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We Reformed folk like to think that what we do now in public worship is what we have always done. This is especially easy to do when we are cut off from or unaware of the original sources and practices of our tradition or when our practice has been changed and we are unaware of the changes that have been made. The history of the Reformed practice of worship is not well known nor is it easy to discover. Frequently, those who write about it do so either with an interest in defending our modern practice. Sometimes histories are written by those who do not sympathize with the original Reformed understanding of and approach to worship—now known as the regulative principle of worship.
There are, however, significant differences between the way we tend to think about Reformed worship and the way they did. We know this because our practice tends to vary, in some ways, considerably from the original Reformed practice. For example, today, virtually all Reformed congregations use musical instruments in public worship. In the Reformation, however, virtually none of our congregations used musical instruments in public worship. Instruments were banished from Reformed congregations in Zürich, Geneva, Heidelberg, the Netherlands, France, Scotland, and England. Instruments were absent from Christian worship for the first six centuries of church history and did not become widely used until the high middle ages. They were a relative novelty when the Reformed cast them out in the 16th century. They did not return widely until the 18th and 19th centuries. In some quarters they were still controversial in the early 20th century. For more on this see Recovering the Reformed Confession. What we sing in public worship also varies considerably from what we sang in the 16th and 17th centuries. In Geneva, in the Netherlands, in France, and in the British Isles Reformed congregations sang God's Word in worship. They did not sing non-canonical hymns.1
Most of the time the shift from the original Reformed practice to our practice is either accepted without question or ignored. Sometimes we assume (as I did for a number of years) that our current practice is the historic practice. Sometimes, however, the original Reformed understanding of worship is ridiculed. One sees this in the discussion of the proper interpretation of the expression in Colossians 3:16 and Ephesians 5:18: "psalms, hymns, and spiritual songs." The older Reformed writers tended to interpret this phrase as a reference to the 150 Psalms. More than once, however, I have heard contemporary interpreters appeal to this expression as a grounds for an "inclusive" position whereby a Reformed congregation would sing Psalms, extra-canonical hymns, and contemporary songs. This interpretation, however, is not probable. Most likely the phrase "psalms, hymns, and spiritual songs" refers to three parts of the Psalter in the Greek translation of the Old Testament (known as the Septuagint and symbolized with the Roman numerals LXX). When the Apostle Paul used the expression "psalms, hymns, and spiritual songs" he was using an expression with a history, which readers would have understood in context.
When our Reformed forefathers interpreted this phrase they were influenced by their experience with the Latin Bible. This is not something that most Reformed Christians in North America (or anywhere else) experience today, at least not directly. Most of us read Scripture in our own language (e.g., English) and then there those who read the original languages but relatively few of us read Latin any more but our Reformed theologians did. Indeed, when they were not reading Scripture in the original languages they were typically reading Scripture in Latin. Most of the time, when they quote Scripture in their Latin writings, it is in Latin. Sometimes they quote existing translations and sometimes they made their own translation. The Latin Bible that most influenced the Western church was the Biblia Vulgata, the Vulgate. It became the standard text of the Latin Bible through the middle ages and through much of the 16th century. The text was revised and republished by Rome as part of the Counter-Reformation response to the Protestants in 1590. That edition is referred to as the Clementine Vulgate. The Reformed were so familiar with and committed to reading Scripture in Latin that they even created their own Latin translation. Immanuel Tremellius (1510–80) and Franciscus Junius (1545–1602) translated the entire Old Testament and Theodore Beza (1519–1605) translated the New Testament. As Todd Rester explains, this translation became the "standard Latin biblical text of the scholarly Reformed world from 1579 through 1764." It was widely published and widely used.
Psalms, Hymns, and Spiritual Songs in the Vulgate
In the Vulgate (abbreviated Vg) the terms psalmus (psalm), hymnus (hymn), and canticum (song) appear in the superscriptions to the Psalms. The stem psal– occurs 153 times in the Vg, mostly, of course, in the Psalms. This would include the noun Psalmus (e.g., Ps 2:1 "Psalmus David") and also the verb Psallo, to sing (a psalm) as in 1 Cor 14:15. It also is Isaiah 38:20; Lamentations 3:63; Habbakuk 3:19 and in the NT. We can't survey all of these uses in a blog post but it is instructive to notice how the terms "psalms, hymns, and spiritual songs" and related words were used in these two Latin Bibles and how that might have influenced the way the Reformed understood them. Of course the noun "Psalm" occurs in the superscriptions of a many of the Psalms, e.g., 4:1, 6:1, 29:1, 32:2 but the terms canticum and hymnus also occur apparently following the pattern of the LXX. Sometimes the terms occur together as in Ps 47:1 (the superscription to Ps 48 in English): Canticum Psalmi… (a song of a Psalm…). See also Ps 65:1 (superscription to 66 in English).
The noun hymnus occurs only twice in the Psalms, in Ps 118:171 (English 119:171) and in the superscription to Psalm 144:1 (145:1 in English), which is a "Hymn of David." It only occurs 21 times in the whole of Scripture in the Vulgate. In 1 Kings 8:28 hymnus is used as a synonym for oratio (prayer). In 1 Chron 16:36 the congregation says an "amen" and a hymn to the Lord. 2 Chronicles 7:6 says:
The priests stood at their posts; the Levites also, with the instruments (organis carminum) for music to the Dominus that King David had made for giving thanks to the Dominus—for his eternal mercy—whenever David sang his hymnby their hands; then the priests sounded trumpets, and all Israel stood.
Here we see that, in the Vulgate, hymns, the levitical ministry, and musical instruments are quite interconnected. Hymns are also sung in Ezra 3:1, Nehemiah 12:8. Hymnusoccurs several times in the Apocryphal books (Judith, 1 and 2 Maccabees, 2 Esdras). It is used in the NT in Matthew 26:30, "and when they sang a hymn…" This is undoubtedly the source of the misleading English translation with which the reader is familiar. The Greek text, of course, uses a participle which simply means "having sung" and transliterating it thus, in English, gives the false impression that our Lord and the disciples sang the same sort of extra-canonical song that congregations sing today. As we have seen, however, It is a type of Psalm or other song sung in the canonical period, by canonical actors in the history of redemption.
The typical English translation of Acts 16:25 is also a little misleading. E.g., ESV has Paul and the others "singing hymns" about midnight. The Greek text uses the noun transliterated as "hymn" (ὕμνουν) but, again, the transliteration creates a misleading impression in the modern ear that Paul and company were doing just what we do today. The translation of "psalm" (ψαλμὸν) in 1 Corinthians 14:26 as "hymn" is even more misleading. Why transliterate "hymnos" in one place but not transliterate psalmos in another?
It is quite interesting also to note how the noun canticum (song) appears in the Psalter. Sometimes it appears in conjunction with psalmus, as we have observed, but sometimes it is used to characterize the entire Psalm as in Ps 3:1 (= superscription to Ps 3 in English). The Vulgate says, "A canticle of David when he fled from the face of Absalom (Abesselon) his son." Psalms 5, 8, 9, 11, 12, 14, 17, 18, 19, 20, 21,22, 23, 28, 30, are all a canticles. The noun canticum occurs 88 times in the Psalms and most of them in the superscription. As I mentioned, some of them are used together with Psalmus. By contrast, the noun psalmus occurs only 18 times in the Vulgate and usually in the superscription. This ratio suggests that, for readers of the Vulgate, the Psalms were more a collection of songs (canticles) than "Psalms" and that the two words were virtually identical in their sense.
In short, when the Reformed thought about "psalms, hymns, and spiritual songs" in Colossians and Ephesians, given their background in the Latin Bible, they would not have interpreted that phrase as "the canonical psalms, a type of non-canonical song, and another type of non-canonical song." The evidence from the Latin Bible simply will not allow such an interpretation. When they read those nouns, they understood them against the background of their use in the Latin Bible. When they read "psalms, hymns, and spiritual songs" in Colossians and Ephesians they read them as types of Psalms or as synonyms for Psalms or other typological forms of praise.
Singing And Instruments
We have already noted that there is a connection between the stems psal–, hymn–, and cant– and the use of instruments by the Levitical priests. When the Reformed thought about the use of musical instruments in Scripture they thought of the typological period of redemption or the Old Testament in the broad sense. The first use of the verb Psallooccurs in Judges 5:3:
Domino canam psallam Domino Deo Israhel (I will play an instrument, I will sing [a psalm] to the Lord, to the Lord God of Israel))
In 1 Sam 10:5 the "harp" is a psalterium (psalterium et tympanum et tibiam et citharam) and in 16:16 a man who knows how to play (psallere) the cithara is sought. Similar uses occur in 1 Sam 18:10; 19:9; 2 Kings 3:15. They associated the use of musical instruments particularly with the Levitical, priestly ministry as in Nehemiah 12:27:
And at the dedication of the wall of Jerusalem they sought the Levites in all their places, to bring them to Jerusalem to celebrate the dedication with gladness, with thanksgivings and with singing, with cymbals, harps, and lyres (ESV).
In the Vulgate the Levites are praising God "in cantico in cymbalis psalteriis et citharis" (in song with cymbals, stringed instruments, and lyres).
We see this pattern also in 1 Chronicles 15;16 where the leaders (chiefs) of the Levites are to appoint some of their brothers to play on "organs musicorum" (on the instruments of music). We see the same connection in 2 Chronicles 29:26 where the Levites are standing with the instruments (organa) of David and the levitical priests are playing trumpets (tubas). Again in 2 Chronicles 20:31 the Levites and the priests are playing musical instruments (organa) as in 2 Chronicles 34:12.
It is often asked (as I myself asked Bob Godfrey 23 years ago), "Why do you want us to sing Psalms but you won't let us do what they say?" (i.e., play instruments). After all, Psalm 150 lists a number of instruments. The Vulgate, in Psalm 151:2 (English 150:4) even lists the "organ" as one of them. The difficulty that the Reformed saw with this line of reasoning is that it proves too much. They were convinced that the period of types and shadows had been fulfilled in Christ. This is why, in the new covenant, the church did not seek to kill the Canaanites. That commission ended with the death of Christ. In the "once for all" (Heb 7:27) death of Christ the bloody sacrificial ministry of the Levitical priesthood ended. Jesus' priesthood was greater than Aaron's and Levi's. Those priests had to sacrifice for themselves. Jesus did not. His sacrifice was for us.
The Reformers knew their history, that the early church accepted these principles and worshipped without musical instruments for the first 7 centuries—8 if we count the Apostolic church. They knew that the reintroduction of musical instruments mean the return to types and shadows, to the priesthood and that is exactly what happened. By the 9th century medieval theologians were theorizing about the transformation of the elements of the Supper into the body and blood of Christ. After that, increasingly ministers became regarded as priests who were making offerings. Indeed, by the 9th century the Holy Roman Emperor is increasingly being seen as a new Davidic king. What had expired on the cross was being resurrected and the church was returned to types and shadows. The Reformers rejected the new priesthood, the new (memorial, propitiatory) sacrifices just as they rejected the medieval neo-levitical reintroduction of instruments.
As we wrestle with the interpretation of the expression "psalms, hymns, and spiritual songs" we should try to understand sympathetically the traditional Reformed reading and we can do that if we account for the influence of the Latin Bible on their interpretation.
The Latin Bible was a major formative influence on the way the Reformed theologians interpreted Scripture. The King James Version/Authorized Version (1611) particularly reflects the influence of the Latin Bible but its influence reverberates in many English translations. It influenced their word choice in translation. Since our theologians in the 16th and 17th centuries used a Latin Bible for their personal study, it also influenced their understanding of the meaning of Scripture.
In the first post in this series we looked at how the Psalms are categorized in the superscriptions of the Psalms in the Vulgate. We also considered the way those words are used in the NT.
From 1579, however, the Reformed orthodox had a new study tool. It didn't have a clever title e.g., The New International Reformed Study Bible but that is what it was. When the Reformed orthodox writers used a Latin Bible they tended to use the edition produced by Franciscus Junius, Immanuel Tremellius, and Theodore Beza. It was titled Biblia sacra sive testamentum vetus et testamentum novum (Sacred Bible: Old Testament and New Testament).
Recently I have worked through the Biblia sacra to see how the psalms were classified in the superscriptions and the results are enlightening.
Psalms, Hymns, and Spiritual Songs
The question before us is this: Against what background did the orthodox Reformed understand the expression in Colossians 3:16 and Ephesians 5:18, "psalms, hymns, and spiritual songs"?
In Beza's Latin NT the expression reads:
psalmis, hymnes, et cantionibus spiritualibus
The only the difference between the Vulgate and Beza's text is Beza's choice of cantio in place of canticum for "songs." Cantio is a relatively rare word, a late, post-classical word. It does not occur in the pre-Clementine Vulgate but and occurs only once (Ps 136:3) in the Clementine Vulgate (1592). That it occurs in Beza's 1556 Latin New Testament suggests the word had found favor in the second half of the 16th century. Perhaps this noun was favored by the humanists for some reason? Calvin used it 4 times in the 1559 Institutes (3.8.11, 4.13.19, 4.19.22, 4.19.24). Was he influenced by Beza's 1556 translation or were they both influenced by a broader trend?
How did Junius and Tremellius translate the superscriptions to the Psalms and how might that have influenced the Reformed understanding of the Ephesians 5:19 and Colossians 3:16? The other question we pursued was how the Vulgate translated the terms for musical instruments and how that influenced the Reformers. We will ask the same question of Tremellius/Junius.
This work was more difficult because there is no digitized version of Junius' and Tremellius' (hereafter Junius/Tremellius) translation but I went through the text carefully by hand.
41 of the Psalms in have no superscription and thus no classification for the psalm. 44 of the Psalms were classified as a Psalm (psalmus) of David or of Asaph et al. 19 of the psalms were classified as a canticum (song). 26 were classified as an ode, which is a transliteration of the Greek term used in Colossians 3:16 and Ephesians 5:19. 4 psalms were classified as an oratio (prayer), 6 as a canticum et pslamus (song and psalm) and 1 as a carmen Davidis (a song of David).
These categories were not isolated or sealed from one another. Some psalms were classified as psalms and as something else, e.g., a canticum. No Psalms were classified as a hymnus but none are classified as a cantio, Beza's word for canticum. The fact that ode was used suggests the retrospective influence of Colossians 3 and Ephesians 5 on Junius/Tremellius. Their choices also suggest that the line between "psalm" and other forms of song is blurry, if it existed at all. The noun psalm occurs more frequently in Junius/Tremellius than in the Vulgate psalter.
They did not seem to have followed the LXX pattern exactly but there are some patterns. Psalmus tends to occur earlier in the psalter (books 1 and 2) and canticumoccurs with more frequency later in the psalter (book 5). Ode occurs throughout the psalter but occurs in most often in books 1 (1-41), 2 (42-72), and 3 (73-89) of the psalter.
Following the humanist pattern they used a greater diversity of terms (oratio, carmen, ode) than the Vulgate.
2 of the 3 terms used in Colossians 3 and Ephesians 5 were used interchangeably in the Junius/Tremellius translation of the superscriptions of the psalter and they used Paul's word ode, which seems to connect their understanding of Colossians 3 and Ephesians 5 directly to their understanding of the Psalter. Arguably, canticum stands for hymnus
Outside the psalter, e.g., in Matthew 26:30 Beza translated ὕμνουν as "hymn" and in Acts 16:25, Paul and Silas were "singing (canebant) hymns to God." Like the Vulgate, Beza used the transliterated (Latinized) the Greek except that he turned the singular (in both the Majority Text and the NA 28) to a plural. That choice raises its own questions that we cannot pursue here. The caveats from last time still apply. We cannot anachronistically re-interpret "hymn" in light of our modern (largely psalm-less) experience. The question is how it was understood in the 16th and 17th centuries.
We get greater clarity about how Junius/Tremellius and Beza understood Ephesians 5:19 and Colossians 3:16 in Beza's translation of 1 Corinthians 14:26 where the Vulgate transliterated ψαλμὸν (psalm) Beza chose canticum. This is illuminating. He did not choose to transliterate psalm, which is the noun that Paul used, but instead chose to translate it with a different noun. Why? Because, in his understanding, and arguably that of the rest of the Reformed orthodox, there was no substantive difference between a psalm and a canticum (song) and, we should add, an ode nor was there any discernible difference between a canticum (Vulgate) and cantio (Beza). They signify the same thing.
In short, the Reformed orthodox would not have understood the objection against interpreting Colossians 3 and Ephesians 5 against the background of the Psalter. In their minds, the two were bound together. For them, when Paul said "psalms, hymns, and spiritual songs" he was referring to the superscriptions of the psalms. Nor would they have sympathized with the argument that "psalms, hymns, and spiritual songs" must refer to distinct types of songs and certainly they had no sympathy for the notion that "psalm" refer to a canonical psalm, a hymn to a type of non-canonnical song, and "spiritual song" to another type of non-canonical song.
Musical Instruments
One of the more interesting facets the Junius/Tremellius psalter is their translation of the directions to the musician. In 55 psalms, in all five books of the psalter, this superscription appears:
To the master of the symphonia (magistro symphoniae).
Typically in our English Bibles, e.g., in the ASV and ESV, the superscription over Psalm 4 reads, "To the choirmaster: with stringed instruments." The 1559 Geneva bible has "To him that excelleth on Neginoth." Thus, they left the Hebrew untranslated—though we have already observed how the editors/translators addressed the use of musical instruments in the new covenant, in the note on Psalm 150:3. KJV/AV revised the Geneva Bible slightly: "To the chief musician on Neginoth…." The Geneva/KJV tells the English reader less than the ASV/ESV but none of them has quite the same effect of the Junius/Tremellius translation. Symphonia was a transliteration of the Greek term (συμφωνία). According to Liddell and Scott (the precursor to Liddell, Scott, and Jones), a Symphonia, in this context, is a band or an orchestra. It features percussive instruments (drums, cymbals) but apparently included wind instruments since the superscriptions to Psalms 53 and 75 include instructions to the "master of the symphonia" regarding the use of a "pneumatic instrument."
Outside the psalter, terms for musical instruments occur most frequently in 1-2 Chronicles, in conjunction with the Levitical, priestly ministry (and often in the context of burnt offerings and sacrifices). In 1 Chronicles 15:16, the Levites were playing "with instruments of music, psalteries, cithara, and cymbals. In 16:42 it is "trumpets and cymbals for resonating and musical instruments…." In 2 Chronicles 29 the Levites were using "musical instruments" including various horns. This fits the evidence we saw in the superscriptions to 2 psalms regarding the use of particular instruments.
What does the Junius/Tremellius translation tell us about how they saw musical instruments in the psalter and redemptive history? First, whereas the terms for a symphonia and musical instruments generally and certain instruments particularly occurred with regularity in the Psalter and in 1-2 Chronicles, they occur, of course, not at all in Beza's NT. Second, it would have been very difficult for the Reformed orthodox, for whom the Junius/Tremellius/Beza Latin Bible became the study Bible (apart from the original text), not to think of musical instruments as inextricably tied to the typological period of redemptive history and to the sacrificial ministry of the Levites. Where our translations sometimes encourage us to thing of a vocal choir, their translation encouraged them to think of the use of musical instruments in the psalms. In that respect, our experience of the psalter is quite different from theirs. The use of "choir" or "choirmaster" anachronistically tends to create the impression that the Israelites did just as many modern congregations do but for the Reformed orthodox, who composed our confessions, when they thought of the psalter and Old Testament worship generally, they thought of musical instruments, sacrifices, and even holy war (Psalm 149) against the enemies of God's national people.
This helps explain why the churches in Geneva, Heidelberg, the Netherlands, France, and the British Isles removed or sought to remove musical instruments from Reformed churches. They were relics of the era of types and shadows, intimately, inextricably bound up with the Levitical sacrifices.
Obviously, the predominant contemporary understanding of "psalms, hymns, and spiritual songs" varies rather sharply from that reflected in the standard Latin study Bible used by our orthodox Reformed forefathers. Further, their is considerable discontinuity between the way modern Reformed folk tend to think about musical instruments and the way the Reformed theologians and churches thought of them in the formative, classical period (16th and 17th centuries) of Reformed theology, piety, and practice.
It is useful to know that most (but not all!) of us no longer agree with our Reformed sources. We need to wrestle honestly with the facts. It is simply not satisfactory to say, "Well they were wrong." That might be the case but we cannot simply assert that. We must show why they were wrong. Why were they wrong to read "psalms, hymns, and spiritual songs" in light of the superscriptions in the psalter? Why were they wrong to see the cultic (i.e., the use in public worship as distinct from the general, cultural) use of musical instruments as inextricably bound up with the types and shadows of the temporary, Israelite, national cultus and polity? It is an a fact of redemptive history that Levites played musical instruments so long as the burnt offerings were being made (2 Chron 29). They stopped with the sacrifices stopped. It is a fact of redemptive history that the same psalms that exhort us to dance and play musical instruments also exhort us to holy war against God's national enemies.
When our theologies were being written and when our confessions were being framed, this was the understanding that informed them as they confessed that we may do in worship only that which God has commanded. In light of their understanding of redemptive history they removed instruments from the churches and sang only God's Word (usually psalms) in response to God's Word. They did not see musical instruments as circumstances. They saw them as elements just as the sacrifices were elements.
1. There are two possible exceptions to this rule. The Strasbourg Psalter of 1545 seems to have included some non-canonical songs. The songbook used in Heidelberg in 1563 and 1573 seems to have contained non-canonical hymns. I am investigating whether non-canonical songs were sung in public worship. The Apostles' Creed was the only non-canonical song sung in the Genevan liturgy but it was sung in place of the reading of the Word or as a summary of the Word. When the conjugation responded to the Word they also prayed or sang the Word. The Church Order of Dort (1619) provided for the singing of a song that may have been a paraphrase of the Lord's Prayer or it may have been a non-canonical song. It is lost.


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Tracking food costs can help cut your everyday grocery bill--find out how!
Make a List of Essentials
To avoid getting overwhelmed, begin by jotting down the 10 to 20 items you purchase most frequently, and choose one store to follow. After you get the hang of it, you can add more items and stores.
- Jennie Sanford of bargainblessings.com did it! "I started small: I looked in my cabinets and refrigerator to see what we bought most often, and I tracked only those foods. Now I follow more than 300 items."
Photo Credit: Getty Imges/Robert Nicolas

subset: commoncrawl


text: On Fri, Feb 25, 2011 at 11:38:50AM -0600, Christoph Lameter wrote:> This patch series introduces this_cpu_cmpxchg_double().> > x86 cpus support cmpxchg16b and cmpxchg8b instuction which are capable of> switching two words instead of one during a cmpxchg.> Two words allow to swap more state in an atomic instruction.> > this_cpu_cmpxchg_double() is used in the slub allocator to avoid> interrupt disable/enable in both alloc and free fastpath.> Using the new operation significantly speeds up the fastpaths.Pekka, Christoph, I applied the third and fifth patches to the percputree. Please feel free to pull from the following branch and applyslub changes on top of it. git://git.kernel.org/pub/scm/linux/kernel/git/tj/percpu.git for-2.6.39HEAD is b9ec40af0e18fb7d02106be148036c2ea490fdf9. As git.korg seems abit slow to sync these days, it may be better to pull frommaster.korg. ssh://master.kernel.org/pub/scm/linux/kernel/git/tj/percpu.git for-2.6.39Thank you.-- tejun


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You can read a bit more about me and my postal story here and here. If you feel curious, you can see my handwriting and my profile in Postcrossing.
I started this blog as a way to show to some friends the amazing mail I get, and also the mail I send. But it grew and now you can also find some other mail-related contents. I hope you enjoy it. If you are reading this probably you do. Thank you. You and your comments, and of course your snail mail, are welcome any time.
I am not exactly looking for new penpals right now. But sometimes that just happens. I have met awesome people trough mail so far, even some of my best friends.
As I travel frequently to Spain, sometimes I send my mail from there because it is quicker and safer.
I have a Twitter account that I use regularly; a Pinterest account that I use from time to time; and also, Bloglovin, Instagram and IUOMA accounts... that I hardly use.
And I also love postcards about my favourite themes (see below and here) or postcards showing the place you live in or places you have visited. I learn a lot through postcards; some received postcards have inspired my trips.
I am able to enjoy any kind of creative mail (for instance). Drawings and paintings, collages, altered postcards and postcards made of packaging or press cuttings or anything you craft. They make me smile, and I guess they make the post office workers smile.
More Things I Like To Find In My Mailbox* (and in my life):
*Not exactly in this order.


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text: Hi A few weeks agos, there were some mails on the o-network about plotting programs such as setor (!!). Can anyone send me the website information of some recent plot programs. regards R. K. Arni Department of Biophysics IBILCE/UNESP Sao Jose do Rio Preto-SP CxP 136 CEP 15054-000 BRAZIL FAX: (+55)17 221 2247 Tel: (+55)17 221 2240


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Bought new in 1978 AC 716. I use the tractor for snow plowing and roto tilling the garden, have not used the mower deck for years, took the 15 horse single motor out and installed a 18 horse twin in it, now it has all kind of power, not the best looking tractor out there but works real good, have chains for the rear when plowing snow, it is going to need a battery but I'll work with you on that. I'm asking $1000 o.b.o. For more info gave me a call at 319-five four one-1926. Thanks for looking.
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A generation lost to emigration, as over the seas we fly
Fergus Ahern, a 25-year-old bricklayer from Limerick who emigrated to Australia six weeks ago, wrote a song called Generation Lost in reaction to the mass exodus of young Irish people. Watch the video here.
Fergus Ahern is a 25-year-old bricklayer from Castleconnel in Limerick who spent a year in Australia in 2010. Six weeks ago, after 11 months back in Ireland without work, Fergus returned to Melbourne.
The song Generation Lost was written during his first year in Australia. "Having seen the amount of young Irish here forced to leave all they know at home was sickening," he says. "Leaving your family and friends is the hardest thing, but for a persons sanity you need to have a routine in life and not working just isn't viable. I really feel for the people who got caught up in the "boom". If I was a year or two older I have no doubt I'd be in the same situation."


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from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. One who insists on the importance of a regular succession of events, offices, etc.
from the GNU version of the Collaborative International Dictionary of English
- n. A person who insists on the importance of a regular succession of events, offices, etc.; especially (Eccl.), one who insists that apostolic succession alone is valid.
from The Century Dictionary and Cyclopedia
- n. One who insists on the validity and necessity of a given succession of persons or events; especially, one who adheres to the doctrine of apostolic succession.
from Wiktionary, Creative Commons Attribution/Share-Alike License
Rick Perry (the successionist) turns on your arses and shoots the s. .t out of you.
Think Progress » New report finds that right-wing extremist groups have grown 244 percent in the past year.
Hey as long as Texas kicks that successionist out of office ... what a hater and divider that gov.
If, Tea Party members and repuglican leadership do not tone the rhetoric, I believe we will see more threats and major violent acts against innocent Americans by militias, anti-government types, successionist, or modern day confederates!
Authorities report rise in threats against members of Congress
When you were addressing the successionist conference a couple of years ago did you explain to them that you're all about country?
They also continue to pander to the successionist crazies who have elevated state patriotism to a religion.
`Under God' in Texas pledge is constitutional, federal judge rules | RELIGION Blog | dallasnews.com
Palin and her husband Toddsinvolvement with a successionist party almost completely overlooked.
I love successionist tendencies, be they Texas, Northern California, the south, Alaska or Coastopia.
The A. I.P may be scrapping the barrel to you, but with all the muck thrown at Obama not having "real American values" a video introduction to a successionist party by the one doing the flinging does bear mentioning more that a few times.
On Thursday, the Legg report will be published along with...
Now it would seem that the CIA mission of the mid-ninties of training and abeting the muslim successionist KLA terrorists has created radicalised elements ready to attack US forces on US soil!
An agreement in late January between the Comoran government and successionist delegations from Anjouan and another breakaway island, Moheli, split those in Anjouan who want total independence and others who would accept a greater degree of autonomy within the


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Peppa Pig Toddler Bed £63.50 @ Tesco Direct
Tesco Direct are selling this Peppa Pig Toddler Bed for £63.50 instead of £150 - not quite half-price, but close enough to make it a great deal I think.
I was (and still am) a bit of a grouch when it comes to character bedroom furniture; all of my children went straight from their cot to a normal bed but I'm pretty sure that, given the chance, they'd have LOVED a bed that featured their favourite character.
I don't know any self-respecting little Peppa Pig fan who wouldn't love to leap into a Peppa Pig Toddler Bed, which could come in very handy when they've decided that sleep is for wimps and they're NOT. TIRED!
You're going to have to put your DIY hat on if you buy this Peppa Pig Toddler Bed as it's self-assembly. The headboard and footboard are printed with fun Peppa Pig scenes and there are two underbed storage drawers too.
It comes with everything you need to put it together but it does NOT come with a mattress; the mattress size you'll need for your Peppa Pig Toddler Bed is: 70 x 140cm
The reviews are great and someone will need to be in to sign for it on delivery.
Thanks to millarcat at HUKD
TOPICS: Nursery Furniture
1 comment
- Lynley O.This bed looks brilliant! I love it.


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Computer problem
1990 Toyota Pickup 6 cyl Two Wheel Drive Automatic 68000 miles
On Chevy we used to be able to short pins and get the codes to flash. I have not found anyone with a Datum 1 (or whatever it is called) to look at the codes after getting the check engine light. Probably the dealer for $80 but Auto Zone does it for free but does not have the old unit.
On this Toyota, were is the connector and can you trigger the codes with the pins like a chevy and if so what pins? Just bought this one used. It is a micro mini motor home with Toyota truck frame. It also would not start once(free spins without firing or fuel) but finally did start. My chevy had things that do not show up on diagrams or in the codes that prevent the starting. One was low transmission fluid or pressure - not sure which - which I jumped out the relay for the fuel pump and got it running but burnt up the transmission as it was low but had no indication. Checked this and other levels but found no problems on the Toyota.
Let me know.
John Hamilton
have the same problem?
Wednesday, December 24th, 2008 AT 9:36 AM


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TV Repair Questions? Ask a TV Technician for Answers ASAP
Hi,Thank you for using Just Answer my name is Carl and I will help with your question.Does the light flash a sequence?
hi carl yes it comes on then off flashes 4 times quickly and then twice slower and longer then repeats
Thank you I am after a service manual to find out what the fault is I will get back to you as soon as I know.
Have you tried unplugging everything out of the sound bar expect the sub and tried powering it on?
Please could you confirm the led flash sequence? I cannot find anything for 4 flashes
hi carl yes everything is unplugged its deffinatley 4 flashes probably within 1 second then 2 flashes around 1 sec each then after approx 2 secs on again for around half asec then back to the 4 flashes , pete
HI Pete,I have had a look in the service manual and can find nothing for 4 flashes, unfortunately all errors that are listed point to serious issues are you planning to attempt repairing the soundbar yourself?I can send you a link to the service manual if needed.
hi carl I don't think I could repair it but a link to the manual may help I have just reset it again by holding the on off button and sound mode button at the same time it then stays on until you try and link it to tv or if you turn off it wont come on again
Hi Pete,I have uploaded the manual to here.https://dl.dropboxusercontent.com/u/87068102/Soundbar.pdfI hope this helps, I might be able to recommend a local repairer if needed.


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X-Men: Days of Future Past is slowly becoming our most anticipated comic book movie currently in production. Not only is it reuniting the best cast members from the franchise's previous four installments, but it's also based on one of the best comic book storylines in X-Men history. And now, in an interview with SFX, Fox's creative consultant Mark Millar confirmed that the Sentinels will finally make their big screen debut in the movie. Here is what he said:
I don't really want to give too much away but the Sentinels are a big feature of this story. They will be cool and this will deliver on all of the teasers. We've all been waiting for this ever since X-Men: The Last Stand showed us one of their heads. Now it is finally coming, and we only have to pay ten quid to see it in the cinema whereas they're having to pay $100 million to deliver it. So I'm delighted [laughs].
For those unaware, the Sentinels are gigantic robots created for the sole purpose of hunting down and destroying the mutants from the comic books. They are ubiquitous in the original Days of Future Past story, but for some reason no X movie has attempted to include them, save for that brief appearance in The Last Stand. Thankfully it looks like Bryan Singer is finally going to give us what we have been waiting 13 years for.
X-Men: Days of Future Past will hit theaters on July 18, 2014.
RELATED: The 25 Comic Books You Need To Read Before You Die
[via SFX]


text: What is the goal of using tidy? Are you looking to generate well formed html from a possibly broken input, or are you just trying to check for well formedness? More directly, why not BeautifulSoup? -jeff On Sat, May 17, 2008 at 7:35 AM, Mike Hostetler <mike at hostetlerhome.com> wrote: > I've been working with Burch on this, but I don't have a Windows machine. > > The exact library in quesiton is uTidyLib: > http://utidylib.berlios.de/ > > > On May 16, 2008, at 11:27 PM, Burch Kealey wrote: > >> >> Sorry I should have phrased my question more carefully-I am looking >> for a Python Package for Tidy. I see I was just asking for Tidy. I >> have been getting some great help but have wasted too many hours this >> week trying to use Tidy and make it work from a python program. When >> I download and install (now on three machines) I get an error message >> that suggests a virus but we are convinced it is not. >> >> Burch T. Kealey, PhD. >> RH-CBA 408-N >> University of Nebraska at Omaha >> 6000 Dodge Street >> Omaha Nebraska 68104 >> 402-554-3571 >> This message (including any attachments) contains confidential >> information >> intended for a specific individual and purpose, and is protected by >> law. If >> you are not the intended recipient, you should delete this >> message. Any >> disclosure, copying, or distribution of this message, or the taking of >> any >> action based on it, is strictly prohibited. >> _______________________________________________ >> Omaha Python Users Group mailing list >> Omaha at python.org >> http://mail.python.org/mailman/listinfo/omaha >> http://www.OmahaPython.org > > Mike Hostetler > mike at hostetlerhome.com > http://mike.hostetlerhome.com > > > > _______________________________________________ > Omaha Python Users Group mailing list > Omaha at python.org > http://mail.python.org/mailman/listinfo/omaha > http://www.OmahaPython.org > -- Jeff Hinrichs Dundee Media & Technology, Inc jeffh at dundeemt.com 402.218.1473 web: www.dundeemt.com blog: inre.dundeemt.com


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- Home
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HRTV Travels To Pimlico For Complete Preakness Week Coverage
Live Coverage of Post Position Draw, "Pursuit of the Crown" and "Westrock Coffee First Call" Emanate from Pimlico
Baltimore, MD, May 16 -- Animal Kingdom continues his Triple Crown quest as the focus of the racing world shifts to Pimlico for the 136th running of the Grade 1, $1 million Preakness Stakes, and HRTV (R) will continue its extensive on-site coverage of the Triple Crown, when it begins live broadcasts from Old Hilltop on Wednesday, May 18.
Laffit Pincay III, Jeff Siegel, Gary Stevens, Aaron Vercruysse, Scott Hazelton, Richard Migliore, Joanne Jones, and Zoe Cadman will all be on-site to combine for daily all-inclusive coverage from a set near the Preakness Stakes barn.
HRTV will once again broadcast the Preakness Stakes post position draw -- this time as part of its "Pursuit of the Crown" show -- on Wednesday at 5 p.m. ET/2 p.m. PT. "Pursuit of the Crown" show will emanate from Pimlico through Saturday, and the half-hour show, which has chronicled the Triple Crown trail since the winter, will provide the latest Preakness happenings. Earlier post times for the two big racing days, Friday and Saturday, will necessitate earlier show start times.
(Complete Preakness coverage listings are included below.)
HRTV's "Westrock Coffee First Call" will continue its travels along the Triple Crown path, with one-hour shows on both Friday, May 20 (Black-Eyed Susan Day), and Preakness Day (11 a.m. ET both days).
Additionally, HRTV's daily coverage from Baltimore will include race coverage, timely interviews with the key connections of Preakness contenders, the latest workouts for Preakness entrants, as well as expert analysis from HRTV's extensive stable of hosts/analysts. The comprehensive coverage will prepare racing fans with the latest up-to-date information for the second jewel of the coveted Triple Crown, along with Friday's strong Black-Eyed Susan card.
The network's Preakness coverage will extend beyond its on-site presence, with its daily "RaceDay America" show, as well as the weekly offerings, "The Edge" (Friday, 8 p.m. ET) and "Against the Odds" (Thursday, 8:30 p.m. ET) also contributing during the week.
HRTV's popular Preakness Party coverage will begin at 6:30 p.m. ET on Saturday live from the stakes barn area, immediately following the Preakness Stakes.
Wednesday, May 18
"RaceDay America" -- Noon ET/9 a.m. PT
"Pursuit of the Crown, Preakness Post Position Draw" -- 5 p.m. ET/2 p.m. PT
"Across the Board" -- 8 p.m. ET/5 p.m. PT
Thursday, May 19
" RaceDay America" -- 11:30 a.m. ET/8:30 a.m. PT (including live racing from Pimlico)
" Pursuit of the Crown" -- Noon ET/9 a.m. PT
* Pimlico Live Racing -- 2-6 p.m. ET/11 a.m.-3 p.m. PT
" Against The Odds," -- 8:30 p.m. ET/5:30 p.m. PT
Friday, May 20 (Black-Eyed Susan Day)
"Pursuit of the Crown," -- 10:30 a.m. ET/7:30 a.m. PT
"Westrock Coffee First Call" -- 11 a.m. et/8 a.m. PT
"RaceDay America" -- Noon ET/9 a.m. PT (including live racing from Pimlico)
*Pimlico Live Racing" -- 2-6 p.m. ET/11 a.m.-3 p.m. PT
"The Edge" -- 8 p.m. ET/5 p.m. PT
Saturday, May 21(Preakness Day)
"Pursuit of the Crown" -- 9:30 a.m. ET/6:30 a.m. PT
"RaceDay America" -- 10 a.m. ET/6 a.m. PT (including live racing from Pimlico)
"Westrock Coffee First Call" -- 11 a.m. ET/8 a.m. PT
* Pimlico Live Racing -- Noon-4:30 p.m. ET/9 a.m. -1:30 p.m. PT
About HRTV
HRTV is a 24-hour, television-based multimedia network dedicated to horseracing which features racing action from the world's greatest racetracks. HRTV also features other forms of equestrian competition, as well as original programming and award-winning documentaries covering a variety of racing and general equestrian topics. The live stream of HRTV is available on a subscription basis to high-speed Internet users worldwide at www.hrtvlive.com. The HRTV television network is presently available via cable, telco video and satellite in approximately 19 million U.S. homes.


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Patricia Hewitt has ordered a winter round of NHS cuts to eliminate the deficit of up to £700m being forecast this year by hospitals and NHS trusts across England.
The Guardian has learned that the Department of Health is imposing a policy of zero tolerance to overspending on NHS trusts. The cuts will hit hospitals at the worst possible time of year as doctors and nurses come under extra pressure from patients affected by colder weather. In many areas, NHS managers will have to close wards and reduce staffing by leaving vacancies unfilled and cutting back on use of agency staff.
A Department of Health spokesman said Ms Hewitt was introducing the policy in an attempt to break a pervasive attitude among doctors and managers that the government will always bail out trusts if they cannot balance the books. Trusts had to "experience pain locally" and the government was not going to join a game of bluff and counter-bluff about the consequences of making economies, he said.
The crisis was triggered last month when the 28 strategic health authorities in England submitted confidential returns to the Department of Health reporting the financial outcome for the first six months of the financial year and forecasting the outcome for the full year. Sir Nigel Crisp, the NHS chief executive, was appalled to find that the NHS was heading for a deficit between two and three times worse than the £250m chalked up last year after a run of modest surpluses. He instructed health authority chief executives to scrap the returns and instigate a fresh round of economies to break even at all costs.
The department spokesman said: "We simply do not accept any forecasts projecting a deficit. As soon as we accept there is a case of any sorts (for making a deficit) we are lost."
All NHS trusts and health authorities were warned at the start of the financial year that they must break even unless special arrangements were in place to provide support pending longer-term restructuring. Those arrangements will stay in place, but there could be no further slippage, he added.
Ms Hewitt told MPs on Tuesday: "We are taking the steps needed to reduce the deficit this year and to ensure that, at the end of the next financial year, the NHS will again be in balance."
Before the six-month returns were submitted, health authority chiefs had already put pressure on trusts to reduce spending plans to a minimum. They are now engaged in fraught meetings to force through the policy of zero tolerance to deficits. Cuts will be announced locally over the next few weeks.
Protests from NHS staff and patients will feed through into MPs' mailbags as Ms Hewitt tries to win their support for the next stage of her NHS reforms - introducing more competition into primary care. Ms Hewitt is supporting Sir Nigel's hard line because she knows her plans to introduce competition between NHS and private hospitals will not work if the system is not financially rigorous.
From next year hospitals will lose revenue and may have to close departments when patients choose to be treated elsewhere. If managers think the government may continue to bail them out, there will be no pressure to improve services.
Ministers found this year's deficit increases perplexing, given record increases in the NHS budget. But trusts are finding it harder to avoid them as they can no longer lengthen waiting times to avoid a deficit. A £700m deficit amounts to little more than 1% of NHS spending in England, but eliminating it in the last four months of the financial year may require painful cuts in the affected trusts.
The Department of Health refused to disclose the amount of the deficit forecast by health authorities in their six month return, but sources among NHS finance managers estimated £700m. On Tuesday the shadow health secretary, Andrew Lansley, produced data from health authority board papers suggesting the gross overspend would be £1bn, but he was working from less up-to-date figures and did not take account of surpluses in other authorities.
The BMA said the government's latest move would destabilise a significant number of trusts. Jonathan Fielden, deputy chairman of the consultants' committee, said: "Hospitals are already cutting back follow-up outpatient appointments, limiting operating lists and freezing recruitment. Trusts can't cut more without impinging on services. This is unsustainable going into a winter when we are expecting a cold snap that will increase demand for the medical and trauma beds."
Janet Davies, director of service delivery for the Royal College of Nursing, said: "From information we are picking up from members, we are aware of considerable ward and small hospital closures, and vacancy freezes in every English region. Any further cuts would be devastating to patient care."


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The BBT Trust is helping me very much with my ambition to make my professional life one big music festival. They possess great expertise and networks to help me, but even more importantly I see a sincere effort to grasp my specific needs. These characteristics make sure that the projects we do together are unique creative processes from the very start.Bram van Sambeek"
Bram van Sambeek (1980) was the first bassoonist ever to receive the highest Dutch Cultural Award in 30 years: The Dutch Music Prize.
In 2011 he won a Borletti Buitoni Trust Award, and recently he has been admitted to The Chamber Music Society Two programme of New York's Lincoln Center. From 2002 until 2011 Bram was Principal Bassoonist of the Rotterdam Philharmonic Orchestra; since 2009 he has been teaching the bassoon at the Codarts Conservatory in Rotterdam. He plays regularly as a Guest Principal with, among others, the London Symphony Orchestra and the Mahler Chamber Orchestra. Focussing mainly on chamber music, Bram is a member of the Orlando Quintet, and made his Amsterdam Concertgebouw debut in 2003.
He is a regular guest at festivals like the Delft Chamber Music Festival, Orlando Festival, West Cork Chamber Music Festival and the Oxford Chamber Music Festival. Bram van Sambeek performs regularly as a soloist with orchestras such as the Rotterdam Philharmonic Orchestra, Sinfonia Rotterdam and Georgian Sinfonietta. Bram decided to start playing the bassoon when he was ten years old, beginning his studies with Fred Gaasterland and continuing later with Joep Terwey and Johan Steinmann at the Royal Conservatory in The Hague. After his graduation, he took private lessons with Gustavo Núñez. In an interview about Bram Valery Gergiev remarked: "…all in all a combination of being artistically involved, motivated and being gifted, being a very nice person, and also being a little bit unusual!"
In March 2012 Brilliant Classics released his second CD Bassoon-Kaleidoscope full of different chamber music, including a rock song, and in the coming seasons he will perform the new bassoon concertos by Sebastian Fagerlund and Kalevi Aho together with the Lahti Symphony Orchestra. Bram will also record these works for the BIS label.
Future engagements include: concertos with Gothenborg Symphony Orchestra, Oulu Symphony Orchestra, Philharmonie Zuid Nederland and many more.
In chamber music Bram will return to festivals such as Lockenhaus, Delft Chamber Music, Kempten and RUSK in Finland.
Bram has also been offered a "wildcard" at the Amsterdam Muziekgebouw, where he will give several concerts in the 14/15 season.
Photographs by Marco Borggreve
- IAMA showcase concert at King's Place, London
- Co-commissioning Bassoon Concerto by Sebastian Fagerlund with Lahti (premiered 6 December 2014) and Gothenburg (October 2015) Symphony orchestras. Watchthe world premiere of Sebastian Fagerlund's Mana
- Recording by BIS of Fagerlund and Aho Bassoon Concertos with Lahti Symphony Orchestra
- Purchase of baroque bassoon
- Participation in Wednesdays at Wilton's
(27 May 2015)
- Co-commissioning Concerto for Two Bassoons by Kalevi Aho
Fagerlund & Aho Bassoon Concertos & Solo Works
Sebastian Fagerlund: Mana (end)
Sebastian Fagerlund: Woodlands for bassoon solo (start)
Kalevi Aho: Solo V (end)
Kalevi Aho: Bassoon Concerto I Andante (start)
Pairing the concerto commissioned with money from his BBT 2011 Award, Sebastian Fagerlund's Mana, with Kalevi Aho's Bassoon Concerto, Bram van Sambeek here records two major Finnish works for his instrument. Also included are solo works by both composers.
** Nominated for a 2018 BBC Music Magazine Award
Bram van Sambeek bassoon
Lahti Symphony Orchestra
Okku Kamu (Mana)
Dima Slobodeniouk (Aho Bassoon Concerto)
BIS SACD2206 | www.bis.se
View the world premiere of Sebastian Fargerlund's Mana here
Download the score of Aho's Bassoon Concerto here (free pdf)
Supported by Borletti-Buitoni TrustBuy CD
RUNNING AGAINST THE WINDBram van Sambeek artist profile
Dutch bassoonist Bram van Sambeek is a man of gritty determination who relishes challenge and embraces innovation in his mastery of his instrument. Whether as a chamber musician, teacher or soloist, he wants to discover all the colours of his bassoon and free it from misconceptions about its versatility. Our film shows how he stimulates his daily routine of practice and reed-making with constant experimentation, a boundless variety of musical collaboration – and running against the wind.
Watch the premiere performance of Sebastian Fagerlund's Mana with Bram van Sambeek
BRAM VAN SAMBEEK AT BBT WEDNESDAYS AT WILTON'S 27 MAY 2015Bram van Sambeek plays Fagerlund, Linker and Pirchner at Wilton's Music Hall
In a truly interactive recital at Wilton's Music Hall, London as part of BBT's Wednesdays at Wilton's series, Dutch bassoonist Bram van Sambeek (BBT Award Winner 2011) seeks the audiences views on works by Sebastian Fagerlund and Arjan Linker as well as getting them to hum along to Werner Perchner's mit FaGottes hilfe.
BBT WEDNESDAYS AT WILTON'S - BLOG 4Bram van Sambeek at Wilton's Music Hall
Dutch bassoonist Bram van Sambeek (BBT Award Winner 2011) describes how he's bringing democracy to the concert platform at Wilton's Music Hall, in getting the audience to help him choose which composers should go forward to expand works from their initial sketches. Also he demonstrates the wickedness of Werner Pirchner's mit faGottes hilfe, not least in the illustrated score, complete with a bottle of alcohol.
Artist Website
General Management
Kika Nieuwenhuis at Brinks Artists Management
telephone: +31 20 643 2043


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AEG Power Solutions - The right POWER CONTROLLER for any application.
For nearly 125 years, AEG Power Solutions has tackled the changing electrical demands of industry. Today is no exception. With advanced power systems and controllers from AEG Power Solutions, you can produce ever-more sophisticated products in a world that demands smarter energy usage. Your manufacturing processes can thrive with unprecedented efficiency, reliability and precision.
Since the creation of AEG Power Controllers in 1887, the company has established a track record of serving customers with rugged, reliable systems and solutions. From the introduction of the world's first single-phase and three-phase thyristor AC converters during the 1960s through the launch of the revolutionary Protect family of modular, redundant and scalable rectifier systems for industrial applications in 2008, AEG Power Solutions has continually established industry benchmarks for power solutions engineering. The Thyristor Power Controllers of the Thyro-Family control electrical power, current or voltage with high precision and reproducibility and are ideal for applications such as heating, melting and bending.
Whether in traditional areas or for special applications such as direct heated melting, float glass, cooling channels, container glass or glass bending and printed glass drying, AEG Power Controllers have proven themselves for years. Even for newer applications and emerging technologies, customers trust the solutions and the experience of AEG Power Solutions
More than a Century of Engineering Experience Worldwide
Recently consolidating the portfolios previously sold under the Saft Power Systems and AEG brands, AEG Power Solutions USA, Inc. helps customers worldwide meet their power challenges with innovative, world-class power solutions. Backed by more than a century of innovation and customer service, AEG offers a full-range of reliable, cost-effective solutions, from power conversion modules and high-reliability UPS systems to industrial chargers and DC systems.


text:
Perfect for social media campaigns and blogs. Web photos (up to .5 MP). 1 Seat.
Learn More
Build a high res library or promote your brand. Up to Large (2.5-4.5 MP). 5 Seats.
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Get more high res photos and more. Up to Large (2.5-4.5 MP). 25 Seats.
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fur coat, sleeveless, women, coat, woman, clothing, adult, person
On it's own.


text:
Utah Java Users Group (UJUG) meets once a month to discuss the latest in the Java programming language along with other great tech topics. The best way to get involved is to sign up for our Mailing List or visit our Meetup.org page.
We meet the third Thursday of each month at Intermountain Medical Center. Doors open no later than 5:30pm with free food, drinks and snacks. Presentations begin at 6:00pm and last until 8:00pm. At the end of each meeting we hand out awesome prizes provided by our sponsors, including:
- JetBrains License, any IDE
- Books, Books, Books!
- Pluralsight Membership Vouchers
- Agile Learner Membership
- Other great swag TBA
Feel free to contact us with any inquiries.


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But have we any proof that such formation of rocks in an ocean-bed has, in fact, occurred? To be sure we have. It is furnished by every bed of limestone, every outcropping fragment of fossil-bearing rock, every stratified cliff. How else than through such formation in an ocean-bed came these rocks to be stratified? How else came they to contain the shells of once living organisms imbedded in their depths? The ancients, finding fossil shells imbedded in the rocks, explained them as mere freaks of "nature and the stars." Less superstitious generations had repudiated this explanation, but had failed to give a tenable solution of the mystery. To Hutton it is a mystery no longer. To him it seems clear that the basis of the present continents was laid in ancient sea-beds, formed of the detritus of continents yet more ancient.
But two links are still wanting to complete the chain of Hutton's hypothesis. Through what agency has the ooze of the ocean-bed been transformed into solid rock? and through what agency has this rock been lifted above the surface of the water to form new continents? Hutton looks about him for a clew, and soon he finds it. Everywhere about us there are outcropping rocks that are not stratified, but which give evidence to the observant eye of having once been in a molten state. Different minerals are mixed together; pebbles are scattered through masses of rock like plums in a pudding; irregular crevices in otherwise solid masses of rock—so-called veinings—are seen to be filled with equally solid granite of a different variety, which can have gotten there in no conceivable way, so Hutton thinks, but by running in while molten, as liquid metal is run into the moulds of the founder. Even the stratified rocks, though they seemingly have not been melted, give evidence in some instances of having been subjected to the action of heat. Marble, for example, is clearly nothing but calcined limestone.
With such evidence before him, Hutton is at no loss to complete his hypothesis. The agency which has solidified the ocean-beds, he says, is subterranean heat. The same agency, acting excessively, has produced volcanic cataclysms, upheaving ocean-beds to form continents. The rugged and uneven surfaces of mountains, the tilted and broken character of stratified rocks everywhere, are the standing witnesses of these gigantic upheavals.
And with this the imagined cycle is complete. The continents, worn away and carried to the sea by the action of the elements, have been made over into rocks again in the ocean-beds, and then raised once more into continents. And this massive cycle, In Hutton's scheme, is supposed to have occurred not once only, but over and over again, times without number. In this unique view ours is indeed a world without beginning and without end; its continents have been making and unmaking in endless series since time began.
Hutton formulated his hypothesis while yet a young man, not long after the middle of the century. He first gave it publicity in 1781, in a paper before the Royal Society of Edinburgh:
"A solid body of land could not have answered the purpose of a habitable world," said Hutton, "for a soil is necessary to the growth of plants, and a soil is nothing but the material collected from the destruction of the solid land. Therefore the surface of this land inhabited by man, and covered by plants and animals, is made by nature to decay, in dissolving from that hard and compact state in which it is found; and this soil is necessarily washed away by the continual circulation of the water running from the summits of the mountains towards the general receptacle of that fluid.
"The heights of our land are thus levelled with our shores, our fertile plains are formed from the ruins of the mountains; and those travelling materials are still pursued by the moving water, and propelled along the inclined surface of the earth. These movable materials, delivered into the sea, cannot, for a long continuance, rest upon the shore, for by the agitation of the winds, the tides, and the currents every movable thing is carried farther and farther along the shelving bottom of the sea, towards the unfathomable regions of the ocean.
"If the vegetable soil is thus constantly removed from the surface of the land, and if its place is then to be supplied from the dissolution of the solid earth as here represented, we may perceive an end to this beautiful machine; an end arising from no error in its constitution as a world, but from that destructibility of its land which is so necessary in the system of the globe, in the economy of life and vegetation.
"The immense time necessarily required for the total destruction of the land must not be opposed to that view of future events which is indicated by the surest facts and most approved principles. Time, which measures everything in our idea, and is often deficient to our schemes, is to nature endless and as nothing; it cannot limit that by which alone it has existence; and as the natural course of time, which to us seems infinite, cannot be bounded by any operation that may have an end, the progress of things upon this globe that in the course of nature cannot be limited by time must proceed in a continual succession. We are, therefore, to consider as inevitable the destruction of our land, so far as effected by those operations which are necessary in the purpose of the globe, considered as a habitable world, and so far as we have not examined any other part of the economy of nature, in which other operations and a different intention might appear.
- 32605 reads


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Monday, May 27, 2013
Happy Memorial Day
Happy Memorial Day! Hope everyone has had a fun and safe weekend. Thank you to all the military past and present who served to protect this country! Also want to thank the past and present Fire/Police/Ems personal for all they do to keep us safe! Regardless of how they served we should remember all the fallen who gave their life to protect the citizens of this great nation.
Monday, May 20, 2013
My Origami Owl Necklaces
Most people have heard/own/seen origami owl but I wanted to share with you my pieces. The first necklace has charms that represent my life. The little girl for my daughter; the maltese cross for my firefighter husband; the girl dog in memory of Hailey; the artist palette and scissors for my love of arts & crafts; the W for our family name; and lastly the shamrock for various reasons. They are all in a large locket on a long chain. I chose the cross dangle to show its importance in all the little pieces of my life. The second necklace was created just for fun to represent my love for the New York Yankees. It is a small locket on a small station chain. I purchased all of my items through Lindsey an Origami Owl independent designer. Go check it out here and design your own living locket!
**Please do not repost or re-use these photos as your own**
Posted by Andrea at 1:02 PM No comments:
Thursday, May 16, 2013
Kiwi Coaster
This cute little pattern is inspired by Repeat Crafter Me's Fruit Coasters. If you haven't checked out her site you are missing out! She has tons of cute FREE patterns. Anyways, I thought I would come up with a kiwi pattern to go with the strawberry. It is super easy and I love how they go together!
Kiwi Pattern:
Worsted Weight Yarn
5 mm crochet hook (H)
Tapestry Needle
Starting with cream yarn
Round 1: Magic Ring, Ch. 2, 12 Dc in ring, join to 1st Dc, tighten ring
Change to green yarn
Round 2: Ch. 2, 2 Dc in each st around, join
Round 3: Ch.2, (2 dc in first st, 1 dc in next) Repeat around, join
Change to tan yarn
Round 4: Ch.1, Sc in each st around, join
Fasten off and weave in ends.
Using black yarn embroider/stitch around in between first and second row to create the seeds. Kind of like a whip stitch. If you are unsure use the picture as a guide.
You can find the strawberry and watermelon pattern here
Strawberry Kiwi Set
Watermelon Set
I hope you enjoy the pattern!
** You may make and sell products from this pattern, but if you do I ask that you link back to my post. Please do not copy and post this pattern and claim it as your own. Please do not re-publish the photos as your own.**
Posted by Andrea at 4:21 PM 1 comment:
Tuesday, May 7, 2013
Free Digital Books on Amazon
Here are some free craft books from Amazon's kindle store. Usually they are only free temporarily so get them while you can!
FYI: You don't have to own a kindle to be able to read these books!
Posted by Andrea at 7:16 PM No comments:
Blog Update
I have a few blog changes that I need to share with everyone. First off I now have a domain for my blog which is www.youneverknowandrea.com. Hopefully this will make it a little easier when searching. For now I am still going to use the blogger format so everything on the site will stay the same. Next, I am aware that google friend connect/ blog reader is no longer going to be available starting July 1st. I am looking into different readers, rss feeds, etc. but not sure what step I want to take. If you guys have a favorite way to follow blogs just let me know.
At the moment I am trying to finish some orders and grow my etsy shop but I promise I have a free crochet pattern coming in the next month! Make sure you keep checking back!
At the moment I am trying to finish some orders and grow my etsy shop but I promise I have a free crochet pattern coming in the next month! Make sure you keep checking back!
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The move comes after two months of diplomatic wrangling over how to handle a separate crisis in Sudan's troubled western Darfur region, amid fears the ongoing violence there could derail the north-south agreement.
Addressing the council, the head of UN peacekeeping operations, Jean-Marie Guehenno, welcomed the move but warned "serious political hurdles" and "unprecedented logistical obstacles" still confront the peace process in Sudan.
The new peace mission was given a mandate to monitor the north-south ceasefire, help with demobilisation and disarmament, give assistance to elections preparations and other tasks.


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The Tax Institute has been actively engaging with the new Federal Government and the key portfolio Departments.
We have met privately with the Tax Commissioner, Chris Jordan AO, to discuss a range of key matters of interest to members, including the ATO consultative model and the Commissioner's engagement plan with the new Government.
We have also has discussions with senior Treasury officials about the outstanding tax legislative agenda and key reform priorities. This included a training session for Treasury run by Tax Institute President, Steve Westaway CTA, on small business structuring.
Finally, we have been liaising with the offices of Treasurer Hockey and Assistant Treasurer Sinodinos, to ensure that they are fully briefed on the key tax issues being faced by the profession as well as on the key areas of reform needed to continually improve our tax system.
Should you wish to discuss any of the above, I may be contacted at Tax Policy.
Kind regards
Robert Jeremenko CTA


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|Reviews for Sjednocení
| Electricityscape chapter 1 . 4/18/2009
shit, ok, wow, good.
you made me smile (I hope I'm the only colOmbian friend you have, haha)
This was really good, I really enjoy your eerm.. texts, hah don't know how to call them.
really good, girl.
I'd buy your books, srsly. D


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Goodison Park, Liverpool
August 20, 2012; 19:00 hours GMT
Manchester United travel to Goodison Park for their opening game of the season, buoyed by their new signing Robin Van Persie who is likely to feature. Everton on the other hand have been rather quiet on the transfer front but Belgian striker Kevin Mirallas is set to sign for the Toffees.
Over the years, Goodison Park has been home to some epic encounters between the two giants of the English game with the Reds prevailing more often than not over their rivals. Nevertheless, Everton always prove to be a tough nut to crack as was illustrated by their showing at Old Trafford last season in a memorable 4-4 draw that dented Ferguson's side title aspirations. While United fans would be eager to see how their new signings blend in and how the manager utilizes the plethora of attacking options at his disposal, the Toffees would be hoping for a much improved showing at the start of this campaign as compared to last season when they lost eight out of their first fourteen games. Moyes' side have often been tagged as slow starters and the Evertonians would be hoping to buck the trend.
Team News and Tactical Brief
The Toffees have sold two of their first team players in Rodwell and Cahill who had both become influential figures in Moyes' setup. However, the Everton manager has to cope with this situation year on year and to be fair, he has done his job admirably amidst adversity. The good news for the fans is the permanent capture of Steven Pienaar who has always proved his worth in the Everton Blue.
Coming to this game, Moyes has a full squad to choose his starting eleven from. Former Red Darren Gibson and Marouane Fellaini have both recovered from their thigh and groin injuries respectively and will be available for selection. Fellaini's recovery is most welcome news for the manager, as the Belgian has troubled United on numerous occasions in the past with his areal ability.
Moyes is likely to go with a flexible 4-3-3 formation with Jelavic, Osman and Naismith playing as the front three. However, depending on the situation of the game, Naismith could drop to the flanks making it a 4-4-2 formation for the home side. Leon Osman, will also be seen dropping deep to help out the midfield leaving Jelavic alone on top.
The midfield will be marshaled by the trio of Gibson, Fellaini and Pienaar. While Gibson and Fellaini will be operating more centrally, the South African is most likely to play on the left side giving his team more width to play with. Pienaar's understanding and link-up play with Leighton Baines is known to everyone as most of the home side's attacks are expected to be channelled through the left-hand side. While Gibson will be looking to stay outside the area and shoot from distance on every opportunity, Fellaini will be looking to make late runs in the box and make use of his excellent heading abilities.
In defence, Baines, who is heavily linked with a move to Old Trafford, will be supported by Jagielka and Heitinga as central defenders with another former United man Phil Neville taking up the right back duties. Neville's ability to play in central midfield might also be used by the manager, if one of Fellaini or Gibson is deemed unfit to play full part in the match. The defence is expected to be watertight as is the case with Moyes' team on most occasions. While Neville, at right-back position is less expected to make forward runs, Baines will be seen bombarding down the flanks to participate in attack.
Probable Starting Lineup (4-3-3): Howard; Neville, Jagielka, Heitinga, Baines; Fellaini, Gibson, Pienaar; Naismith, Osman, Jelavic
Manchester United
It has been an interesting summer for Sir Alex Ferguson. With all the claims of the money being dried up by the Glazers, Fergie has already made three more than decent signings in the transfer window. Kagawa, Powell and van Persie have been bought for a sum total of around £40 million while the arrival of Angelo Henriquez seems imminent as well.
With the new signings coming in, the manager has a plethora of attacking options in his array. However, it is the defence which is giving him worries at the start of the season. Chris Smalling, Phil Jones and Jonny Evans have all been ruled out of the opening few games of the season leaving Ferguson short on central defensive options. The injuries to the trio have forced the manager to bring Nemanja Vidic back ahead of schedule. The manager even contemplated starting Michael Carrick in central defence, but his performance against Blackburn at Old Trafford last season and also his display against Hannover in the pre-season game would have changed the Scot's mind for good. However, all is not bad news for the veteran manager as Darren Fletcher looks on his way back from the horrific illness which forced him out of the game for almost nine months.
With the options at his disposal, Sir Alex might opt for a 4-2-3-1 system at the start of the game. Carrick and Cleverley, who both had a very good game for England in midweek, could be called on again to start the game as deep lying playmakers with Carrick sitting formidably in-front of the back four while the younger man looking to join the attack from time to time. Behind them will be the only available back four of Rafael, Ferdinand, Vidic and Evra as already announced by the manager in his press conference.
The front four will be the ones to watch out for, both in terms of formation as well as personnel. While the manager might opt to ease van Persie from the bench, Shinji Kagawa is likely to be handed his first start in a Red shirt. He is likely to play in behind the lone-striker which, if van Persie is benched, is going to be Wayne Rooney. Nani and Valencia are likely to be the wide men giving United a lot of attacking options to pose Everton a serious threat.
However, if the manager decides to start his latest signing, Rooney will drop down to the false nine position behind him with one of Nani or Valencia making way for Kagawa on the flank.
Probable Starting Lineup (4-2-3-1): De Gea; Rafael, Ferdinand, Vidic, Evra; Carrick, Cleverley; Valencia, Kagawa, Nani; Rooney
Key Facts
- Everton have won just two of their past ten games against Manchester United at Goodison Park.
- The Toffees are unbeaten in their last 9 Premier League games and won seven of their last eight at home.
- United scored the most (16) headed goals in the league last year.
- The Red Devils won the more points away from home than any other team in the league.
- Jelavic was Everton's top scorer in the league with nine goals despite having arrived in the January transfer window.
TheHardTackle's Player To Watch Out For
Wayne Rooney (Manchester United)
Despite all the talk of Robin van Persie's debut, Rooney will always be the man to watch out for when it comes to the game between the two sides at Goodison Park. Although, it has been eight years since Rooney signed for the Red Devils, the Evertonians still see him as a traitor evident by the sound of boos that accompany Wayne's every touch of the ball. The English striker is also not the one to shy away and is always seen involved with the fans by kissing the badge in-front of the fans to show his love for United.
Keeping asides the antics, Rooney is a mighty good footballer as well and has the ability to change the course of any game through individual brilliance. His versatility will also be on display on Monday night as he could be seen performing different roles depending on the setup deployed by the manager. Fergie will be hoping Rooney to hit the ground running like he did last season by scoring two hat-tricks in the opening few games of the season. Moyes, on the other hand, will be doing all he can to stop Rooney celebrating in-front of the Goodison crowd.
TheHardTackle's Prediction
Everton 1-2 Manchester United
With Manchester United's attacking prowess and also their defensive lapses which were evident in the pre-season, there is bound to be goals in this one. Everton will create a lot of problems for the visitors' defense, but in the end, the attacking capabilities of Fergie's men will prove to be too hot to handle for the Toffees. All in all, it will be an entertaining game with the Red Devils nicking it by the slimmest of margins.
TheHardTackle's Blast From The Past


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CFN-style (first draft) because why not.
So the long story short is Alternative Chat suggested Blizzard Watch do some "how to play your class/spec" class columns and I said "yeah ok but you'd do better to go to the Wowhead guides for that info than looking in a class column."
I figured I was OK saying this as I've written several versions of a class guide. I've done it in a class column, I've done the Wowhead bullet-y style one, and I've done the official strategy guide one. I've learned since then that Wowhead/Icy Veins, or the longform bullet-y or entirely in-depth guide, is the way to go for most people.
Alt Chat's argument for class columns was because they felt different. I'm assuming she speaks to the spirit of the class column, because the column writers typically play that class and their enthusiasm shows through their writing.
Yes…and no. Writing a class column is not so simple as stuffing information into 1500 correct words. And learning how to love your class of choice isn't just about how to mechanically play it.
Class guides are massive
So back up the Twitter feed, I was talking with @Sveltekumquat about saving all your writing ideas and I linked a screenshot of my warlocks binder of Scrivener. Scrivener is the writing software I primarily use because I love it because it caters to my organizational needs without being a complete pain in the ass to maintain. So @Tikari joins in about how I have "inspiration from Arielle" in my trash, which has been there since I got to write the Wowhead boost 90 warlock guide (which became the 100 warlock guide when Warlords of Draenor launched).
So one of the
rules guidelines about getting better at writing is to read everything. Read for pleasure, read for interest, read for being informed, but also read to see what both crap writing and brilliant writing look like.
So, I wanna write guides? I read guides. I read all the class guides, whether or not I have a toon capable of raiding or PvPing or whatever. When we came back to redo level 100 Wowhead guides, I had read all of the other class guides & their comments, because I wanted to see what information they included, how they organized the info, did they use full prose or did they stick to sentence fragments, did they use info for the average player or is this straight from BiS sims, what is this. I read Wowhead guides, I read non-Wowhead guides that were on Wowhead, I read Icy Veins, I read Icy Veins forum guides, I read blog guides. I read pet battle guides, I read SC2 guides, I read LoL guides, I read GW2 guides, I read textbooks, I read WikiHow guides, …
I won't say I've read every guide there ever was, but I read guides so I can write guides. I am also the daughter of teachers (who are themselves the children of teachers) so I just have in my DNA I guess to explain things to people in such a way that said things are no longer intimidating and look actually possible if not enjoyable to do.
"Inspiration from Arielle" is a notes-y kind of text file where I have comments on Arielle's TiB bear forum guide. Why? Because it's one of my favorite guides when I look for elements of guide writing that I like. It's neat, it's clean, it's compact as far as not rambling around like I tend to do, it's informative, it's in-depth, it's…maaaaaaaaaan, I love this guide.
So from reading all this stuff, especially when I read different guides of the same stupid topic, I learn that there's a lot of ways to organize things differently. One way isn't correct all the time, and when it comes to online stuff at least, it generally depends on the format the guide comes in rather than what the guide is on.
When I first got to write the Wowhead warlock guide, it was the first time I'd write a whole class guide. I mean, I'd attempted to write parts of a guide on my own blog, but I never got around to finishing anything, so this was my first complete class guide.
I felt incredibly overwhelmed for a lot of the time I tried to write that guide. I felt like I wasn't going to do a good job, that I was missing something, that I wasn't going BiS enough, that I was going TOO BiS, that I wasn't organizing it correctly, how can like Arielle & Theck & others do these things, the fuck, I'm so terrible. All those things down the rabbit hole. It wasn't until I was doing the theorycrafting homework with Theck's Theorycrafting 101 that I realized part of my feeling overwhelmed problem.
Most of the guides that I really admire for guide construction come from hybrid class writers. Which makes a little bit of a difference because they are usually covering a single spec whereas I was trying to cover three.
That's one of the things that many hybrid mains miss about pure DPS classes, I feel. Pure DPS can't really be competitive as just one spec. You have to learn all three, or at least two, and you need to be able to do both/all competently if not very well. There's overlap because it's the same class and therefore we get the united class feeling — though, less so for warlocks. The core abilities or cooldowns of a rogue may share across specs, but since warlocks have that weird thing of three completely separate resource systems, we actually have zero overlap except for Corruption (aff & demo) and pets.
But pure DPS are weird — we have different specs, but the same role. So you need to explain three different ways of executing the same role. Most people think this is "well, you press 222222222 and stuff dies and then you WIN how hard can it be?" Or the "well EVERYONE plays DPS, how hard can it be?"
OK, baseline DPS is not that hard. But good DPS, excellent DPS, DPS that inspires? That's a little bit more ambiguous.
The three different ways is a lot easier to lay out & explain than the overarching concept of "here's how to generally go about DPSing so you can figure out what spec works better when." Tanks and healers get the hard-to-explain "meters are kinda crap for judging us" that's pretty obvious, and generally pride themselves on having to know an encounter to get their job done rather than just pushing buttons in a specific order. DPS get the "I have to figure out which of my specs is better for this particular situation so I can figure out which of the three rotations I should be doing."
So I'm trying to write a unified guide of three totally different specs, but put it in the space where one-spec guides go. Holy unrealistic expectations, Batman.
My Wowhead guide is about 3,000 words, give or take. Bullet/sentence fragment style, intended audience is fresh L100 alts.
My official Draenor Strategy Guide section was just under 10,000 words. Prose style with spell tables, intended audience is newbie players.
Arielle's guide is about 6,000 words, prose/bullet style, I'm guessing intended for raiding bears, whether new or old.
Class columns are 1000 words minimum (to be justified by what you get paid for them) to 1500 words max.
Why 1500 words? Blizzard Watch Editor-in-Chief (& co-owner) Alex Ziebart actually explains this on the Blizzard Watch podcast Episode #1. Too long; didn't listen? — It's a general reading attention span thing. If you for some reason think this is a horseshit explanation for us to continue doing an old constraint, you can go look at what Medium's been doing to analyze how posts get completely read & what makes a most viewed post.
YES the caveat is that this isn't a direct correlation with the quality of the post, just how many views you get. But that's not how business with ads works. You can't take the writing out of the business of writing and judge it purely on the romanticized Great Writing vacuum. Paid writing is very much about the volume of people consuming your work as well as how good/useful your work actually is.
Which means this rant is probably going nowhere because it's so goddamn long. Oh well.
The point I'm making is that BW class columns are hella limited spaces for full class guides, especially when read by players who are used to multipost forum guides or sites like Icy Veins. It took me 4 articles on WI (here's one) to do a whole class guide — one post for each of the 3 specs & then 1 general "which spec do I play when" type. You're asking a lot of the class columnist when you ask this and, let's face it, you're probably going to be disappointed anyway because it's going to be short/brief/not the glorious in-depth solves-all-your-problems thing you were hoping it was going to be.
Series are dailies not weeklies
I like series of things. I like convoluted plot lines in TV shows and books so I can watch and read them over and over again to get new information each time. I like epic book series that have a million different things going on with a hundred different characters and have family trees and shit in the appendices in the back. I love complex media that take multiple times to absorb.
But I learned while writing Blood Pact that series only really work when they're consumed in a timespace relative to the wordspace they take up.
For example, I expect A Song of Ice and Fire or the entire Lord of the Rings mythology of books to take several months to finish. It's thousands of pages, it's going to take a while, so I'm OK with that timespace because the wordspace is also relatively huge.
4 columns = 6000 words. That's like, what?, come back here, Medium, ok here it is, average reading rate of an adult is 275 words per minute. So 6000 words is roughly 21 minutes of reading.
Except, it's a weekly column, so it takes you about 43,200 minutes (30 days * 24 hours * 60 minutes) to finish those 21 minutes.
Don't do that.
Because blogging posts end up being relatively short (to keep up with the short online attention span of reading articles), you have to have quicker posts in order to keep a series connected. Which is why you have news every hour or 1-2 class columns per day. It keeps you from going "hey, when's the next part?" too much. We want a little bit of that so you'll come when the next part releases, but too much and people get bored or angry or both.
I remember Alex emailing us once, because the class columnists were all doing one little series or another within their columns, and he was like "stop, it's not really worth it." And I remember, I was silently like "yeah but I'LL get it to work because MY EGO KNOWS BEST" and then …
It doesn't work.
Don't do a series within a weekly column, unless it's a series of 2. A class how-to guide one per spec is about the only series that works and even that one means only 1/3 of the class is listening at any given time. ("Oh, this week is on destro, I don't play destro, I don't care *skip*.")
You CAN, however, possibly do a once-in-a-bit series within a class column. There's patch notes, for example, that occur every few months. Loot lists happen every few months. Which spec is currently performing best/worst. Of course, they coincide with content releases, so it's not a planned series. But you can do these sort of occasional yet categorical column posts that everyone knows is coming and they won't be mad when you deliver one of those that week.
So you can have a series of one-offs that you do every 4 columns or whatever. But you can't do a part 1 of X posts series within a column.
Will I ever do warlock soloing guides for the old raids in Blood Pact? Yes, but not in a row. (I'm thinking maybe monthly, since it'll take me 2-3 weeks to do each spec on my main or an alt — look, I have 2 warlocks, but one is geared and one is quest greens.)
Will I go over how to play a warlock in specific fights? Maybe, but not in a row, and really, I'd probably just do one column of here's warlock tips on LFR for alts because by the time I figure out all the regular raiding tricks on my main, you probably have, too.
Will I do spec guides? Yeah, if it turns out we're all doing [Spec] 101 articles across all the class columns and it's a THING we're doing. Definitely if it's a special longer article that's allowed, because, of course, no more AOL means more freedom. But that's ultimately up to the editors. I'll keep assuming 1500 is my max.
But that's kind of what the column is for anyway — how to play? — so I'd rather go to my new model of taking a specific bite of a rotation or strategy and analyzing it further. I can build up over time what is essentially a wiki of how to warlock in general so my content both lasts & is useful.
The thing about the Wowhead guide is I have to update it every time we get a new raid tier or significant patch note change. While you can go back and edit blog posts, typically you don't go back & change months-old posts. (They're also rather useful left as is, because then you can see where the class went over time. Blog posts make their own historical record, it's great.)
How to play a class is not the same as how to love a class
Alternative Chat spoke to the feeling of the columns. This is what everyone's generally been saying since Blizzard Watch resurrected from the ashes of WoW Insider. That BW/WI was always different from MMO-C or Wowhead or Icy Veins or even from regular blogs, because it was a concentrated spot of soul even when delivering the hourly news.
That's not wrong. In fact, I agree, and further, I want to continue that.
But that's not the same conversation as choosing the right words to meet a wordcount.
Telling me to write a class guide in a column because the soul of the class columns is what brings people is like saying my skill at playing demonology in a raid scales with how awesome my transmogrification is. You can be awesome at playing demo and you can have an awesome transmog, but one does not necessitate the other.
Really, any monkey who can run Simulation Craft, or look at spell tooltips, or spend 15 minutes on a training dummy, or run things on the PTR, or …any monkey can tell you how to play a class.
Well, not every monkey can do the science/coding/math behind the class mechanics, just to be clear that I'm not dissing theorycrafting here. That stuff is complex when it comes to figuring out exactly which questions to ask & I /salute to those who do it.
But any monkey can go read the conclusions by theorycrafters and dress it up in a guide.
Not every monkey can inspire you or otherwise get you to love a class. That's the part that comes from the heart, and that's the part that has to happen over every article in a class column.
You can do it with one-offs — I did soul a lot of the time by doing my narratives. The Kanrethad one comes to mind. And I still catch flack for it; my narrative stuff always had one or two comments about how it felt like it was some personal diary or blog rather than something "worth" being in the column.
One of the things I experimented with was the narrative loot list. Sure, you can argue I'm not doing much — I'm basically finding all the Wowhead links for whatever's in the Dungeon Journal loot list. I'm hardly even telling you which piece to pick up. Strictly content speaking, it's a bit of a fluff piece that takes some tedious work to put together.
But the way I do it — that's what people like about it. I crack puns with the loot, I diss mages with the loot models, I frame the specs against each other with whether a piece is crappy or not based on the stats. I sometimes use the loot in a brief mention of the boss's strategy, like making the obvious joke on running away from something while linking some leg slot piece.
There's a mini poem in my BRF one. Just you wait.
Why did I even try to do a prose-y loot list? Why not contribute some actual info about best-in-slot pieces? Because I got bored reading bulleted loot lists. I got bored writing them — it's just copypasta central that puts me to sleep. I still have to copy loot links with my narratives, but it's more fun to figure out which words I'm going to link instead of just the same, old, boring loot name.
I also wanted to experiment with writing in short bursts without losing much meaning. As you can probably tell by now, I am bad at writing briefly. Having to do an entire raid instance in one post means each boss only gets about maximum 75 words each to cover all of its loot.
14 bosses in Throne of Thunder + 2 world bosses: 1200 words. Actual post: 1243 words.
16 bosses in Siege of Orgrimmar: 1200 words. Actual post: 1110 words. (shorter?!!! Fuck yes!)
But the secret that everyone simultaneously knows and doesn't know about writing is that when you have fun writing, the reader has fun reading. When it's a chore, it shows, when it's fun, it shows. I had the most fun when I was doing ludicrous things like "so, I need to write a boss strat for Kanrethad. But this fight is SO AWESOME how can I show this CAN I ROLEPLAY THIS why not."
Do you like reading a pamphlet about a place or do you like going on a museum tour? I far prefer the museum tours with enthusiastic tour guides and I bet you do, too, so I'm not going to write about the most efficient way to solo Karazhan in the fastest time possible, I'm going to tell you to do silly non-technical things like look at the ceiling while clearing Opera trash in whichever spec you like playing.
(Seriously, look at the Opera house ceiling. It's the best.)
I love my warlock when it's the best class. I love my warlock when it's the worst class. If you're just here for the shinies and the numbers, that's fine, whatever floats your boat, but my hope is that you continue reading Blood Pact for the fun and flavor and because I make a good read, not because I make some bookmarkable rotation lists once or twice an expansion.


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Dr. Farid Al-Salim
Assistant Professor
History Department
208 Eisenhower Hall
Kansas State University
Manhattan, KS 66506
Education: BA: Birzeit University. Birzeit, West Bank, Palestine.1990
MA: East Tennessee State University, Johnson City, Tennessee.1999
PhD: University of Arkansas, Fayetteville, Arkansas. 2008
Published by the Midwest World History Association (MWWHA), housed at The College of St. Scholastica. See also, The Middle Ground's curated Facebook Page.