I also heartily accept Derek's friendly amendment – the much more appropriately phrased "Code: How much?" – as the best way to carry this conversation forward in a productive way. I did not intend to say "don't code at all" or "don't learn about it." I did mean to say that there are other ways for digital rhetoricians to contribute to the development of software and services, and perhaps more important ones than writing code (based on the scarcity of our expertise).
And it is that last point, perhaps, on which Bonnie & I find agreement.
I learned a small amount of coding, in HTML, for part-time work unrelated to academia, but I don't think the work of my department, or at least the Writing Center, could go on without coding knowledge.
Apart from its practical usefulness, coding is a component of writing. Are you really teaching students to "write" if they don't have to at least add a href once in awhile?


Madonna justified her love for Aretha Franklin while defending herself from those who trashed her self-centered speech about the soul singer at Monday's MTV Video Music Awards.
The Queen of Pop claimed in a Tuesday Instagram post that it wasn't the plan for her to give Franklin a proper tribute. Rather, she says, MTV had asked her to present the show's top award and share any anecdotes about Franklin, who died last Thursday at age 76.
"Just to clarify: I was asked to present video of the year by MTV," Madonna wrote on Instagram. "And then they asked me to share any anecdotes I had in my career connected to Aretha Franklin! I shared a part of my journey and thanked Aretha for inspiring me along the way.
MTV did not immediately return a request for comment.
But it quickly shifted focus to Madonna's struggle to make it after leaving Detroit when she was 18.
She goes on and on, until explaining she eventually got a break after singing "(You Make Me Feel Like) A Natural Woman," made famous by Franklin in 1967.
But critics pointed out that it look a long time to get to that brief bit of praise for Franklin, who died at her Detroit home after a battle with pancreatic cancer.
"Does Madonna know Madonna didn't die?" ESPN personality Katie Nolan tweeted.
"Let's find someone who won't make this tribute about themselves," another Twitter user wrote.
She also added that she loves Camila Cabello — who was presented with the Video of the Year trophy by Madonna — and included a photo of them together.


It was still pretty easy to come up with 2 weeks worth of meals this time. I can't believe the Pantry Challenge hasn't been too tough yet. Maybe if I limited myself even further with the grocery budget I'd have to dig a little deeper creatively . . .
I'm also getting an influx of freezer meals halfway through this meal plan! It doesn't seem significant, but I can see the contents of my freezer & pantry slowly and surely diminishing. Another few weeks and it might really start to show!
DH's birthday was last week and he requested brownies with chocolate frosting for his treat. I had a brownie mix, but my frosting seems to have disappeared (none of the kids fessed up, but I'm SURE I had some). Hm. So I made frosting from scratch. It was a bit of a challenge to find a recipe that didn't call for cocoa powder (I have none), but I did have some unsweetened Ghiradelli baking chocolate and that did the trick. It was super yummy.


Fine rubies should be like a pomegranate that is not well ripened, a good emerald will show greener than any other green it is laid beside, a good topaz is like shining gold, and most of them look as if they are split. A good sapphire resembles good azure pigment, and is on the white side, a good aquamarine is like sapphire, but more whitish, a good citrine looks like a peach flower. A good diamond looks like steel and is translucent like glass, and has sharp points, but another sort tends towards yellow, and a third sort looks like crystal, though in shape all three are alike.
The value of the materials lay in their symbolic character as well. The beauty and purity of the precious materials symbolised heavenly perfection: the New Jerusalem described in Revelation 21: I saw the Holy City, the new Jerusalem, coming down out of heaven from God.... It shone with the glory of God and its brilliance was like that of a very precious jewel, like a jasper, clear as crystal.... The wall was made of jasper, and the city of pure gold, as pure as glass. The foundations of the city walls were decorated with every kind of precious stone. The first foundation was jasper, the second sapphire, the third chalcedony, the fourth emerald, the fifth sardonyx, the sixth carnelian, the seventh chrysolite, the eighth beryl, the ninth topaz, the tenth chrysoprase, the eleventh jacinth, and the twelfth amethyst. The twelve gates were twelve pearls, each gate made of a single pearl. The street of the city was of pure gold, like transparent glass.
A specific literary genre of Lapidarium (from Latin lapis - stone) extensively treated symbolic virtues and properties of stones and minerals. Building on the classical heritage of Pliny, Solinus, and Dioscorides, the Middle Ages developed a strong and vivid tradition of their own. Influential early medieval authors such as Isidore of Seville (d. 620) and Marbode, bishop of Rennes (11th century) stressed the medicinal value of stones and minerals. Ecclesiastical writers concentrated on the spiritual symbolism of the twelve stones of Aaron's breastplate and of the apocalyptic vision of the Heavenly Jerusalem cited above. Lapidaries composed by learned university professors like Albertus Magnus (d. 1280) associated properties of stones with astrological phenomena and laid the foundations of late medieval alchemy and magic. All these compositions in one way or another discussed the intimate relationship between stones and their human owners or wearers.
This stone gives many wonderful virtues to anyone who wears it with dignity: this stone guards him safe from every dream, and reveals him the spirit of wisdom, and enables his intellect to scrutinise and understand many more things, and the divine causes of phenomena spiritual and natural: and it stops or prevents all intruding poisons and cures those whose heart is not strong enough, and fortifies them and, being a bearer of victory, it grants to the one who wears it a honourable victory over his enemies, and it should be worn enclosed in silver.
Another lapidarium, that ascribed to Sir John de Mandeville, stated that it often happened to a good diamond to lose its virtue through the sin of the one who wore it.
The fact that dozens of lapidaria in Latin and vernacular were in wide circulation by the end of the Middle Ages indicates how popular this reading was. Archeological evidence proves that ideas from the lapidaria influenced medieval tastes as much as the availability of material. The choice of material for any given piece of jewelry was defined by its economic value, rarity, symbolism, aesthetic notions, and considerations of prestige.
Almandin, for instance, enjoyed particular popularity as a royal gem during the Great Migration Period (early Middle Ages).
In the later period, sapphire took over the superiority. 'The sapphire is the finest of gems, and the most precious and the most suitable for the fingers of kings,' wrote Marbode.
After the serene blue of the sapphire the regal red of the ruby was prized, 'which shines so greatly in the night,' declared Bartholomew the Englishman (fl.1250 - 80), 'that it sends flames into the eyes.' The ruby proper was comparatively rare, though in the fourteenth century it rose in estimation above the sapphire; far commoner and less costly was the balas-ruby whose translucent red shows a blue tint and so was believed to be mined from veins of sapphire.
Sapphire, ruby, emerald, and diamond were the essential repertoire of the medieval jeweller, though the diamond was less used in the early Middle Ages, only beginning to assume something of its modern importance in the fourteenth century. In jewels, as opposed to rings, where a much wider variety of stones was in use, they were the prime stones; even pearls, also highly prized in the Middle Ages, were used not as principal elements in compositions of gems and stones but to frame them, or to set off their pure depth of colour by the contrast of their iridescent white. The garnets, amethysts and Scotch pearls did duty for rubies and pearls in cheaper pieces.
It was commonly held in the Middle Ages that by their very nature stones and minerals had magic potential. For that reason, various gems were worn for prophylactic purposes: to detect poison, to assist childbirth, to prevent epilepsy. However, the magic of jewels bearing an inscription, sign, or figure was much more effective.
If you find a seal sculpted in black agate that depicts a man, naked and swollen, and another one, well-dressed and crowned, and he holds a chalice in one hand and a plant-branch in another, fit it into any ring, and anyone with fever who wears this ring will be healed in three days.
Engraved gems were, consequently, in demand for personal ornaments to be constantly worn. The classical subjects of antique engraved gemstones were often interpreted in the light of Christian iconography.
If you inscribe a ring with the letters T. B. L. N. C. H. V. S. H. A. , it will keep your body intact and safe from any sickness, and mainly from fever and dropsy. In purchases it brings luck, it makes its bearer able and lovable in war and in litigations and in peace and grants him superiority and victory. It helps women in conception and birth. It gives its owner and wearer peace and harmony and wealth, provided that it is worn chastely and honestly.
Thomas Aqunas considered the question whether it was permissible to wear divine words suspended from the neck and decided that it was only allowed if no evil spirits were invoked in the talisman, if the legend contained no incomprehensible words, if there were no deceit and no other agency believed in than the power of God, and if no other character was used than the sign of the Cross, and no faith was placed in the manner in which the talisman was inscribed. In most cases magic inscriptions on medieval jewels went far beyond the limits of the permissible as defined by the Angelic Doctor.


With the digital age, more and more companies are hosting events online that used to be held in hotels and conference suites around the country. Automation, digitalization etc. are no different. Giving people a chance to log in wherever they are and keep up to date with the latest technology not only reduces the cost and time impact on business, but creates greater flexibility for attendees.
At ITESOFT we have been running webinars for many years, in the last few years these have become the primary way in which we engage with business' around the United States. As every one of our webinars is live, attendees have the opportunity to ask our experts questions, and receive answers. The following are a handful of the questions that crop up most often.
A: ITESOFT product suite is built on a Unicode base, what this means for our clients is that we are able to capture, read and process any incoming document regardless of language. As standard, the solutions come with language packs for all Latin based languages, simplified Chinese and simplified Russian.
A: Yes, in fact this feature is fast becoming more and more important to corporations looking to turn their finance functions from a cost centre into a profit centre. This is a standard function within the system, and can generate real revenue from day 1 of product launch.
Q:What is the average set up and implementation time?
A: We love this question, is there such a thing as average? Traditionally we would have said not, with on-premise technology and real time integration, combined with every company having its own processes to be mapped, projects were an ever evolving thing. However, with the advent of cloud technology, and ITESOFT's latest offerings around Capture as a Service (CAAS) we have this down to a fine art. Any business that wants a fully hosted solution can now be live in days, with gap analysis following product launch.
Q: Is there a supplier portal?
A: Yes, ITESOFT product suite includes a fully integrated supplier portal. Not only does this allow your suppliers to upload a copy of an invoice as an image (PDF etc.) or allow them to manually key details in, it also allows them to interact with your company. Suppliers can be given visibility of the status of a given invoice (Received, Processed, Pending etc.) and this visibility is determined by what insight you would like to give them. Alongside this, you can offer a chat function to your suppliers, reducing the number of incoming enquiries by telephone, allowing them to communicate quickly and effectively with your team.
A: No, there is no need to set up different templates for each of your suppliers, this is time consuming, technically challenging and prone to error. Imagine you have a few 0000 suppliers, a template for each, and that template has to be updated every time they change the format of what they send you!? So, alongside no templates, there is no need for batch preparation if you are still scanning pieces of paper, ITESOFT reads the whole document so can pick up the start and end of every invoice.


text:
Q: Is there a way to both update and select (returning multiple rows) from the same table at the same time? What I am trying to do is query the database and have it return the orders. This integer was mistakenly inserted as negative. So I would like to take the abs() of it and reinsert it as positive. I don't think MySQL can do this but this is how I have written the query. I am searching for alternate methods. (If this is not possible I will simply use PHP). Thank you.
Edited with: This should update more then one row.
UPDATE `users` SET `orders` = (SELECT abs(orders)
FROM `users` WHERE count1 = 5) WHERE count1 = 5;

A: Unfortunately MySQL has this stupid limitation that a the table being updated may not appear in a sub-select of the same statement.
But I don't see why you would need the sub-select at all:
UPDATE users
    SET orders = abs(orders)
WHERE count1 = 5;

should do what you want.
Or if you want to turn all negative values into positive ones:
UPDATE users
    SET orders = abs(orders)
WHERE orders < 0;

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