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Waynesboro council approves measures for greenway, infrastructure projects
With a route decided, the third phase of the South River Greenway project will move forward.
Waynesboro council approves measures for greenway, infrastructure projects With a route decided, the third phase of the South River Greenway project will move forward. Check out this story on newsleader.com: https://www.newsleader.com/story/news/2019/09/10/waynesboro-council-approves-greenway-infrastructure-projects/2266687001/
Claire Mitzel, Staunton News Leader Published 12:46 p.m. ET Sept. 10, 2019
WAYNESBORO — Waynesboro bicyclists are one step closer to having a new portion of the greenway to bike through.
During a busy Waynesboro City Council meeting Monday night, council members heard from city staff on a number of issues. That included determining which route to move forward with for the third phase of the South River Greenway.
Here are three things we learned at this week's council meeting:
South River Greenway updates
Council members were tasked with reviewing citizen survey results about people's preferred route for the third phase of the South River Greenway project. The city will move forward with design work for a route through 14th Street.
The Virginia Department of Transportation awarded the city $1.1 million in January 2018 to extend the greenway from Loth Springs to Ridgeview Park. Since then, little progress has been made, though, Deputy City Manager Jim Shaw said.
City officials held public forums and distributed a citizen survey to see people's preferred choice of five routes. Deputy City Manager Jim Shaw said 112 people responded.
The 14th Street route was most popular. The second most popular route by a close margin followed the river from Arch Avenue to Ridgeview Park.
While a number of respondents said they wanted the route to follow the river, Shaw said that wasn't feasible with current funding restraints. Because of the topography and private property rights, the expansion would likely be more expensive and potentially unfeasible, Shaw said.
During the public comment period, several residents who live along or near 14th Street shared concerns about the potential route and urged the city to ensure there won't be obstructions that could cause problems for residents who park either on or off the street.
As council members eyed the third phase's future, they also endorsed an application 4–0 requesting VDOT funding for the fourth phase. An additional .7 miles will connect North Park to Basic City. Mayor Terry Short abstained from the vote because he works for VDOT.
Under the grant, VDOT would reimburse Waynesboro for 80% of the project's cost with a 5% administrative fee, and the city would provide a 20% match. The total cost is $813,474. The city would match $162,700.
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More: Chili, blues and brews festival; Staunton hotel nominated for historic nod — The buzz
School fund balance policy change
Waynesboro Public School will now have a better idea of how much money it has left at the end of the year.
A revised fund balance policy passed Monday night allows the Waynesboro School Board to adopt its own fund balance policy and keep any unassigned fund balance remaining in their accounts at the end of the year.
"I'm excited about this — as excited you can be about fund balances," Short said. He explained that it was important to have policies that allow the city and school division to be strategic and transparent.
The city's revised policy also removes specific contingency and percentage limits to let the board set appropriate ones that work for them, according to the agenda briefing.
A city requirement remains that the fund balance may only be used on capital, debt and one-time expenditures. A fund balance is the "excess of assets over liabilities in a governmental fund," according to the agenda briefing.
New bridge and roundabout
Council also approved resolutions supporting VDOT applications for funding toward a roundabout at Delphine and Main streets and a new A Street bridge.
VDOT funding for the roundabout would be $431,000 with the city matching on a dollar-for-dollar basis. VDOT funding for the bridge would be $363,416, and the city would match $181,708.
Council approved the endorsements 4–0, with Short abstaining.
More: PD: Meth lab discovered in Waynesboro
Questions or story ideas? I want to hear from you! Send me a note at cmitzel@newsleader.com, call 255-9980 and follow me on Twitter @c_mitzel.
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What are some Catholic practices?
What are some rituals that Catholics do?
What are the practices of the church?
What are the Catholic symbols?
What are Catholic ethics?
What are the beliefs and practices of Catholicism?
What are the 5 basic beliefs of Christianity?
What is the difference between Christians and Catholics?
Is IHS a Catholic symbol?
What is the difference between a sign and a symbol Catholic?
Is the triquetra a Catholic symbol?
What is a Catholic moral life?
What are Catholic moral principles?
How does the Catholic Church approach moral issues?
Catholicism is a faith that revolves around the seven sacraments – baptism, reconciliation, Eucharist, confirmation, marriage, holy orders (joining the priesthood) and the sacrament of the sick (once called extreme unction or the last rites).
The Seven Sacraments of the Roman Catholic church
Baptism. baptism of Jesus. …
Eucharist. Clements, George. …
Confirmation. Confirmation is the third sacrament of initiation and serves to "confirm" a baptized person in their faith. …
Reconciliation. The Confessional. …
Anointing of the Sick. …
Marriage. …
Ordination.
Depending on the specific denomination of Christianity, practices may include baptism, the Eucharist (Holy Communion or the Lord's Supper), prayer (including the Lord's Prayer), confession, confirmation, burial rites, marriage rites and the religious education of children.
10 Catholic Symbols and Their Meanings
Crucifix.
Alpha and Omega.
The Cross.
The Sacred Heart.
IHS and Chi-Rho.
The Fish.
Fleur de Lis.
The Dove.
The three ethical principles of the Catholic Church that relate to social action are 'Preferential protection for the poor and vulnerable', 'Universal destination of goods', and 'Participation'.
IT IS INTERESTING: What is a ciborium in the Catholic Church?
Some of the main themes that Jesus taught, which Christians later embraced, include:
Forgive others who have wronged you.
Ask God for forgiveness of your sins.
Jesus is the Messiah and was given the authority to forgive others.
Repentance of sins is essential.
A Christian refers to a follower of Jesus Christ who may be a Catholic, Protestant, Gnostic, Mormon, Evangelical, Anglican or Orthodox, or follower of another branch of the religion. A Catholic is a Christian who follows the Catholic religion as transmitted through the succession of Popes.
The Christogram IHS is a monogram symbolizing Jesus Christ. … The order of Jesuits, in other words the Society of Jesus (Societas Iesu), adopted IHS as its fixed emblem – the symbol in 17th century.
Consider the difference between a sign and a symbol. A symbol points beyond itself, while a sign does not. … A cross, however, is a symbol of the risen Christ and is probably the most powerful symbol in all religious life.
It is found in similar artwork on early Christian High Crosses and slabs. An example from early medieval stonework is the Anglo-Saxon frith stool at Hexham Abbey. The symbol has been interpreted as representing the Christian Trinity, especially since the Celtic revival of the 19th century.
IT IS INTERESTING: What does God say about water in the Bible?
Moral living is response to the Logos or Word of God. "Faith in the Logos… understands moral values as responsibility, as a response to the Word, and thus gives them their intelligibility as well as their essential orientation."
The Catholic Church proclaims that human life is sacred and that the dignity of the human person is the foundation of a moral vision for society. This belief is the foundation of all the principles of our social teaching.
The Church can be described as taking both a deontological and a teleological approach. It is deontological with regards to the view that certain acts are right or wrong, and that there is no space for context or emotions in decision making.
How did Wycliffe and Huss challenge the church?
What is the spiritual gift of prayer?
Question: What are the words to the prayer Hail Holy Queen?
You asked: What is that Catholic hand gesture?
Is Ireland mostly Catholic or Protestant?
Your question: Does Mary have a gospel?
Best answer: How long does it take to study the Bible?

redpajama_set_name: RedPajamaCommonCrawl


Hair extensions are used both by men and women. Only enough hair is needed to clip the extension and cover the hair. One needs to practice how to use clips with hair extensions. This video is by a female model who looks to supplement her long hair with extensions, rather than increase the length. The same practice is followed by her in explaining the kinds of clips that should be purchased by women with long hair. Thickness and volume of hair can be increased by using clips. In addition, the model also explains what hair accessories can be used with the various extensions.


For the Arizona Wildcats, it was four quarters of redemption after one of the most miserable seasons in recent memory.
For the Arizona State Sun Devils... it's tough to know where to go from here.
The Wildcats ended a 2-9 season on a high note by reclaiming the Territorial Cup in an emphatic 56-35 win over the Arizona State Sun Devils in front of over 50,000 fans at Arizona Stadium. It was the most points Arizona has scored against ASU since 1946, as the Wildcats set a school record with over 500 rushing yards and prevented their rivals from earning a bowl berth.
Here are three big takeaways from the 90th Territorial Cup game.
1. Wildcats run roughshod over Devils.
The knock on the Sun Devils coming into Friday's game was their inability to defend the pass. But the Wildcats threw three -- count them, three -- passes against ASU, instead keeping the ball on the ground against a Sun Devil defense that looked like it had mentally checked out for the season.
UA quarterback Brandon Dawkins and running backs Samajie Grant and Zach Green all rushed for well over 100 yards and combined for seven touchdowns against a Sun Devil defense that came in as the Pac-12's second-best team against the run. Arizona's 511 rushing yards are a new school record, and it marked the first time since 1993 that the Cats had three 100-yard rushers in a single game.
Make no mistake: Arizona earned the victory Friday night, but ASU's defense was flat-out embarrassing. And if Todd Graham is back as ASU's head coach next season, he's got some serious work to do.
2. ASU fails on fourth down.
Coming into Friday's game, ASU was 7 of 11 on fourth-down conversions, the second-best conversion rate in the Pac-12. Against the Wildcats, the Sun Devils were just 1 of 6 on fourth down, and they failed to convert twice in the first half.
One of the biggest plays of the game came in the fourth quarter when ASU running back Kalen Ballage decided to run to the outside on fourth and 1 rather than run up the middle. He ended up inexplicably throwing the ball away. Three plays later, Arizona scored to go up by three touchdowns and seal the deal.
Whether it was a case of Graham gambling too often or the Devils simply failing to execute, those plays were huge in a game in which ASU nearly matched UA in total yards (588-492).
3. Devils fail to keep it simple.
It took ASU a while on Friday to finally commit to the run, preferring instead to throw the ball, often through screen passes that didn't produce a great deal of yards. And when they trailed by two or three scores in the second half, the Devils were in a situation in which they had to pass.
ASU's one-two running-back punch of Ballage and Demario Richard didn't get a lot of reps, as they ran the ball just seven times apiece. Wilkins was reasonably effective for most of the night, but there's no way he should have thrown the ball 58 times, as he did Friday.
Hindsight is always 20/20, but instead of keeping it simple, Graham sort of got away from his normal game plan on Friday, and it's one of the reasons the Devils got into a hole they weren't able to escape from.
-Grant, a senior who was converted from wide receiver to running back this year, scored two receiving touchdowns vs. ASU in Tucson two years ago. He followed that performance up with three rushing scores Friday. For the game, Grant had 176 yards on 19 carries.
-Three Sun Devils caught at least nine passes Friday, led by Frederick Gammage, who reeled in 116 yards and a touchdown on 12 receptions. Ballage had 10 catches and freshman N'Keal Harry had nine.
-Arizona's 21-point victory matched its biggest against ASU in eight years when the Wildcats beat the Devils 31-10 in 2008.
-ASU's Zane Gonzalez is the best kicker in the country, but he missed both of his field-goal attempts at Arizona Stadium. He missed a 45-yard attempt in 2014 and a 53-yard attempt Friday.
-The home team has won the last four Territorial Cup games. (The last time that happened was 1962-65.) The home team hasn't trailed in any of those games, either.
-UA's 56 points were its most in a Territorial Cup game since ASU became an accredited university in 1958.


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Allegory and the Spaces of Love
Oscar Martín
Oscar Martín (bio)
Writing about Spanish sentimental fiction from 1450 to 1550 is not an easy task, as we are discussing a genre with a difficult theoretical configuration. The investigation of sentimental fiction, however, has been sorting out the classifications that applied to a hodgepodge of works previously labeled as "sentimental novel" ("novela sentimental"). This label, once attached uncritically to a bunch of heterogeneous texts that shared such intangibles as "loving focus" or "prevalence of psychological description over narratives," has been applied more consistently nowaday, thanks in part to the scholarly efforts started in the 1980s like those of Martínez Jiménez and Muñoz Marquina (1982), and Martínez Latre (1989).1 Using some of these research efforts, Alan Deyermond has codified the genre accurately:
Brevity; focus on psychological interest over external action; a tragic vision of love; autobiography (first-person narration or a narrator as a character) and the insertion of letters or poems (or, often, both) into the narration.
[77]2
Within this scholarly categorization, Regula Rohland de Langbehn has been pivotal in offering—first in 1986, and more recently in 1999—a threefold scheme in the development of the genre she labels as "sentimental novel": a first group chronologically of the genre would be represented by Siervo libre de amor and Sátira de felice e infelice vida, both works marked by the influence of cancionero poetry—specially in the allegorical structuring and in the characterization of love, and by other subjects being limited to an abstract and general analysis of emotions. Both works also present a debate over the moral value of love. A second group would gravitate around Triste deleytacion and the works of Diego de San Pedro and Juan de Flores, works that show a wider range of topics and the impact of a broader generic textuality like cancionero poetry and such chivalric novels as Tirant. Finally, she distinguishes a third group whose main characteristic is the imprint of Celestina's influence on both the narrative surface and its thematic approach. In the same vein, Vicenta Blay Manzanera has taken up this threefold scheme, dividing the genre into "the creation of the paradigm" ("la creación del paradigma") the climactic stage, and the downfall and disarticulation of the narrative sentimental system" ("la fase climática" and "el tercero la fase de declive o desintegración del paradigma") ["La conciencia genérica" 221]. [End Page 132]
Just as Rohland de Langbehn's works had at least settled down the arguments about the existence of a sentimental novelistic genre, however, medieval Hispanic scholarship has been shaken by an entrenched debate over not only the identification of this genre (novel or fiction) but whether the genre even existed at all. It was Antonio Cortijo Ocaña who, while editing a critical cluster in La Corónica on sentimental fiction, opened the door to some scholars such as Weissberger who voiced their skepticism over the generic nature of sentimental prose, a skepticism already present in an innovative volume published by Gwara and Gerli in 1997. This skeptical position was also supported by Cortijo Ocaña himself, who in 2001 published a monumental work in which, although using the generic term as a departure point, he ended up suggesting the difficulty of defining it, therefore jettisoning it. This position in turn was contested by Rohland de Langbehn, who in 2002 defended the validity of both the existence of a genre and its name novela sentimental, a position that has sparked a new round of replies in a La Corónica forum in 2003.
In this debate, I would join today's minority position on the existence of a sentimental genre, because, as I explained in my 2001 review of Rohland de Langbehn's book and as I find convincingly argued in her 2002 contribution, there are internal traits within sentimental fictional texts that do not appear together in other sentimental generic texts [139]. In addition, once we take into account the obvious intertextuality of those sentimental texts, as Blay Manzanera has shown ["La conciencia genérica"], and the overutilization of central motifs in the configuration of love's debate, we...


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By pethspost
DEGREES OF KINGSHIP
How many degrees of separation does the famous concept stipulate? I imagine that to have been named after a famous public figure doesn't count, but I was named after King Edward VIII who, just four months after my birth, abdicated.
Dr Alfred Blunt, Bishop of Bradford.
Portrait by Bassano, February 1936.
National Portrait Gallery, London.
And my older brother, in his policing days, once had occasion to deliver a document to Bishop Blunt, the Bishop of Bradford, who answered the doorbell himself and accepted delivery from my brother's hand; the very Bishop Blunt who had blown the lid off the Edward and Mrs Simpson scandal, and you could say precipitated the abdication, when in a speech to his Diocesan Conference he spoke of the King's 'need for grace' and was duly quoted in Bradford's Telegraph & Argus.
I have mused on this today, having seen the film The King's Speech, in which the abdicating Edward has a supporting part, so to speak. I might well have had a supporting part in the film myself, a tiny one – the Harley Street specialist who, in the tradition of Demosthenes and Henry Higgins, makes the hero and future King George VI hold marbles in his mouth. I am glad to say that one of my old colleagues, Roger Hammond, played it – convincingly – I remember bumping into him at the audition. But he played it in a way I could never have done as he must weigh at least 20 stone, and was therefore a good contrast to Geoffrey Rush as the speech therapist, Lionel Logue, who wins the day. Rush is more my build and incidentally trained in the Lecoq school of mime, as I did. We met for the first time in 1998 in my dressing room in Newcastle's Theatre Royal, after I had played Master Ford in Ian Judge's RSC production of The Merry Wives of Windsor and Geoffrey had spent the day on location as Philip Henslowe in Tom Stoppard's screenplay Shakespeare in Love – Tyneside pretending to be Bankside.
Talking of degrees of separation, what award-ceremony madness nominates Colin Firth alone? Is it beyond the wit of those who decide these things to see that one might as well separate Laurel and Hardy as Firth and Rush; the relationship is everything! I see that Rush is named as an executive producer in the credits and I wonder if he had something to do with the brilliance of the script, for the way his character is depicted going about his treatment of 'Bertie', a method the real-life Logue invented himself, is utterly convincing, dramatically and psychologically fascinating.
Not least of the film's delights – along with the strange pleasure of frequently being moved to tears – is seeing familiar bits of London in a new light, an empty Westminster Abbey at night for instance – awesome. But here once again I claim kinship with kingship. Some years ago, my wife Emily and I gave a recital in the Abbey's Jerusalem Chamber, the room in which by the fireplace King Henry IV died:
It hath been prophesied to me many years,
I should not die but in Jerusalem;
Which vainly I suppos'd the Holy Land.
But bear me to that chamber; there I'll lie;
In that Jerusalem shall Harry die.
(Shakespeare, Henry IV, Part 2)
The Jerusalem Chamber, Illustrated London News, 1902.
After supper the Dean showed us past the open door of a bathroom, as I remember, and through an adjacent ancient door, directly into the historic Abbot's Pew, and suddenly at 10.30 at night we were looking down from our oak perch above the south aisle onto the silent nave of the deserted Abbey. There was the intermittent glimmer of the traffic's headlights moving beyond the dark stained-glass windows, but otherwise the impression was of venerable age, the weight of history carried lightly in the soaring grey Gothic columns as the Dean talked of the almost 150 years it had taken to complete what we saw, whilst the stone, builders and masons were being financed by monarchs we only knew as Shakespearean characters, Richard II and Henry V. All this we experienced in the dim light from where, when it was a monastery, Abbot Islip once kneeled.
What happened is one thing, History and Historical drama another …
Linking back to the actual man Logue, who controlled George VI's stammer and held a night-time Abbey rehearsal with him on the eve of the Coronation, it so happens that he was killingly handsome, especially when young.
Lionel Logue with Myrtle Gruenert at the time of their engagement in Perth, Western Australia, 1906.
It also happens that the Elder Conservatorium of Music in Adelaide where he was trained, and assisted elocutionist Edward Reeves, was the very place where one Charles Gordon, who was my voice teacher at drama school, taught during WWII. But that is not enough and doesn't have a sufficiently Royal ring to it to be the tag to this Royal Blog. Except that the degrees of separation can be narrowed. Kathleen Riley discovered Charles Gordon's secret career! He never divulged to us that, along with his performances as a baritone, he was an accomplished campanologist and was advertised as 'The Monarch of the Bells'. In fact, in May 1937, he posted an advert in The Stage in which he billed himself:
I also recognized some of the exercises 'Bertie' was put through from the room in Chapel Street, Bradford where Charlie taught us, only a short walk away from St George's Hall. In 1933, on a certain raised terrace on the flank of the Hall, my father and brother Billy found a position from which to see to advantage the arrival in our city of Edward, Prince of Wales. Just four of the prince's words – 'Something must be done' (about the plight of the unemployed miners in Wales) – had endeared him to working people, but apparently angered elements in the Establishment.
And it was flanking that same building in 1954 that I waited to see Queen Elizabeth II on her way to lunch at our Town Hall.
Town Hall Square, Bradford, 28 October 1954.
By that time I was becoming quite fluent in what we called The Queen's English, though I had taught myself, with the help of BBC Radio, from the time when it was still The King's. I end Happy and Glorious!
In the year of the Queen's Golden Jubilee, 2002, Emily and I presented a show or our own devising called Pomp and Force of Circumstance, which included this poem about the momentous events of 1936:
3 thoughts on "DEGREES OF KINGSHIP"
susnyvon
Your post will improve the film experience for all who read it. Thank you for giving us one of your memories.
MRMahard
Have seen "The King's Speech" twice so far and both times held my breath through the entire last speech. So many wonderful moments, and I completely agree that the performance of the two of them is what makes it work so well. Just finished listening to the Emeralds book so you have been very much on my mind and in my heart too!
jentay61
I always felt sympathy for George VI,although only small when he died, and wondered how much his stammer was caused by the neglect of a nanny who preferred his older brother, of being a left-hander(like myself) who was made,as was usual in those days, to use his right. I saw,some years ago, uncensored archive footage of him speaking at an event and the effort of him trying to form the words
was agonizing to watch.
Lovely to hear Emily and yourself together,any chance of more – two wonderful voices.
I am really looking forward to your new book and wonder if I can pre-order – all the very best with all you do.
I recommend the following films from this extensive list:
A Taste of the Victorian Theatre
The Poetry of Puppets
The Puppetry of Acting
Rooms of One's Own Part 1 (featuring Virginia Woolf)
Tempestuous come-back
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DESTINY OF A WARRIOR: ANTHONY BRESLIN
By Roberto Chuter
"Painting is a metaphor for a person's life…" – Anthony Breslin
It's middle 1991, I am working in a disused church in Gardenvale on the casting for the improvisational site specific production of "I've Danced With A Girl Who Danced With The Prince of Wales" in the ballroom at Rippon Lea. One Saturday or Sunday afternoon there was loud bashing on the side door of the church. This entrance was rarely used so I opened it with reluctance. As I opened the door, a young man fell inside. He was dressed in a light blue t-shirt, grubby grey gym pants, thongs and sported a slighting fuzzy mullet. This was my very first introduction to Anthony Breslin. Subsequently, he managed to charmingly ingratiate himself into the production and the next one "The Miracle of the Rose'. We have been friends and colleagues ever since.
Artist Breslin, based in St. Kilda, has become an original force within the Australian art scene ever since then and has produced 60+ solo exhibitions both in Australia and internationally, including exhibitions in Barcelona, Bern, Dublin, Hong Kong, London Prague, Zurich and Shanghai. Breslin has also attained acclaim as an original theatrical and installation artist. He performed at the Melbourne Convention Centre for the closing ceremony of the Parliament of World Religions, as well as performing at the 'Signature of M' art prize gala night at the Central Pier Venue in Docklands and the Conscientia Festival in Salt Lake City, US. Breslin has created many large scale community and charity projects. He has become passionate about working with various marginalised groups and schools to induce focus and awareness on the importance of commonality, belonging, and rites of passage.
So, there was some many questions and answers I wanted to ask Breslin, so I did:
What did you do before you became an artist?
I pursued a career in acting and before that I worked in a conventional job in the rag trade which made me miserable!. I wrote a play during this time about a suicidal man living the wrong life, it was called "Clive potter: Poet!" I was writing of course about me stuck in a life that seemed impossible to escape. I searched for something else and opportunities arose that enabled me to see another path. I started by doing extra work and modelling and then I found ways to break into doing theatre where my life really changed. My interaction with the people I met and worked with inspired me to pursue a creative life. I worked in cafes and did labouring to keep money coming in. I didn't enjoy these jobs so I searched for something else that was theatrical and different this brought me to doing singing telegrams which lead me to becoming a stripper. I worked in this field for several years and quickly I became the top performer in the company. I'd do 5~6 jobs all over Melbourne on a Saturday night. It gave me many fascinating life experiences and freed up my life to pursue other things. After a few years I left it all as I won a TV show called "Man O Man" on Channel 7 where the prize was a trip to Africa, ironically it was the place I most wanted to go to. I spent over 2 years wandering through Africa, Europe and the Middle East during this time I drew obsessively. My drawings were sent back to Australia in cardboard tubes. Thanks to my sister these drawings got me an interview for art school at RMIT. I flew home to try to get in, I did.
How did you become an artist?
I finished art school after 3 years yet during this time I worked ambitiously to exhibit in unconventional spaces, like Wax Studios in Richmond. I even managed to direct, produce and design a large production of my own play "Clive Potter: Poet!" Art history inspired me greatly, I fell in love with its history of philosophical ideas. When I left art school I was determined to make it my paying occupation against all odds. I experimented greatly and slowly through a religious work ethic I started to develop my own unique creative voice. Opportunities arose through the risks I took and before long I was exhibiting and selling lots of my work. I felt very self conscious calling myself an artist but once it became my "job" I had to as it was all I did. Through it I created an exciting lifestyle that started to take me all over the world exhibiting and doing theatrical performance pieces. This lasted for many many years until blood cancer came into my life and changed everything drastically again.
Why do you do the work that you do Anthony?
The work has always just come through me, my imagination has always been vivid, I just start, that's the hardest part and then the work itself guides me. I just make sure I keep listening. I have never needed to use things from the natural world as a direct subject matter or for inspiration. Within a short time I became excited by found objects and began to incorporate them into my work everything from zippers to tennis rackets. They all helped me create tactile compositions that wanted to jump from the canvas. I made a lot of work constantly, experimental repetition led to many, many new discoveries, soon I was excitedly plagiarising and developing all my own ideas within the private world of my studio. I never experienced any mental blocks. My mind seemed forever active with ideas. I have always been very athletic so I began to create performances governed by time and physical constraints to raise the level of intensity and challenge for me as the performer and artist. The artist as athlete really interested me. Also I believed that I needed to make things difficult so I had something to overcome. This way of thinking was an affliction I carried always. I also wanted the audiences to experience some of the energetic drive of my creative, obsessive process.
What inspires your work?
I could always draw, so initially I was inspired to make art because it was the only thing that interested me at school and I seemed to be good at it. Over time I returned to it because I loved the process of creating in isolation. Acting gave me many wonderful experiences yet put me on the line to be judged directly. This process compounded my self doubt and insecurities regarding my acting abilities. With art it felt very different, here I worked safely in private investigating what lay within. People judged my creations and not me directly. Over time as my style developed I became less consumed with what people thought as I could only create my work in my own way, so it seemed pointless to become attached to others perceptions either way. This further liberated me to explore and take creative risks. The diversity of artists creations fascinated me and moved me greatly. I love the fact it's a language beyond words, beyond reason, beyond one interpretation. I have been moved to tears many times standing in silence in front of art that spoke to me deeply. And that is a precious thing.
Your artwork seems to span all kinds of mediums, can you tell us about these different mediums and why you chose to do this?
My work spans the use of many mediums, paint, pencil, found objects, pastel, charcoal, ink etc., as well as performance and large scale installations built with all kinds of
building materials. I never had any intention of restricting or limiting myself re materials or environments where I could create. So I ended up designing and building things like sets for music videos and theatre, winning an Aria Award along the way and earning an AFI nomination. All these experiences inspired me to keep broadening my creative horizons as I loved the challenge and it greatly inspired me to create my own performance art productions like "Trybe: An Opera in Paint". My experiences using a broad range of materials also inspired more ideas and the further use of new materials. My paintings and drawings seem to still have a unifying style no matter what mediums I used. People were still able to recognise my work no matter what new materials I used it also kept me interested in producing and not stale. Inadvertently it kept people who collected my work interested and keen to purchase new works.
Could you tell us about your Breslin Gallery?
The Breslin Gallery was a dream I wanted to realise for a long time. I started a studio complex with an illegally built little theatre in St. Kilda many years ago. I was never one to let rules restrict me. When an old church came up for sale in Carnegie I became obsessed with trying to find a way to buy it. After much effort and negotiating I found a way to do it at a high risk for me. The building needed a complete build from the inside out which was going to put me into massive debt. I became the owner builder and under great stress managed the build working full time for 3 years doing labour on the site, from sunrise till nightfall. After many ups and downs I could see the finishing line, and then the implausible happened, somebody broke in during the night and set fire to the building causing around $380,000 worth of damage. The perpetrators were never caught. After an investigation the insurer found a reason to not pay for the damages, they assumed I would walk away because it was a powerful bank. This became a hugely stressful nightmare for me. I took the insurer to court which tested me mentally on every level, yet I was in a disastrous situation so I had to try something. After months and months in court and fundraisers to keep me afloat I was offered half the damage bill and I still had to pay a huge amount in legal fees. I took the payout I had to, I was desperate, wonderful support re fund raising and lots of cost cutting for the rebuild helped get the gallery open eventually. It was wonderful. I had a cafe in the place, a large gallery space, a place upstairs for me to live, a studio for me and a residence on the top floor. We held wonderful exhibitions, ran classes in all things creative, held concerts and supported
marginalised groups and raised money for groups and individuals who needed it. The Breslin Gallery quickly became a much loved community creative hub. And then soon after blood cancer struck me down. I kept the place going through extreme sickness and long stints in hospital having and recovering from a bone marrow transplant and then kidney failure. At this point my cafe owner walked out of his lease and my neighbour began reporting the breaches of my restricted permit to council. I knew the stress was going to kill me to keep it running, so I did what I never imagined I would do, I sold the building under its value and walked away. My life has been under threat ever since from many serious health issues, which have destroyed my career.
You have suffered a number of personal setbacks. Do you think these are explored subconsciously in your artwork?
In 2014 I was diagnosed with leukaemia, the same leukaemia that killed my brother at 38 back in 1994. This turned my world upside down as it led to a bone marrow transplant, severe graft host disease and kidney failure amongst many other issues. To this day I still contend with chronic pain, disability and chronic fatigue and frequent bouts in hospital to help keep me here a bit longer. It goes without saying this has greatly affected my ability to work at all as well as the imagery its if both consciously and unconsciously. Going through so much life threatening illness has certainly altered all my perceptions of life, death and dying. Things that seemed so important when I was thriving and an ambitious creative, obsessive workaholic with illness became unimportant. Cancer or any life threatening disease forces one to investigate what's deep inside and that's its blessing. For me aspirations of commercial achievement, success and ambition faded away. When I lost my health I realised it was all that mattered next to connecting to other humans with my heart, through kindness, empathy and compassion .
What do you think have been some of the negatives in your work?
I don't experience my work in negatives or positives. My impatience, and creative aggression along with my obsessive nature all have contributed to the creating of my work as it is, and as it was. Also my discipline and habit of pushing myself so hard allowed me to create a large volume of work and discoveries which in turn created
opportunities and allowed me to build an audience. Yet it also greatly depleted my body and I believe helped lead to illness. My nature created my reality and hence the opportunities I had. I always would just dive into things taking risks always. In my case the risks hurt me yet also gave me my greatest achievements of all. It's all intertwined and interlocked into a complex manifestation.
What's been your favourite achievements up to this point?
I have had many wonderful moments, and so many exhibitions I have been proud of. All the different productions/incarnations of my show "Trybe" have meant so much to me. The first one was wonderful down at the Docklands, the second at Chapel Off Chapel. My performers and crews were wonderful to work with and both shows were so well received. In 2006, my week long stint in the Myer Bourke Street windows (with special guest Jane Badler) creating a live exhibition to raise money for sick kids at TLC was also such a special experience. There have been so many it's so tough to single them out, they all built on each other to inspire me to try and attempt new things.
On a book and it's proving to be an epic emotional and physical challenge. It's autobiographical stories from my life, I have felt strongly compelled to write this book for many years. In general through the stories it investigates how childhood trauma and abuse have fuelled many addictions in my life and fuelled so many of my misguided reckless pursuits. I am hoping for this to be my 3rd published book, yet regardless it is proving to be a healing journey in many ways. It's very different from my first two books "frantic bloom" and "Brezania".
If you couldn't do this anymore, what career path do you think you would have followed Anthony?
I don't really know where I would have ended up if my art had not taken off. The jobs I did have created a misery in me and I struggled to work for other people in controlled environments, always my imagination transported me to other places and ideas. For many years I was lost in my life knowing only it all felt wrong. I knew how impossible it was to live on an actors wage yet my venture into exploring this as an occupation back in
my 20's is what opened up new possibilities in my life. Because these days I am finding my art making physically difficult due to my health I am writing more. I don't expect it to be a career path on its own accord yet it's all part of my career to date as a creative. Especially now I need to feel a sense of purpose and have a creative outlet to keep me from giving up on life.
Tell us a funny story or joke that involves your work or life.
I started doing singing telegrams and then stripping to support my acting career financially. At one point I was cast in a large outdoor production of Shakespeare's "The Tempest." I needed to cram in what strip jobs I could when I wasn't acting so I wouldn't starve. On the Saturday night's of the play's season I'd do the curtain call and then dash backstage where the dresser would be waiting to help me get off my makeup and costume. I would then run to the car past many of the audience members and drive like a bat out of hell to the old Marquee Club in South Melbourne where approx. 250 drunk women would be waiting for the final stripper in their stage show. I'd bolt backstage, the show's MC would have a small joint waiting to help me reboot. I'd put on my school boys uniform complete with thick nerd glasses, crazy wig and giant teddy bear and out I'd go to face the madness ending up stark naked. It was crazy to go from one form of performance to another within such a short time. Yet I loved the intense stimulation it provided.
Breslin's most recent exhibition "Exit the Blood Machine" contained 23+ artworks that portrayed his journey through cancer, transplant and beyond, a multitude of them contained images of bones, cells, death and many of which were created during his treatment, from his hospital bed. Some of these stunning and colourful artworks now hang in the Alfred Hospital.
Undoubtedly, Anthony Breslin is another of St. Kilda's most precious icons. He is blessed that creatively has been his amazing life. An artist of great bravery, generosity, sensuality, compassion and uniqueness. And all these qualities are the only few attributes that outweigh his gargantuan artistic ability.
This entry was posted in Comedy Festival 2019, News and Events and tagged Anthony Breslin, Artist Breslin, Breslin Gallery, Exit the Blood Machine, Robert Chuter, St Kilda Artist on 12/08/2019 by Kerrie Pacholli.
UgLeigh – Alex Theatre – MICF 2019
Crowded Together Productions proudly presents this hilarious, offbeat, absurdist comedy inspired play by Marius von Mayenburg's 'The Ugly One'. for MICF 2019.
Alex Theatre, St Kilda
Doors Open: 7.30pm
Act One: 8.00pm
Approx. Finish Time: 9.10pm
PERFORMANCE DATES: Wed 10th, Thurs. 11th, Fri 12th Sat.13th & Sunday 14th April.
Tickets: Adults $36.85, Concession $34.40. Artist Passes welcome
In a world where botox, implants and Instagram filters reign supreme, Leigh, finds out she's a … not-so-aesthetically pleasing woman. In other words, she was hit with the ugly stick. several times. But Leigh is determined to get ahead no matter what the cost.
Shamita Siva (Co-director/Producer/Writer). Shamita is a multifaceted performance artist and creative. Comfortable on stage or on screen, Shamita is a performer who enjoys a challenge. A trained dancer from an early age, she has performed professionally overseas as well as nationally. She developed an interest in physical theatre forms and has trained in Butoh alongside her acting. She holds a BA Performing Arts from Monash University, supplemented by training with Film & Television Studios International, Stella Adler AoA Los Angeles, and the Meisner Technique. Shamita is also a keen writer and often incorporates spoken word into her pieces and performances. She draws inspiration from everyday experiences, music and sound, and socio- political issues she is impassioned by.
Charlotte Rose Watson (Co-director/Producer/Writer): Charlotte caught the acting bug in high school and continued with private acting lessons before completing a Bachelor of Performance at University of Wollongong. After moving from Sydney, her first Melbourne theatre debut was performing in the 2016 Melbourne Fringe Festival in the production 'Altar Girl'. This is where Sham and Charlotte met. Charlotte has recently undertaken the Producer Bootcamp mentored by Laura Milke Garner to expand her theatre-making and theatre producing skill set. She has a passion for producing and writing plays – especially comedy! She previously worked as a talent agent representing Melbourne actors and coaching acting classes. She now proudly works at the Alex Theatre where she is their theatre programmer and the executive assistant to the general manager.
Andrew Burns, a whiz bang trivia host and actor who plays the famous surgeon Dr. David Wazinski.
Maia Absburg an incredibly powerful actor and physical theatre performer, plays on our heart strings as Leigh.
Ben Lindsay, a tradie by day, dynamite actor by night, Ben plays the well-meaning yet oblivious Hank- Leighs husband.
Nicolette Nespeca; who's comic timing is brilliant in the roles Leigh's boss Lucille and #Insta-Famous Yogini.
Contact: crowdedtogetherproductions@gmail.com
Event Page: https://www.comedyfestival.com.au/2019/shows/ugleigh
Website: https://www.crowdedtogetherproductions.com/
Instagram: https://www.instagram.com/ugleigh_micf
This entry was posted in Comedy Festival 2019, News and Events and tagged Alex Theatre, Andrew Burns, Ben Lindsay, Charlotte Rose Watson, Crowded Together Productions, Maia Absburg, Marius von Mayenburg, Melbourne International Comedy Festival 2019, MICF 2019, Nicolette Nespeca, Open Media, pationpics, Shamita Siva, The Ugly One' on 02/04/2019 by Kerrie Pacholli.
Melbourne International Comedy Festival 2019 story
Text & Image by Kerrie Pacholli
Tommy Little Comedian & MC at the MICF 2019 launch
The team at Open Media is thrilled to be able to produce some unique highlights of the iconic Melbourne International Comedy Festival 2019 highlights. We will be reviewing a broad mix of homegrown and international talent for your viewing pleasure. So stay tuned…
Produced © Open Media
Filmed by Tim Barnett Edited by Simon Barnett
This entry was posted in Comedy Festival 2019, News and Events and tagged Art Centre Melbourne, Bill Shannon, Hannah Gadsby, Hon Martin Foley, Melbourne International Comedy Festival 2019, MICF 2019, Mike Brady., MYnewsroom, Open Media, pationpics, Sally Capp, Spiegeltent, Susan Provan, Tommy Little on 31/03/2019 by Kerrie Pacholli.
50 Shades of Grey Musical – Alex Theatre review
Review by Kerrie Pacholli
It could only be from the Midas touch group at the Alex Theatre to ensure that this FANF……TASTIC musical parody of the very series '50 Shades of Grey' books and films hit St Kilda.
Anyone that has seen the films with the very sexy Jamie Dorman, who even made a psycho sexual serial killer in "The Fall" look hot, will get a spark of interest. There were a lot of women in the audience I noted. However, this story onstage emanates from the books and your imaginations. Probably more sensuous anyway.
Oh course, it was a hit all over America and now some very switched on Producers in David Venn Enterprises have brought it to our shores. My guess it will go on the road for quite a while once word gets out.
This extremely funny, well produced show consisting of nine TOP NOTCH actors, singers and dancers is a MUST to kick start your Comedy Festival dates.
It was such a positive 'shot in the arm' to coin a well known phrase, I not only slept like I had my fill but I woke up frisky as well and raring to go.
Oh, if you are wondering where to go the Alex Theatre begins the Paris end of Fitzroy Street.
Level 1, 133-135 Fitzroy Street, St Kilda VIC 318
For bookings : Tickertek
This entry was posted in Comedy Festival 2019, News and Events and tagged 50 Shades of Grey Musical, Alex Theatre, David Venn Enterprise, Fitzroy Street, Open Media, pationpics, St Kilda on 29/03/2019 by Kerrie Pacholli.
Comedy ALLSTARS Supershow Palais Theatre
Text & photo by Kerrie Pacholli
Palais MICF AllStars Comedy 2019
Now that I have recovered from that very powerful and punchy night at the ALL STARS I can give a brief rundown.
For a start, it was a KNOCKOUT!
All glam and giltz with 27 of the worlds top comedians giving their best in 5 minute stand ups. Except for one or two glitches with sound. Or perhaps I am a little deaf these days. Not sure, that pic was taken from my seat. Regardless, you will get the Full Monty broadcast quality no doubt. It is a tremendous night and a treat to be welcomed to this ever growing and progressive thinking movement through comedy. Great to finally see the girls. Yes the GAY GIRLS on top.
This entry was posted in Comedy Festival 2019, News and Events and tagged Comedy Allstars Supershow, MICF 2019, Open Media, The Palais theatre on 29/03/2019 by Kerrie Pacholli.
Spiegeltent launch, Melbourne International Comedy Festival 2019
Story & Pics by Kerrie Pacholli
Spiegeltent Art Centre at the MICF 2019 launch
This year I got my (you know what together) and managed to successfully communication with the fine folk in the publicity department of this years MICF 2019. Needless to say Open Media has been warmly welcomed into the fold.
Special thanks to relatively new kid on the block Jodi Crocker Social Set Media, Public Relations, Marketing and Social Media, 5/34 Grey Street, St Kilda 318,+61 403 026 000 ,jodi@socialsetmedia.com.au
Big Wigs at the Spiegeltent, MICF 2019 launch
The launch at The Famous Spiegeltent Art Centre was quite a treat, with all the big wigs graciously giving their utmost support. I suppose that has mostly always been the case, however this is the first time I witnesses it.
Hannah Gadsby at Spiegeltent, MICF 2019 launch
Poster girl Hannah Gadsby performing at Hamer Hall , a talented comedian that has worked her bootie off for years on the circuits was honour if not gobsmacked to be given this prestigious elevation. Well done I say.
Flo & Joan at the Spiegeltent, MICF 2019 launch.
Flo & Joan gigs at the Melbourne Town Hall. They're the perfect mix of harmony and humour, with catchy tunes, sweet but sharp lyrics and enviable elocution skills.
'These intricately crafted, flawlessly performed numbers will have you howling with laughter one minute, wiping away a tear the next. ★★★★' The Telegraph (UK)
Captain Cauliflower & Marvin the Mischievous Mouse at the Spiegeltent, MICF 2019 launch
Side-splitting, stiff-upper-lipped hilarity from critically-acclaimed UK comedy duo Dan Lees and Neil Frost. This is classic British absurdity at its best. Dressed in bowler hats and mismatching suits, these charming and eccentric English gents will bring the belly laughs with their trademark mix of physical comedy and quick-fired wit. The Establishment's unique and infectiously funny style will plunge you into a world of the absurd and leave your ribs well and truly tickled. Malthouse Theatre
Carla Wills & Urvi Majumdar from SASS ATTACK! Spiegeltent, MICF 2019 launch
SASS ATTACK , …dark, it's sassy and it's really funny. Who are we gonna sass? Our ex-boyfriends? The elderly in the supermarket? People that wear woollen headbands? Nothing is off limits!
Last but not least maestro of the Melbourne International Comedy Festival launch at Melbourne's Famous Spiegeltent, Tommy Little MC. at Art Centre Melbourne
This entry was posted in Comedy Festival 2019, News and Events and tagged Bill Shannon, Captain Cauliflower, Carla Wills, Flo & Joan, Hannah Gadsby, Kerrie Pacholl, Martin Foley, Marvin the Mischievous Mouse, Melbourne International Comedy Festival 2019, MICF 2019, Mick Brady, Open Media, Sally Capp, SASS ATTACK!, Spiegeltent, Susan Provan, Tommy Little, Urvi Majumdar on 29/03/2019 by Kerrie Pacholli.
RAIDERS OF THE LOST LAUGH
Open Media team had the opportunity to film and photograph renowned comedic archeologist Professor Beverly Attenborough outside an actual dig site, situated in the bowels of the Espy Hotel in …...More »
WHO lS THAT? (a masked singer tribute show)
Musician, artist and entrepreneur Bridget Chilver from the band Bridget and the Fridge Magnates orchestrated a tribute show to Channel 10's The Masked Singer by networking with Melbourne musicians to …...More »
A SILVER AESTHETIC: JOSIE WADELTON
Here is a Google searched definition of a Bohemian: "True modern day bohemians are people who operate from the margins. They are aware that we have inherited a world whose …...More »
The Gadflys 'Love and Despair' launch
St Kilda based singer / songwriter / musician Mick Moriarty, brother Phil Moriarty and fellow long time minstrels Elmo Reid and Pete Velzen filled The Spotted Mallard with cellular enhancing …...More »
Understand the Method workshop by Peter Kalos
I am not an actor, professional or otherwise nor aspire to become one. None-the-less tonight I found myself attending the first night of Peter Kalos's weekend long acting workshop Understand …...More »
UNRESOLVED by Sonia Serin album launch
It was an absolute privilege to be part of her gathering to celebrate her latest album launch of UNRESOLVED in a live performance at Bakehouse Studios in Richmond earlier this …...More »
BORN-AGAIN BLAKFELLA: UNCLE JACK CHARLES
One of the most frightening scenes in Fred Schepisi's 1978 film adaptation of Thomas Keneally novel "The Chant of Jimmie Blacksmith" is sodomy and murder of blackfella Harry Edwards. This …...More »
AfterMATH: ASH WEDNESDAY
Its was in October 2014, I recall, at band promoter Dolores San Miguel's book launch upstairs in Melbourne's Athenaeum Library on Collins Street when I noticed a male figure completely …...More »
BIG Sculpture @ Veg Out opening
2nd November – 2 December by Open Media There was a whole lot a BIG smiles and BIG love flowing at the official opening of the inaugural BIG Sculpture @ …...More »
Coming Through – Irinushka at the Butterfly Club
Review by Marian Webb Irina Kuzminsky is a phenomenon, extraordinarily gifted in dance, music and language. Coming Through, her one-woman performance, is a synthesis of those gifts and a continues the …...More »
BIG Sculpture at Veg Out
The inaugural BIG Sculpture at Veg Out competition will be kicking off on the 2 November and running till the 1 December....More »
A Normal Child at Darebin Arts Speakeasy, Northcote Town Hall
Images & text by Kerrie Pacholli and Simon Barnett A Normal Child, presented by Darebin Arts Speakeasy, is a multi-layered and at times darkly comedic play within a play, within …...More »
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Best 2013 Minivans For Your Family
So life has moved you out of college and you are past your days of being single. Now you find yourself married with a couple of kids and it's time to put away the sports car or convertible. It's time to grow up, become domesticated and take the plunge. It's time to invest in a minivan. That being said, there are so many features and option available how do you know which vehicle is the best for you? Doing some research can help and fortunately we have done your homework for you. Let's look at the best new minivans of 2013. Here is our list.
The Odyssey offers up a smooth, car like performance that makes it a better driving experience. Overall it offers the best combination of quality, size and performance. It has a powerful V6 engine with either a five or six speed transmission. While being a minivan it still has limited body lean and good grip. Its interior is spacious and has many family friendly features that you will appreciate. It has an industry leading safety rating but only an average reliability rating. It also has a nice set of standard features including rearview camera, USB port, and Bluetooth. Upgrades include navigation, heated seats, cooling console and rear-seat DVD entertainment system. There is plenty of cargo space and the third row folds into the floor to add even more. The biggest complaint is a bit trivial in that the six-speed is not available at all levels. The engine is a 3.4 liter, V6 with 248hp and gets 18/27mpg.
Branded as the "swagger wagon" the 2013 Toyota Sienna is our second pick for best minivan. This minivan is well rounded with plenty of space and numerous family-friendly features as well. It also offers a pleasant driving performance that is available in all-wheel drive. It has a standard V6 engine that offers up plenty of power both on and off the highway. All three rows are comfortable and it has the most cargo space for its class. Gas mileage is about average. While its reliability rating is only average its safety rating is almost perfect. Standard features are sparse and upgrades include rear seat DVD entertainment systems, rearview camera, Bluetooth, blind sport alert and Toyota's Entune system. The biggest complaints were that it is big and heavy (it is a minivan after all) and that the second row seats don't fold into the floor. Its engine is a standard 3.5 liter, V6 with 266hp and 18/25mpg.
The Mazda5 is the smallest and least expensive in its class but it is big on sporty performance. Because of its smaller size it has excellent handling and also has some of the best gas mileage in its class. That being said, due to its smaller size it also has less cargo space and the third row feels a little cramped. The reliability is on par with its competitors but no safety data was available. The engine is a V4 that can feel a little weak at times. Standard features include a stereo with a USB port and auxiliary input. The biggest complaints about this car are the limited cargo space and cramped third row due to its smaller size. The engine is a 2.5 liter I4 with 153hp and 21/28mpg.
While the economy is slowly getting better many are not able to afford new cars just yet. Any of the above vehicles work as used cars for sale at places such as enterprisecarsales.com.
Aiden Jefferson lives and writes about automobiles from sunny Southern California.
Tags: family car
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You know that expression, "Only two things are certain in life: death and taxes"? Well, I think they meant three things: Death, Taxes, and Bills. Bills can be overwhelming. But having a plan, and sticking to it, can make a world of difference. We all have our savings accounts for various dreams: the kids' college funds, a vacation or just a really big purchase for fun. But we also have our checking account for daily needs and credit cards for emergencies. But it doesn't always work out like that. Often the checking account pays for smaller fun purchases, making the credit card for daily needs, and suddenly our savings account isn't actually holidng onto anything to save. Here are just a few suggestions to get each account back in its place.
1) Pay yourself first– that means don't get overzealous in paying your bills. Yes, its exciting knocking down that credit card bill an extra hundred dollars, but it's more important to make sure you're supplying your savings account for emergencies. What if you can't make your credit card payment next month? It wont matter that you paid $100 in principal payments last month. The CC company will still want their regular payment to be made.
But again, don't get overzealous is stocking your savings account either. Ten percent of each pay check is enough to build up as long as you leave it alone for as long as possible. Keep enough money in checking to cover your bills and just a tiny bit extra for the unexpected expenses until next pay period.
2) Have a savings goal– A good goal to shoot for your savings account balance is the equivalent to six months worth of rent or some other rather large but necessary bill. Because typically, if you're have money troubles, they don't just touch and go. They usually stick around for a while before you're caught up. But don't expect to fund that goal all in one, two or even just three pay checks! If you could do that, you probably wouldn't be reading this blog. It's just a number to shoot for to feel comfortable in case something out of the plan occurs. Say you are unexpectedly out of a job or just get behind because you missed work from being sick, you have enough savings to catch up on bills or cover yourself while you find a new job.
3) Get rid of the excess– There is a reason why it's called CREDIT: credit means you've earned a score indicative of your loyalty and responsibility to your bills. It's a rating for how well you manage your finances with your other responsibilities. Granted, it's an imperfect system and can forget to take that little unpredictable thing called LIFE into consideratioin. So don't get too stressed because you CAN improve your score, day by day, decision by decision. So what is it in your life that is unnecessary? Is there a landline in the house that hardly gets used? Do you really need to go to the salon every week? Most importantly: Do I really need to make this spiratic purchase?…on my credit card?
4) Don't commit to too many cards– If there is no absolute reason for credit cards, DON'T USE THEM. Chances are you've already used a couple. Stop before you get too far ahead of yourself. If you have the money to pay for something, use it. Or better yet, question how much you need this item or service. But most importantly, be informed about the terms of your credit cards. Ask a personal banker or credit representative to explain the terms and interest rates available for your card and with your credit history. Sometimes we can get better deals, we just have to think to ask.


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Upon arrest anywhere in Queens county, a person is usually processed at the Queens county jail. To be released from jail, a few steps must occur, including being booked into jail and posting bail. When the bail bond amount is decided, a bail bonds agent arrives to post the bail bond at the local jail. Now the jail release process begins and typically can take anywhere from 1 to 2 hours to be completed. Although cash bonds are permitted, it is normally not a common practice due to it's high expense.


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Who wrote, often with Howard Greenfield, the songs "Oh! Carol" (1959), "Calendar Girl" (1960), "Little Devil" (1961), "Happy Birthday Sweet Sixteen" (1961), "Breaking Up Is Hard to Do" (1962) and "Next Door to an Angel" (1962)?
Neil Sedaka
In the southern states of the USA, which of these words is used to describe a type of swamp?
Chitlin
Article II, Section 1, Clause 5 of the US Constitution sets out 3 main qualifications for someone to be eligible for president: a natural born citizen of the USA, at least 35 years old, and which other?
A permanent resident in the USA for at least 14 years
Own at least 14 acres of US land
What word refers to traditional physical and mental disciplines originating in India, which are associated with meditative practices in Hinduism, Buddhism and Jainism?
Which of these is a Mexican painter, many of whose works are self-portraits, who used vibrant colours in a style influenced by indigenous cultures of Mexico with European influences including Realism, Symbolism and Surrealism?
Where is the Sea of William Henry Smyth?
Near London, England
On the Moon
Off the coast of Queensland, Australia
Due north of Moscow
Who lost in the 1994 Women's Singles final at Wimbledon to Conchita Martínez, and was beaten by her in the first round of the 2004 French Open, 6-1, 6-3?
Nadia Comăneci
Martina Navrátilová


A Technological Rainbow Coalition – Writing … or Just Practicing?
One of the joys of being a documentation engineer is the variety of projects I tackle. At the moment I'm sharing my time between two projects at diametrically opposite ends of the complexity and target audience spectrums. It even seems as though it requires my brain to work on different wavelengths at the same time. It's almost like a Rainbow Coalition, except that there's only me doing it.
For the majority of my working week I'm fighting to understand the intricacies of claims-based applications that use ASP.NET, WCF, and WIF; and to create Hands-On-Lab documents that show how you can build applications that use tokens, federated identity, and claims-based authentication. In between I'm writing documents that describe what a developer does, the skills they require, and the tools and technologies they use for their everyday tasks.
What's worrying is I'm not sure I really know enough about either of the topics. Claims-based authentication is a simple enough concept, but the intricacies that come into play when you combine the technologies such as ASP.NET sessions, browser cookies, WCF, WIF, ADFS, and Windows Azure Access Control Service can easily create a cloud (ouch!) of confusion. Add to that interfacing with Windows phone and, just to make matters even more complicated, SharePoint Server, it's easy to find yourself buried in extraneous detail.
What became clear during research on these topics was why some people complain that there is plenty of guidance, but it doesn't actually tell you anything useful. I must have watched a whole week's worth of videos and presentations, and got plenty of information on the concepts and the underlying processes. But converting this knowledge into an understanding of the code is not easy. One look at a SharePoint web.config file that's nearly 1000 lines long is enough to scare anybody I reckon. Simply understanding one area of the whole requires considerable effort and research.
Contrast that with the other task of describing what a software developer does. If you ask real developers what they do, chances are the answer will be something like "write code" or "build applications". Yet when you read articles on how development methodologies such as agile work, you soon come to the conclusion that developers don't really have time to write code at all. Their working day is filled with stand-up meetings, code reviews, customer feedback consultations, progressive design evolution, writing unit tests, and consulting with other team members.
And what's becoming even more evident is that everything now is a cross-cutting concern. At one time you could safely assume that someone using Visual Basic was writing a desktop application, and that the developer using ASP.NET was building a website. Or the guy with a beard and sandals was writing operating system software in C++. Now we seem to use every technology and every language for every type of application. Developers need to know about all of them, and weave all of the various implementation frameworks into every application. And find time to do all that while writing some code.
For example, just to figure out how our claims-based examples work means understanding the ASP.NET and C# code that runs on the server, the WCF mechanism that exposes the services the client consumes, the protocols for the tokens and claims, how ACS and ADFS work to issue tokens, how they interface with identity providers, how WIF authentication and authorization work on the client, and how it interfaces with the ASP.NET sessions to maintain the credentials. And don't get me started on the additional complexities involved in understanding how SharePoint 2010 implements multiple authentication methods, how it exposes its own token issuer for claims, and how that interacts (or, more significantly, doesn't) with SharePoint groups and profiles.
At one point in the documentation about developer tasks, I started creating a schematic that maps development tools, technologies, and languages onto the four main types of application: web, desktop, cloud, and phone. It starts out simple enough until you realize that you forgot about Silverlight and XNA, or still need to find a slot for FxCop and the Expression Blend. And where do you put the Microsoft Baseline Security Analyzer? Meanwhile, Visual Studio seems to be all things to all people and to all tasks. Until you try to divide it up into the full versions, the Express editions, and the special editions such as the one for Windows Phone or the add-ons for WIF and Windows Azure. I don't think anybody has a screen large enough to display the final schematic, even if I could manage to create it.
And just like Rainbow Coalitions in government, it sometimes seems like there are lots of different actors all trying to present a single face to the world but, underneath, all working to a different script. Should I use Razor in WebMatrix for my new website, or MVC, or just plain old ASP.NET Web Forms? Is WPF the best technology for desktop applications, or should I still be using Windows Forms? Or do it in Silverlight in the browser. And in which language? It's a good thing that, here at p&p, we provide plenty of guidance on all these kinds of topics.
Still, at least I can create my technology matrix schematic using all of the colors of the rainbow for the myriad boxes and shaded sections, so it actually does look like a rainbow and provides a nice calming desktop background - even if it does nothing else more useful.


text:
Negro Players on Broadway
1 2018-01-08T17:41:18-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 104 4 Poem by Carrie Williams Clifford (The Widening Light 1922) plain 2018-11-07T10:44:45-05:00 04/01/1917 40.7503979,-73.988826 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
(The Ridgley Torrence plays presented on Broadway
by Mrs. Emilie G. Hapgood, April, 1917. See more info. on these plays here)
Behold! a Star is trembling in the East,
Whose pale light heralds a triumphant day,
The greatness of whose promise none can say,
Nor who the guest of honor at the feast,
When from the thrall of prejudice released,
Men see the Soul behind the Veil of Clay.
Then brother recognizing brother, may
Divine that least is great and great is least.
A beacon in the wilderness, O Star,
With ox-like eyes we note your lureful gleam.
And Star, so faintly shining from afar,
With God-like faith we watch the widening stream
Of light! Ho, Christ has come! the perfect day
In glory breaks never to pass away!
1 2018-11-05T12:48:44-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 Mapping Poets and Contexts on this Site Amardeep Singh 18 Map of the Poets, Publication Sites, and Social Contexts Relevant to this Site google_maps 2018-11-07T23:17:31-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
1 2018-03-17T13:36:50-04:00 "The Widening Light," by Carrie Williams Clifford (1922) 17 Book by Carrie Williams Clifford. Published 1922 plain 2018-11-07T10:01:57-05:00 02/01/1922 41.4975108,-81.7758995
1 2018-08-02T20:19:37-04:00 "Songs from the Wayside," by Clara Ann Thompson (1908) 17 Digital Edition of Clara Ann Thompson's "Songs from the Wayside" plain 2022-01-14T10:11:02-05:00 01/01/1908 01/01/1868 39.213669,-84.3956395
1 2017-05-24T11:30:29-04:00 "Bronze" by Georgia Douglas Johnson (1922) 17 Digital Edition of Georgia Douglas Johnson's 1922 Collection of Poetry plain 2022-11-29T13:38:02-05:00 01/01/1922 38.9143207,-77.0364949 41.2843306,-82.233834 33.7499079,-84.4132416
1 2018-11-05T14:00:41-05:00 Dunbar 4 Poem by Anne Spencer (November 1920) plain 2018-11-05T14:04:21-05:00 37.4009213,-79.2485457
1 2018-05-26T07:52:59-04:00 Paul Laurence Dunbar 2 Glossary plain 2018-11-05T13:40:38-05:00 39.8113073,-84.2721969
1 2018-11-07T12:01:45-05:00 Before the Feast at Shushan (poem by Anne Spencer) 2 Poem by Anne Spencer (published in The Crisis, February 1920) plain 2018-11-07T12:02:58-05:00 37.4008594,-79.318589
1 2018-11-07T23:16:53-05:00 A Picture (by Olivia Ward Bush) 1 Poem by Olivia Ward Bush (Published in Colored American Magazine, 1900) plain 2018-11-07T23:16:53-05:00 06/01/1900 42.3454744,-71.0777607
1 2018-11-07T10:11:20-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 Timeline of Authors and Events on This Site Amardeep Singh 11 Timeline timeline 2018-11-07T23:18:22-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
1 2017-06-22T14:12:47-04:00 "Race Rhymes" by Carrie Williams Clifford (1911) 18 Digital Edition of Carrie Williams Clifford's "Race Rhymes" (1911) plain 2018-11-07T10:01:05-05:00 01/01/1911 39.3418251,-83.0346484 38.8935755,-77.0846156
1 2018-10-15T14:24:15-04:00 "The Heart of a Woman and Other Poems" by Georgia Douglas Johnson (1918) 8 Book by Georgia Douglas Johnson (1918) plain 2018-11-07T10:03:12-05:00 01/01/1918
1 2018-10-15T13:12:18-04:00 Potency 3 Poem by Georgia Douglas Johnson, Published in The Crisis, August 1919 plain 2018-11-07T10:34:16-05:00 08/02/1919
1 2018-11-06T13:37:24-05:00 Georgia Douglas Johnson 3 Author Page plain 2020-06-26T08:22:06-04:00 09/10/1880
1 2018-11-06T12:29:26-05:00 Alice Dunbar-Nelson 3 Author Page plain 2018-11-07T10:27:35-05:00 07/19/1875 39.7298967,-75.5645038 40.0024137,-75.2581156 30.0329222,-90.0226471 38.8935755,-77.0846156
1 2018-11-06T14:00:29-05:00 Carrie Williams Clifford 2 Author Page plain 2018-11-07T11:14:43-05:00 01/01/1862
1 2018-11-06T13:36:44-05:00 Omnipresence (Poem by Georgia Douglas Johnson) 2 Poem by Georgia Douglas Johnson (The Voice of the Negro, 1905) plain 2018-11-07T11:19:50-05:00 06/01/1905
1 2017-06-06T11:20:49-04:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1 Christianity Amardeep Singh 2 Christianity Tag vistag 2018-11-08T22:19:19-05:00 Amardeep Singh c185e79df2fca428277052b90841c4aba30044e1
1 2018-10-14T11:33:21-04:00 Out of the Deep: a Prayer 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T11:33:21-04:00
1 2018-10-14T13:13:01-04:00 The Skeptic. Written on an Incident, Read in a Periodical 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T13:13:01-04:00
1 2018-06-02T07:25:00-04:00 To My Dead Brother 1 Poem by Clara Ann Thompson, Songs from the Wayside plain 2018-06-02T07:25:00-04:00
1 2017-06-06T10:49:00-04:00 The Cross 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T10:49:00-04:00
1 2018-10-14T13:27:27-04:00 The Empty Tomb. 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T13:27:27-04:00
1 2018-06-02T07:36:23-04:00 Memorial Day 1 Poem by Clara Ann Thompson, Songs from the Wayside plain 2018-06-02T07:36:23-04:00
1 2017-06-06T11:19:36-04:00 Concord 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:19:36-04:00
1 2018-10-14T13:35:41-04:00 Submission 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T13:35:41-04:00
1 2018-08-01T15:22:52-04:00 His Answer 1 Poem by Clara Ann Thompson, "Songs From the Wayside" plain 2018-08-01T15:22:52-04:00
1 2018-10-14T13:44:20-04:00 The Angel's Message 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T13:44:20-04:00
1 2018-08-01T15:26:17-04:00 Doubt 1 Poem by Clara Ann Thompson, "Songs From the Wayside" plain 2018-08-01T15:26:17-04:00
1 2017-06-06T11:37:28-04:00 Utopia 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:37:28-04:00
1 2018-10-14T14:01:17-04:00 The Old and the New 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T14:01:17-04:00
1 2018-08-02T20:14:04-04:00 An Opening Service (Clara Ann Thompson) 1 Poem by Clara Ann Thompson, "Songs From the Wayside" plain 2018-08-02T20:14:04-04:00
1 2017-06-06T11:39:00-04:00 Benediction 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:39:00-04:00
1 2018-10-15T13:55:59-04:00 Not Dead, But Sleeping 1 Poem by Clara Ann Thompson (from Songs from the Wayside, 1908) plain 2018-10-15T13:55:59-04:00
1 2018-08-03T13:30:05-04:00 I'll Follow Thee (Clara Ann Thompson) 1 Poem by Clara Ann Thompson, "Songs From the Wayside" (1908) plain 2018-08-03T13:30:05-04:00
1 2018-10-15T14:07:58-04:00 The Watcher 1 Poem by Clara Ann Thompson (Songs from the Wayside, 1908) plain 2018-10-15T14:07:58-04:00
1 2018-08-03T14:27:54-04:00 The Easter Light (Clara Ann Thompson) 1 Poem by Clara Ann Thompson, "Songs From the Wayside" (1908) plain 2018-08-03T14:27:54-04:00
1 2017-06-06T11:52:09-04:00 Faith 1 Poem by Georgia Douglas Johnson. From "Bronze" plain 2017-06-06T11:52:09-04:00
1 2018-10-19T21:01:17-04:00 Impelled 1 Poem by Georgia Douglas Johnson (The Heart of a Woman, 1918) plain 2018-10-19T21:01:17-04:00
1 2018-10-14T11:15:59-04:00 Church Bells 1 Poem by Clara Ann Thompson (Songs From the Wayside, 1908) plain 2018-10-14T11:15:59-04:00
1 2018-10-19T21:24:57-04:00 Gilead 1 Poem by Georgia Douglas Johnson (The Heart of a Woman, 1918) plain 2018-10-19T21:24:57-04:00


text:
Universal Basic Income: A progressive solution to the g...
Universal Basic Income: A progressive solution to the global crisis of capital
Public sector workers hold up money notes as they march through the streets of Pretoria, South Africa on 19 August 2010. (Photo by Gallo Images/Foto24/Felix Dlangamandla)
By Bongi Maseko
Although Universal Basic Income may have its shortcomings, it may provide an entry point to rethinking social policies — as present systems do not provide answers to humanity's most pressing issues.
"All animals were born equal, but some more equal than others," says George Orwell in the acclaimed novel Animal Farm. It is a simple yet poignant illustration of the heart of our society and the globalised world.
Indeed, it does not take a clairvoyant to know that the distribution of capital, capabilities and resources is heavily skewed. When institutions such as the International Monetary Fund and World Bank accept the widening inequality of the present era and cast doubt over the very same neoliberal policies they once vested unwavering belief in (such as austerity), we may very well be within another "crisis of capital".
South Africa, like several of its global counterparts, finds itself in a position in which government, business, civil society and other stakeholders are at loggerheads trying to develop and implement policies that can provide citizens with the necessary material security – an income, housing and basic health care — to lead a dignified life.
Growing inequality and the possibility of automation usurping many jobs across all industries, but particularly in manufacturing, could place increasing pressure on South Africa's already delicate socio-political situation.
The question now is, how do we respond? Elon Musk, Mark Zuckerberg and various other Silicon Valley tycoons in the United States have touted Universal Basic Income as a possible solution. This is a form of welfare programme in which citizens receive a regular payment from the government as an unconditional income to meet an individual's basic needs (essentially an amount at or above the poverty line). The structure of this stipend has varied among nations that have experimented with Universal Basic Income pilot projects such as Fort Portal in Uganda, Finland, Kenya, Canada and India.
To consider the practicality and feasibility of a Universal Basic Income in South Africa, it would be prudent to assess some of the advantages and disadvantages associated with this form of welfare.
First, it has been argued that the sudden influx of disposable income among citizens will cause inflation with the potential knock-on effect on poverty rates.
Second, Universal Basic Income may reduce the incentive to work, thus crippling levels of productivity.
Third, it has been argued that Universal Basic Income causes a reduction in taxable income. As such, government may find itself stretched when attempting to cover other social safety-net expenses such as healthcare, education, transport and so on.
Universal Basic Income's proponents have argued first that the distribution of stipends directly to citizens leaves less room for government to squander precious resources and capital through corruption and rent-seeking. This would have the added effect of rearranging complex governmental arrangements and tax rebates into a more efficient system.
Second, it would serve as a counterweight to the increasing insecurity faced by workers on short-term contracts and moreover, it could boost labour mobility as workers would fear moving from jobs much less, given the security of income.
Third, other proponents have argued that the effect on marginalised groups such as women will be positive as Universal Basic Income plays the role of guaranteeing a minimum financial independence while also recognising often gender-specific unpaid work in households.
The arguments from both approaches has been far from exhausted, yet they represent some of the key points raised when discussing basic income models. Be that as it may, a conceptual analysis of Universal Basic Income's pros and cons should not divorce itself from the societal framework in which it will be implemented.
That is to say, the implementation of any Universal Basic Income model has to take into account the prevailing economic and political ideologies in conjunction with the balance of forces at play in the economy and broader society.
Taking this into account, it may be theoretically possible to construct a basic income model that takes into account the need to continually support key social services sectors such as housing, health care, education, transport and so on.
However, such a model will operate within the framework of current market force pressures such as large-scale privatisation. Free-market advocates have suggested Universal Basic Income usurp the role of social provisions, effectively creating consumers for which the product is privatised social infrastructure. So for those who advocate Universal Basic Income from a neoliberal standpoint — Universal Basic Income would essentially replace existing social welfare structures.
A second pertinent critique arises from progressives who believe the implementation of Universal Basic Income would partially address the problems of distribution, but fail to address a key structural issue, namely production and ownership.
A significant increase of the relative bargaining power of the working class would inevitably lead to capital pursuing conditions more favourable to creating profit. Furthermore, the undermining of production would undercut the material basis on which Universal Basic Income rests, doing little to change patterns of ownership.
Universal Basic Income will depend on capital creating profits, and creating profits is contingent on the extracting of labour from workers at the lowest marginal cost (exploitation).
Although Universal Basic Income may have its shortcomings, it may provide an entry point on conversations around rethinking social policies in the face of the current socio-economic paradigm which falls short of providing answers to humanity's most pressing contemporary issues. It is one of several options to consider given the current and global "crisis of capital". DM
This piece originally appeared on TheProgressiveCorner.com
Bongi Maseko is an intern at the Institute for African Alternatives (IFAA), publisher of New Agenda: South African Journal of Social and Economic Policy, and a Law Student at the University of Cape Town (UCT)
Basic income
Income inequality in the United States
Family survives after bull elephant batters and flips car at Lake St Lucia
No consequence: The accumulated irregular expenditure reaches R488-billion


By now, we've all heard of the disastrous effects of stress upon our bodies; uncontrolled stress can lead to heart problems, compromised immune systems, depression and a host of other ailments. That's why so many people are on the lookout for ways to reduce or eliminate stress from their lives. What most people don't realize is the vital role of the heart in maintaining physical and mental health — and not just as a glorified version of the water pump in your car.
According to authors Childre and Martin, new research is proving that the heart has an intelligence, complete with bio-chemicals, hormones and neurotransmitters, just like the brain. The HeartMath Solution is essentially learning how to tap into this heart intelligence. (For the "math challenged" — don't be put off! It's just a simple formula for accessing the heart.) Written with a marvelous blend of science and compassion, the authors show how developing heart intelligence can improve all aspects of one's life — at home, in the workplace, and in the larger community and society.
Much of the research the authors provide confirm our deepest intuitions about the heart — we've all known the joy of "following our heart," or the grief of "not listening to our heart." What the research is showing is that the heart communicates with the brain in unexpected ways, via hormones, electrical impulses, and more. By learning Childre and Martin's methods to regulate the heart's rhythms, we can vastly improve our health and meet life with more mental clarity, resiliency and less stress — the physical results are "coherence," or harmony between all the major systems of the body.
Perhaps it's no surprise then that negative emotions such as anger, blaming, criticism, or anxiety have the reverse effect upon our bodies — they lead to more stress, faster aging and reduced immune response. The good and the bad news is that these effects, either positive and negative, last for hours. One of the author's studies showed that feeling either a positive or a negative emotion for five minutes impacted the body correspondingly for six hours or more!
This may be one of the biggest arguments yet for changing our lifestyles and changing our perceptions of the world so that we may tap into our heart intelligence. Fortunately, HeartMath Solutions offers techniques, exercises and real-world examples of how to do this in every area of our lives. The authors have worked with individuals, corporations, government agencies, and educational institutions among others, and this wealth of experience is reflected throughout the book.
Best of all, this book is appealing on many levels — those readers who enjoy science will find that "the proof is in the pudding," and those of a more spiritual bent will find that their deepest intuitions are confirmed. By showing us how to use our heart to manage our mind and emotions Childre and Martin have opened up important new vistas of health and well-being.
Doc Childre is founder of the Institute of HeartMath and creator of the HeartMath system. Howard Martin is an executive vice president of HeartMath LLC. Donna Beech was the ghostwriter of The HeartMath Solution, which was named HarperCollins' Lead Book of the Year. Donna graduated college with a double major in education and theatre arts. After further studies at the Graduate Writing Program at the USC, she received her MA in psychoanalysis from Pacifica Graduate Institute.


While many people are excited about the Daylight Savings time change that brings longer days and warmer days, I am not among them. My Doctor from the Mayo Clinic says that my Hemiplegic Migraine react to circadian rhythms.
Well, what is a circadian rhythm? The "body clock," is a cycle that tells our bodies when to sleep, rise, eat—it regulates many physiological and neurological processes.
So what does this mean for me? It means that one hour of sleep that everyone is loosing can send my "migraine brain" into a tailspin. It can mean an increase of number and/or increase of intensity. Sounds lovely, doesn't it?
This change in time doesn't just affect people with Migraine. People with many other chronic illnesses experience an increase in symptoms as well.
For more information on how to make the transition easier, check out these 5 tips for surviving the time change.


text:
package com.treasure_data.td_import.integration;

import java.io.IOException;
import java.util.Map;

import org.json.simple.JSONObject;
import org.junit.Ignore;

@Ignore
public class JSONFileGenerator extends FileGenerator {
    private static final String LF = "\n";

    public JSONFileGenerator(String fileName, String[] header)
            throws IOException {
        super(fileName, header);
    }

    public void writeHeader() throws IOException {
        // doesn't have header
    }

    public void write(Map<String, Object> map) throws IOException {
        out.write(JSONObject.toJSONString(map).getBytes());
        out.write(LF.getBytes());
    }

    @Override
    public void close() throws IOException {
        super.close();
    }
}

redpajama_set_name: RedPajamaGithub