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Love is in the air! February 14 is recognized as Valentine's Day—a holiday where people across the world tell the people they love just how much they mean to them, both friends and significant others alike. You don't have to be in a relationship to participate in Valentine's Day. In fact, there are tons of ways to show everybody around you just how much you care! Check out the ideas below to help spread love this Valentine's Day and throughout the entire month.
Call a Loved One
Not text. Not a carrier pigeon. Not a telegram. Pick up the phone and give a friend or loved one a call! Tell them you love them. That's it, that's the phone call. You'd be surprised at how much this will mean to your loved ones. Often, we forget to call simply to call and only place that phone call in times of need.
Give Back to Your Community
Pick up litter in the park. Volunteer in a soup kitchen. Donate to your favorite local organization. There are a ton of ways you can spread love in your community this month in the name of love! Think of something you're passionate about and find a way to give back. Don't be afraid to think outside the box and involve help from the ones you love. After all, life is sweeter with those you care about.
Perform Random Acts of Kindness
You don't need to personally know somebody to spread love this Valentine's Day! Instead, consider using the day as a time to perform random acts of kindness. You can even continue to do random acts of kindness throughout the month (and the year!). Do a chore for a neighbor in need. Surprise a local person in need with a gift card to get food or clothes. The great thing about random acts of kindness are that you can either go big or as small as you like. Even surprising somebody with a cup of coffee can completely change the course of their day.
Give Out Hugs
We are still in the midst of a global pandemic, so this one may only apply to those you're comfortable hugging! Aside from helping to spread love, studies have shown that hugging can help lower stress and release good feelings. What's not to love about giving a hug?
Listen to a Friend or Coworker
When was the last time you truly stopped to ask how somebody was doing? Often we're greeted with "How's it going?" followed by "Good and you?" The surface level conversation goes on, and we never stop to truly have a conversation about what's happening in our lives. Remember—you never know what somebody else is going through.
Ask a follow up question instead of stopping at the surface level conversation. Then, truly listen. We all have struggles in this life. Offer an ear to actively listen. You'd be surprised at the genuine connections you form from truly stopping to ask how somebody is feeling.
How will you spread love during the month of February? Use one of these ideas or come up with your own! You never know how much a small act of kindness will mean to a person. Get out there and spread the love!


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Sometimes you don't want it to smell like anything just happened. Sometimes you want to be extra stealthy. Flushie is the only brand to offer an unscented version and its quickly becoming the most popular version. All the strong stinky odor fighting power, without any of the scents. Ideal for those with allergies. Once you flush, a neutralizing odorless formula will be released and you'll never leave behind embarrassing bathroom odors again. Remember, its what you do before number two!
- 2oz bottle good for up to 100 sprays.
- Powerful all natural oil formula that traps all the stinky odors in the water.
- It's what you do before number two!
- Made in our beautiful USA.

subset: commoncrawl


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WOLCENSMEN - Songs From The Fyrgen (LP Gatefold) OFFER!
WOLCENSMEN - Songs From The Fyrgen (LP Gatefold) OFFER!
REDUCED PRICE!!. Product new
Black vinyl 12"LP Gatefold with bonus CD.
Founded upon a passion for dark acoustic music and folklore, Wolcensmen began life in 2013. Dan Capp, a guitarist from England (who went on to join Black Metal band Winterfylleth) undertook the work of resurrecting old acoustic ideas he'd written since the late '90s, inspired largely by Scandinavian bands who had pioneered the inclusion of folk and neo-classical elements within their sound. Wolcensmen became the vehicle for expressing spiritual philosophies and a specific musical atmosphere.
A self-produced demo captured the imagination of underground music fans, and Dungeon Synth label Deivlforst Records assisted in making the demo available again after its limited initial run. In 2015 work began on the debut album, which was released in November of the following year by the name 'Songs from the Fyrgen'. The CD pressing sold out within six months and the album received widespread acclaim, with some quickly considering it a classic of the genre.
In 2017, Wolcensmen was brought to the attention of Norwegian label Indie Recordings who saw the need for a reissue of 'Songs from the Fyrgen'; remixed and remastered, and with proper marketing and distribution. The album will be re-released on November 30 2018 with a bonus disc of brand new songs, including a rendition of the Bathory classic 'Man of Iron'.
Wolcensmen is part of the revival of interest in old European spirituality; a sincere expression of mysticism and superstition, and an approach to songwriting which aims to bring near-forgotten things back from the mists of time.
2. The Fyre-Bough
3. Sunne
6. The Mon o' Micht
7. Snowfall
Songs from the Mere EP bonus CD
3. The Greene Wall
4. Beholdinge, He...
5. Man of Iron (Bathory cover)
Release date: November 30th.


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Welcome to another great challenge here at Seize the Birthday! Thanks to everyone who played with us last time! We always enjoy seeing all the cards and or projects with or without our topping! It's such a great way to inspire us the Design Team as well.
It's been about a month so it's time for an...
"Anything Goes" Challenge
(with no Topping!)
The Design Team
The design team has created such awesome samples haven't they?
Have fun and let the celebration begin!!!
Have fun and let the celebration begin!!!
Challenge Rules (to keep things fair):
1. You must use the challenge and make a BIRTHDAY PROJECT.
2. You may link up to 3 birthday projects.
3. Please add a direct link to your blog or to an online gallery.
4. Feel free to combine other challenges or for a stamp release, it doesn't matter, as long as you add this challenge link and graphic to your post.
4. Any offensive posts or cards that do not follow the guidelines will be removed out of courtesy to fellow bloggers and myself.
5. As always, please have fun and make the challenge your own! All product is welcome!
This linky will close at 9am (PST) on Tuesday, April 7th.


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Platform Cluster
The multifunctional instruments are developed for agricultural, construction, small commercial vehicles and leisure applications. The robust and compact designs allow to have a greater number of important information available at the same time on one spot.
Centrobase 500
The multifunctional, analogue 4 pointer instrument Centrobase 500 with LC-display and 15 telltales is developed for agricultural, construction, small commercial vehicles and leisure applications. The robust and compact design allows to have a greater number of important information available at the same time. The housing concept with mineral front glass offers ideal front IP class, scratch resistance and comes with a modern look and feel.
Furthermore, we offer specific individualization of the product, to meet individual customer requirements in following points:
- Customer-specific dial design
- Special CentroWin programming software for parameterization
- Programmable acoustic alert, system check and warning thresholds
Benefits and Features
- Analogue instrument cluster for low-end applications
- 4 analogue indications
- LCD: 2x engine hours, 2x distance, clock and gear indication
- Programmable via CentroWIN PC-Tool
- Up to 15 telltales
Technical Data
- Operating voltage 12 V DC
- Operating temperature -30°C to +70°C
- Fixed segment LC-display
- IP 65 protection class (front)
- Integrated warning buzzer
- Monitoring of many parameters in a compact space
- 4 gauges, 26 telltales and large monochrome dot-matrix-display
- Multiple CAN channels (incl. gateway function)
- DTC handling
- Several options for customization (e.g. dial, bezel etc.)
- Ergonomically and robust designed
- Maximum flexibility by programming functionality and display HMI with software tools KIBES-32 and grADI
Technical Data
- Dimensions (mm): 290.6 x 143.5 x 72.5
- Inputs: 24 digital, 6 analog, 4 frequency, 1 current input
- Outputs: 3 x 500mA, 1 buzzer
- Interfaces: 2 x CAN, 1 x additional gauge satellites
- IP 67 protected (front & rear)
- Display: 115 x 145 pixel, monochrome dot-matrix, TC-FSTN
Loader Instrument Cluster
Loader Instrument Cluster is the new platform instrument cluster for Loader market and machinery in special vehicles. With powerful function implemented, our cluster can support up to 24 telltales and can receive various input signals (digital, frequency, analog input, I CAN-J1939) and support signal outputs (vehicle speed output, power output for 5V and12V). By module design concept, we supply a high flexibility for different vehicle configurations and variant requirements.
Best protection against water and dust. One push button for function adjustment.
Benefits and Features
- KIBES-32 programmable
- Stand-alone operable
- 5 gauges
- 16 or 24 telltales
- 2 types of segmented displays available
- 1 push button
Technical Data
- Size: 411,25 x 198,66 x 103,93 mm
- Protection Class: IP 30 rear side, IP 65 front side
- Operating Voltage 24V
- Operating temperature: -30 to +75°C
Contact / Download
Dealer search
Find your VDO dealer for this product or a Continental sales company in your proximity.
Sales contact formular
Through the contact formular you can adress your questions, opinions and wishes regarding this product to the Continental Automotive center.
In the download section you can find documents about this product or product group. Please select the category and document in the search formular of the download section you are interested in.


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Waltham Forest Council has the following markets: Walthamstow Market, North Chingford Market, Chingford Mount Market, London's Farmers Market
Here is the Council's response to our Freedom of Information request:
Q: Do you allow stall holders at your markets to sell real fur? (including small items such as knitted hats with fur bobbles, or key rings with fur trims etc.
A: Yes
The Council allows the sale of fur. They have been sent our Fur Free Markets policy to consider.
Real fur is cruel and unnecessary. Please urge the Council to ban the sale of real fur on their markets and adopt the official Fur Free Markets policy by contacting Cllr Simon Miller, Portfolio Lead Member – Economic Growth and High Streets, email: email@example.com


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Applies to HTML and XHTML.
This failure relates to:
This technique describes a failure condition for images that should be ignored by assistive technologies. A text alternative for an image should convey the meaning of the image. When an image is used for decoration, spacing or other purpose that is not part of the meaningful content in the page then the image has no meaning and should be ignored by assistive technologies.
Providing a null text alternative (i.e., alt=""
or alt=" "
will allow assistive technology to ignore the image and avoid a failure
of this Success Criterion.
Note: Although alt=" "
is valid, alt=""
An image is used to create a blank space between content, where the spacing itself is not meaningful to the content. The image has an alt text value of "spacer". This image fails the Success Criterion because the text alternative does not serve an equivalent purpose. The image is meant to be ignored but its alternative text "spacer" is announced by screen readers and displayed in some alternate color schemes.
Example Code:

Tree type: Cedrus deodara

No resources available for this technique.
Identify any img elements that are used for decoration, spacing or other purpose that is not part of the meaningful content in the page
Check that the alt attribute for these elements is null.
If step #2 is false, this failure condition applies and the content fails the Success Criterion.


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What do Broccoli Cheese Soup at the Big Wheel, birthing classes at Howard Community with the Loftises on Thursday nights, Princess Diana, a really ornery Tilt-a-Whirl operator at Indiana Beach Amusement Park (now fancily called a resort), the song "He Means More to Me Today Because of Yesterday" by the Sounds of Happyness, and a beautiful morning in May with the lilacs in full bloom have in common?
My Stephanie. Second child, only preemie, the teeny-tiniest babe who caused faith to rise in my heart as I prayed to God for her in the dark night, me in the hospital in Kokomo – her fighting to breathe at James Whitcomb Riley Hospital in Indianapolis. Thirty-one years ago.
If an old friend lets you down
And a true love can't be found
Till the blue skies come around
I'll be right by your side
You weren't due until June, very late June, very-very late June. But you came in May and it was beautiful and it was a surprise and it was meant to be. And every May since, we are reminded of the blessing and miracle and joy and completion and maturity and faith you brought with you, and what it caused in us.
No don't forget me now that we're apart
Just open up that great big loving heart
And you'll always be
You'll always be
You'll always be a part… of me…
The name.
As middle names go, May wasn't even on "the list," and was perhaps a little old-fashioned for the times. But we named you Stephanie because of one our favorite actresses at the time (Stephanie Powers) and because one of my all-time greatest Bible heroes is Stephen (see Acts chapter 6). And May was for the month, the merry merry month of May. Because it was a magical, lovely time in our lives – all was right and beautiful and exciting and we anticipated your birth with great energy and expectancy. And yet, you were actually so unexpected on that Friday, 5 1/2 weeks before your "due date."
Take your time to embrace romance
Teach your children how to sing and dance
Love may hurt but it's worth the chance
I'll be right by your side…
And haven't you been so many unexpected things things since? Haven't you just always done and became and created and produced and added to and on and surprised and delighted and shined and sang and wrote and been successful and just grown up to be an unexpected bundle on wondrousness? Haven't you? Yes, you have.
Try to be the best you can
Show compassion to every man
And always take the higher ground
I'll be right by your side
Journey far and travel safe
Make this world a better place
And keep that smile upon your face
I'll be right by your side…
I wasn't perfect this I would admit
I was always trying to make the pieces fit
Just know you'll always be
You'll always be
You'll always be a part of me…
You're a trailblazer and a trendsetter. The family looks at you to confirm cool because if it isn't, you'll be the first to know. Your children are awed by you, your husband reveres you. Your siblings recognize your gifts and your parents are pleased with how you turned out and in seeing God's favor and blessing on your life.
And so I bring you the gift of these words and my prayers and wishes for you. The theme is this: I believe in you. And I hope you will open that gift with fearlessness and abandon, knowing you'll always be a part of me, the best part of me.
Happy Birthday, Stephanie, amazing, blazing, sizzling daughter, strong woman and spirited girl. Your life was ordained and has so much value. I thank God for breathing into your lungs the breath of life, quickening your tiny mortal body 31 short years ago with the very power that raised Christ Jesus from the dead. That healing will take you all the way to the end with great fire and presence. Go get 'em, Steph! {love from your mom}
Don't ask me how the time has gone
I've loved you since the minute you were born
So many times we have laughed and cried
I see you now it fills my heart with pride
You'll always be
You'll always be
You'll always be a part… of me…*
*Pure Love, Rod Stewart


text:
Unit Converter
Convert 457 Months to Weeks
To calculate 457 Months to the corresponding value in Weeks, multiply the quantity in Months by 4.348125 (conversion factor). In this case we should multiply 457 Months by 4.348125 to get the equivalent result in Weeks:
457 Months x 4.348125 = 1987.093125 Weeks
457 Months is equivalent to 1987.093125 Weeks.
How to convert from Months to Weeks
The conversion factor from Months to Weeks is 4.348125. To find out how many Months in Weeks, multiply by the conversion factor or use the Time converter above. Four hundred fifty-seven Months is equivalent to one thousand nine hundred eighty-seven point zero nine three Weeks.
Definition of Month
A month (symbol: mo) is a unit of time, used with calendars, which is approximately as long as a natural period related to the motion of the Moon; month and Moon are cognates. The traditional concept arose with the cycle of moon phases; such months (lunations) are synodic months and last approximately 29.53 days. From excavated tally sticks, researchers have deduced that people counted days in relation to the Moon's phases as early as the Paleolithic age. Synodic months, based on the Moon's orbital period with respect to the Earth-Sun line, are still the basis of many calendars today, and are used to divide the year.
Definition of Week
A week (symbol: wk) is a time unit equal to seven days. It is the standard time period used for cycles of rest days in most parts of the world, mostly alongside—although not strictly part of—the Gregorian calendar. The days of the week were named after the classical planets (derived from the astrological system of planetary hours) in the Roman era. In English, the names are Monday, Tuesday, Wednesday, Thursday, Friday, Saturday and Sunday.
Using the Months to Weeks converter you can get answers to questions like the following:
- How many Weeks are in 457 Months?
- 457 Months is equal to how many Weeks?
- How to convert 457 Months to Weeks?
- How many is 457 Months in Weeks?
- What is 457 Months in Weeks?
- How much is 457 Months in Weeks?
- How many wk are in 457 mo?
- 457 mo is equal to how many wk?
- How to convert 457 mo to wk?
- How many is 457 mo in wk?
- What is 457 mo in wk?
- How much is 457 mo in wk?


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Millions of renters are safe from eviction after the Center for Disease Control (CDC) issued an eviction moratorium at the beginning of September. The moratorium blocks landlords from evicting tenants from their homes, over concern of further spreading COVID-19.
Now, landlords are pushing back on the mandate.
"My lender wants to get paid," said Florida landlord Andy Orfitelli.
For Orfitelli in Florida to landlord Rebecca Welsh in Kentucky, many landlords have said they cannot afford the financial burden the moratorium is now putting on them.
"Literally, right now, I am supporting three homes, households, not just mine," said Welsh, who is currently expecting a child.
"We are concerned that an order like this could force many operators into bankruptcy and those properties could be lost," said Bob Pinnegar, who is with the National Apartment Association (NAA).
The NAA has joined landlords in at least three states in a lawsuit against the federal ban on most evictions.
"We were forced into this situation with the inaction of Congress in putting together a stimulus package, and then, the combination of the CDC order laid over top of that," explained Pinnegar. "It has forced us to where we have to take legal action."
The NAA explained with the lawsuit, its goal is not for landlords to be able to push residents out of their homes, but rather it hopes it pushes Congress to take action and fund the mandate.
"This is really to try to force Congress to get back to the table and talk about a solution here," said Pinnegar. "We have been told by members of Congress on both the Republican and Democratic side that the next stimulus bill will contain relief for renters, but the bill is being held hostage to our current political environment."
The National Apartment Association wants a stimulus package with money allocated to renters, instead of a moratorium, because the money would trickle down to help landlords pay their mortgages and keep their property.
If Congress does not allocate such money or fail to pass a stimulus bill soon, the consequence for landlords could be seen soon.
"You are going to see operators move to the brink of foreclosure," said Pinnegar.
The courts are expected to rule on the lawsuit over the CDC's mandate by the end of October, and there is a chance the courts could block or end the eviction moratorium at that time.


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This story first appeared on the Atlantic website and is reproduced here as part of the Climate Desk collaboration.
The 4,000 inmates at Santa Rita Jail in the San Francisco Bay Area have an unusual home. The Alameda County facility boasts a microgrid, a self-contained power system consisting of a 1.2-megawatt rooftop solar array, five wind turbines generating 11.2 kilowatts, a one-megawatt fuel cell, and two megawatts worth of batteries to store all that energy.
That makes Santa Rita perhaps the world's greenest modern jail, according to a discussion at a recent conference. It, and other large-scale infrastructure projects like it, are another sign that institutions are beginning to pull the plug on a century-old energy business model in which a monopoly utility sells electricity at a regulated rate for a regulated profit to captive customers. "We're saving a $100,000 a year while generating our own renewable energy," Matt Muniz, Alameda County's energy program manager, said of the facility at a recent conference in San Francisco.
How? The jail charges the microgrid's lithium iron phosphate battery packs—essentially a supersized version of an electric car battery—at night when electricity rates are low and the sun is not shining. During the day the 1-million-square-foot jail's photovoltaic arrays generate electricity when rates are higher. If passing clouds interrupt the flow of solar electricity, the batteries kick in and supply power. The jail's fuel cell—which can convert natural gas, biogas, or hydrogen into electricity through an electrochemical process—provides about half the facility's energy.
Though Santa Rita's energy system is connected to California's power grid, if that grid goes down due to a storm, earthquake, or another disaster, the jail can operate autonomously by tapping its solar panels, fuel cells and wind turbines and storing the electricity in the battery packs. In energy geek parlance, that's called "islanding."
Once the province of the Defense Department seeking secure power supplies for military bases or companies operating in remote locales, microgrids are going mainstream with some 400 in operation in the United States, according to Jigar Shah, founder of solar company SunEdison and a manager with renewable energy investment firm Clean Feet Investors.
Navigant Consulting predicts microgrids will generate nearly 6,000 megawatts in the US by 2020. That's enough electricity to power about 5 million homes.
"Electricity prices are 50 percent higher than four years ago" he said. "Colleges and corporate campuses say we have a geographical entity here we can take off grid and save money."
Interest in microgrids spiked after Superstorm Sandy last year took down much of the New York power grid, underscoring the fragility of an aging transmission system as climate change accelerates the frequency and severity of storms and hurricanes. A series of independent mini-grids would be much more likely to survive such disasters. "A system that relies on 130 million wooden poles is simply not up to the weather challenges of the current era," said David Crane, chief executive of NRG Energy, one of the U.S.' largest independent power producers.
While energy storage systems like batteries remain expensive, plunging prices for solar panels and generous subsidies for fuel cells in states like California have prompted companies to go green to save some green. And that's bad news for utilities that find themselves competing against their own customers to generate electricity while remaining on the hook for the cost of maintaining the power grid.
"The threat is absolutely there," Josh Gerber, manager of smart grid operations for San Diego Gas & Electric, one of California's three big investor-owned utilities, said a green business conference in San Francisco in October.
In fact, the threat was sitting a floor beneath his feet. As part of the conference, a temporary microgrid was constructed to supply electricity to the exhibit hall. "The power system is changing from a large central systems to something near to you that you can actually control and manage," said Sunil Cherian, chief executive of Spirae, the company that provided the software and control systems for the microgrid. "Just take a look at microgrid that was built here over a weekend in a parking lot."


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George Balanchine, the greatest dance innovator of the twentieth century, and possibly the most important in all 350 years of classical dance history since the language was codified in the court of Louis XIV, has just been subjected to a global celebration lasting an entire year in honor of the centennial of his birth, in tsarist Russia, in 1904. Now it is perhaps a good time, as he enters his second century of influence, to assess the many acts of heroism performed in his honor—and the attendant damage.
It is safe to say that had he been alive, this past year of celebrations would have been done in considerably better taste, especially at the company he created, the New York City Ballet, where bad taste now surfaces with predictable frequency both in new productions and often even in the dancers themselves, who have clearly been left, unwisely, in the dark concerning their true purpose in dancing Balanchine ballets. Many of them actually seem to believe that performing Balanchine is all about their admittedly lovely selves, and smile and twirl to curiously inappropriate and banal effect. If Balanchine taught his dancers one thing, and only one thing, it was that whether they liked it or not, neither his ballets nor by association this life is about them. It is about service. Or as Lincoln Kirstein, founder with Balanchine of the New York City Ballet, explained: "Ballet is about how to behave." Balanchine taught his audience and dancers alike how to behave, but oh how quickly (and how well he knew) they would become both physically and morally lazy in his absence.
In his canonization—which might have amused him, but certainly not surprised him given his laser-like ability to detect all manner of self-serving associations—Balanchine's name has become a kind of vacant edifice of inevitably crude, yet noble, attempts at preservation and continuation. In the twenty years since his death, and most especially during the last year, Balanchine has been filed, incorporated, copyrighted, trademarked, exalted, berated, plagiarized, and blamed for anorexia and bulimia, for liking what he liked (very undemocratic), and for setting almost impossible standards of excellence (ditto).
Why, he is even now joining Elizabeth Taylor and Britney Spears in branding his name for consumer products, most recently for a line of dancewear "inspired" by his ballets. The manufacturing company proudly states that each price tag will inform the aspiring student and her mother of the name of the ballet, the composer, and the première date. They explain their educational intentions with the comment, "Young dancers today aren't getting enough of that history." Balanchine redux on a leotard tear tag. Great. (In reality, ballet dancers rarely "study" the history of their profession—they are far too busy sewing ribbons on pointe shoes and tightening a tutu. Their knowledge of the tradition of which they are legatees is by way of steps, not words, and is intrinsic in their dedication.)
"Après moi, le board!" Balanchine declared gleefully. Well, now it looks more like, "Après moi, le marketing de moi." But at year's end, happily, there were two short biographies, to remind us what all the song and dance was once really about.
George Balanchine: The Ballet Maker is by Robert Gottlieb, former editor in chief of Simon & Schuster, Knopf, and The New Yorker, currently dance critic for The New York Observer, former board member of the New York City Ballet, and audience member of Balanchine's enterprise since its inception in 1948. Predict-ably Gottlieb's book is well informed and makes a perfect introduction to the man. The other book, All in the Dances: A Brief Life of George Balanchine, is by Terry Teachout, drama critic for The Wall Street Journal, music critic for Commentary, columnist for The Washington Post, and prolific blogger.
Both books recapitulate the outline of an extraordinary life. The little Russian boy intended for the Naval Academy but ending up at a ballet school—the one run as a tributary of the tsar's personal household. The child who found music and pageantry and devotion—he wanted to be a bishop after witnessing elaborate Russian Orthodox rituals—married on the great stage of the Maryinsky Theater. The teenager who roamed the streets of St. Petersburg during the Bolshevik Revolution, starving and eating dead cats (and he loved cats) to survive, and then finally at age twenty in 1924 departing Russia never to see his parents again. Then, under the magisterial eye of the impresario Serge Diaghilev, the young choreographer received a crash course in European culture and spewed forth, with lucid ease at age twenty-four, his first astonishing masterpiece, Apollon Musagète, and met much of his future in the music of his friend Igor Stravinsky.
He subsequently arrived in America thanks to the foresight of the American Lincoln Kirstein, who had the temerity as a young man, barely out of Harvard, to think he could bring the glory of classical ballet to his own youthful culture. And then, after notable and amusing stints on Broadway, in Hollywood, at the Metropolitan Opera, at Barnum & Bailey, as well as with numerous dancing troupes, the founding of the New York City Ballet in 1948 and the ensuing outpouring from this trim and elegant Russian man of one exquisite ballet after another, including so many indisputable masterpieces that his canon numbers more than Shakespeare's.
Inseparable from this story were his beloved dancer girls, the thousands that danced for his eyes alone, and the few that he chose as his muses and often wives. For Balanchine, love, eroticism, and a vision of the divine were inextricably interwoven, and while he delighted in portraying both the Madonna and the Whore in his ballerinas, it was the woman dressed in white with flowing tresses that brought him deepest into his destiny—and his despair. Thus he gave us a body of work that defines woman in art as no other dance-maker had done before or since.
And then, in 1983, at age seventy-nine, he died, and the Internal Revenue Service was flummoxed. How to estimate death taxes on a man who left an apartment in Manhattan, a condo on Long Island, two gold watches, several cases of good red wine, and a few thousand dollars in the bank? How to tax an artist who made over four hundred three-dimensional dances that do not exist outside the bodies of the dancers dancing them in a live performance? Videotapes were made and scrutinized and filed, and ballets were valued in dollars, and, at the end of an unprecedented investigation, it was estimated that his estate was worth $1.2 million, of which less than half was the ballets themselves. But taxes on those ballets needed to be paid and thus the marketing of Balanchine, inevitably, began. The gentle genius who loved blue died, unknowingly, in the red.
Terry Teachout begins his assessment of Balanchine in 1987, four years after Balanchine's death, upon his first seeing Concerto Barocco. Assuming that his own belated coming to the light could possibly reflect that of thousands of others gives the reader an immediate clue to Teachout's position. Perhaps he'd have done better to explore the reasons for his astonishing late arrival to the shores of one of the greatest artists not only of his own time but of the very city in which he lives. To ask, as Teachout does, "Why hasn't anybody ever told me about this?" begs the question, while playing the innocent is disingenuous, especially for a "culture" critic. Teachout then sets himself up as guide and savior, setting Balanchine up as a victim of the public's short-term memory loss by titling his first chapter "The Unknown Giant" and then claiming that today "you don't have to know who Balanchine was, or what he did, in order to be deemed culturally literate." Says who?
Balanchine had the extraordinary ability during his lifetime, and now in death, to elicit from his appreciators a possessive ardor worthy of a jealous lover. To many it is "my Balanchine" and Teachout is no exception. Though I am personally thrilled that Teachout experienced his Balanchine awakening, and while his brief telling of Balanchine's life is correct in most particulars (the facts are well documented in numerous sources), his former ignorance of Balanchine's fifty-year venture surfaces periodically, most especially in his glib assessment of Lincoln Kirstein.
Kirstein was the man who organized the rank and file of reality about Balanchine's art with the complex strategizing worthy of a Napoleonic campaign. In his efforts to make way for Balanchine's angelic message to float free, he dug in the trenches, built the bunkers, and made the nonexistent exist. Teachout falls into the trap, as have others when it serves them, of introducing Kirstein to the story as a bipolar (he was), "eccentric," "crazy" man, an example of "dilettantism run amok," known, on occasion, to exhibit public rages. (The ones I knew about were all calculated for effect; Kirstein was the Sun Tzu of ballet, employing the Art of War to achieve the stability of the Art of Balanchine.)
Teachout is certainly entitled to his disagreements about some of Kirstein's tastes in painters—he cites Paul Cadmus and Pavel Tchelitchev as "minor" painters undeserving of Kirstein's praise—but it is hard to conceive where his condescension comes from. He announces that "Kirstein would exert no substantial influence on the visual arts, either as a critic or as a patron." This is a peculiar statement about a man who had his finger, so to speak, in virtually every notable artistic pie of the twentieth century from painting, to literature, to poetry, to photography, to theater, to architecture, and, of course, ballet. Perhaps Teachout felt the need for a dramatic contrast to his new-found hero Balanchine, and plugged the gargantuan, complex, and difficult Kirstein into the slot. But to present the Balanchine– Kirstein collaboration—one of the most significant artistic pairings of the last century—as a sane guy–crazy guy story is both ill-informed and superficial—even for a "brief" life.
Of Kirstein's impassioned idea to bring Balanchine to America in 1933—talk about "thinking outside the box" before "the box" was even invented—Teachout writes:
It's easy enough in retrospect to make fun of Kirstein's naive fantasies…. As for Balanchine, one can scarcely imagine what he made of the awkward, bespectacled giant who urged him to pull up stakes, move to a country he knew only from books, and start choreographing ballets about Uncle Tom and General Custer.
Clearly Balanchine thought it was a wonderful idea since he arrived in their country shortly thereafter and the rest, as they say, is history.
There is also the observation that Kirstein "never fully understood or appreciated mainstream modernism," a baffling comment about the man who organized some of the first exhibits of "modern art" in America in 1929, featuring such artists as Miró, Man Ray, Modigliani, Dufy, Matisse, Picasso, Klee, Brancusi, Derain, Lachaise, and O'Keeffe. Kirstein understood "modernism" just fine. He just enjoyed denouncing it on occasion.
Then there is Teachout's assessment of Balanchine's love life with phrases referring to "an endless string of torrid affairs" worthy of "tabloid fodder,"* employing the terms "ruthless" and "tyrant" in a meek attempt to sensationalize a dignified life, a life devoted to art with an ease and humor that defies all rules and expectations of tortured genius. (That job fell to Jerome Robbins.) It is clear from the depth of sadness exposed in his ballets that Balanchine was a man with a deep internal life, one shaped as much by love as the lives of the rest of us, if not more. But daily drama was not the way of Balanchine, who approached his life and work with a disconcerting calm and confidence that defies the drama of the neurotic.
Robert Gottlieb's George Balanchine: The Ballet Maker is the superior book, though the telling is somewhat dry and there is nothing new here. But it is useful to have all the famous Balanchine stories and quotes gathered into one handy little volume—though the stories have been recycled so often now as to sound more like platitudes than fresh wisdom. Gottlieb has his facts correct, and he manages to convey a general sense of the profound importance of and delight about Balanchine's achievement.
Most moving in Gottlieb's book is a considered and sensitive portrait of the young Georgi Melitonovich Balanchivadze, a child who clearly experienced grave injury at a very early age, informing from the start his understanding of life as defined by loss, a view that is so heartbreakingly evident in many of his ballets. Abruptly left by his beloved mother at the ballet school at age nine, he was so unhappy that he promptly ran away. But he was just as promptly returned. (So much for little Georgi's futile attempt to avoid his now obvious destiny.)
How sweetly touching to read that his first role onstage as a child was in The Sleeping Beauty as "a tiny Cupid," as if that destiny as the man who would explore love's wounds in three dimensions of motion was sending its message, in a theatrical arrow, to mark the little boy. At age nineteen the budding choreographer set Chopin's Marche Funèbre for his group of young dancers, "building a design of uncompromising grief" and revealing a knowledge far beyond his years.
By age twenty-six, having departed his homeland and his family forever, he all but lost his life, spending three months in a sanatorium for tuberculosis that left him with permanently impaired lungs. "I am really a dead man," he would explain later, "now everything I do is a second chance." Balanchine had found his freedom and it would govern his whole artistic life, and his ballets that portray the concept that in loss fate manifests itself are numerous—Serenade, La Sonnambula, Meditation, Elegy, Robert Schumann's "Davidsbündlertänze," Mozartiana, to mention just a few. When at age sixty-one he portrayed the bumbling, idealistic Don Quixote onstage pursuing passionately, and futilely, Suzanne Farrell as his winsome Dulcinea, he underscored the notion more personally than ever before.
Balanchine was the man whose work was, at its deepest level, about time itself—the measurement of time, the passage of time, the music that is time, the loss inherent in time. How ironic that in the two decades since his passing, his name has been subjected to so many attempts, both elegant and vulgar, to preserve him, to institutionalize a man who called himself, in the words of the Russian poet Vladimir Mayakovsky, "not a man but a cloud in trousers." The efforts have been enormous, and no possibility has been left unexplored to make that now legendary name not only survive but produce.
But what cannot be preserved is time, the very subject of which he was master, and which now in his heavy absence is all the more poignant. Surely ballet is the saddest of all the great arts, demonstrating in its very essence the swift and inevitable passing of time and the bereavement that is a constant of a conscious daily life. A beautiful ballet doesn't speak of or refer to loss directly as can poetry, painting, or music; it is an act of loss itself, laid bare, and all the more moving for it. For the same reason it is perhaps the bravest of the arts, the one whose practitioners—dancers—risk all for mere transitory moments of beauty that may or may not be observed by others. Unlike those arts that exist in a form outside the artist himself—painting, sculpture, poetry, prose, music—dance only exists, as Balanchine explained, in that dancer, in that moment. And his work, too, only existed in that body, in that ballet, on that stage. Then poof! It is gone, finished. Time for lunch, as Balanchine would say, with a mischievous twinkle in his eye.
It is a cliché often repeated that "dancers are dumb," and yes, they are the "silent minority," as Balanchine explained, but they are also in a way the noblest and most fragile of artists, knowing as they do that their work will not only not outlive them, but will not even outlive that performance, on that evening, in that theater, in that city. At best their work exists as a memory—and we all know how reliable that is. A dancer will never even see himself, or herself, dance. (Videotape, while technically useful, is a distorted, backward, two-dimensional, miniature rendition of a dance that inevitably erases complexity from any performance. It records, at best, steps, but never depth. Even other live performance—singing and acting—can now be accurately preserved on digital disks.) While dancers' "narcissism" is also frequently noted with snide superiority, it is really generosity that dancers demonstrate with their practiced grace. The evanescent nature of the form is haunting and Balanchine, in his own generosity, gave us this ephemeral gift.
Now is an odd time for Balanchine (and "now" was the only time he recognized). With only twenty years between his reality and his now growing legend there are numerous dancers, critics, and fans who saw his workshop under his aegis and knew what they were seeing. But there is also now a permanent changing of the guard, for with several notable exceptions at the New York City Ballet—Kyra Nichols, Darci Kistler, Jock Soto (who will retire this year)—no dancer on a stage today dancing his works was chosen or trained by him. Of the dancers not trained by him, only the uncompromising Wendy Whelan and Peter Boal miraculously embody his integrity in their every move—and they were trained at the School of American Ballet while Balanchine was still alive.
The generations move on and with them, like gossip, the story changes, the technique changes, the look of the dancers changes, and most of all the spirit of the enterprise changes and, in some cases, has been lost altogether. A preoccupation with accurate execution without the aim of honor gives birth to pointed toes but soulless feet. Always succinct in his suggestions to dancers, Balanchine once told a dancer, "Reach for it like you're reaching for a Cadillac." They just don't reach for those Cadillacs at New York City Ballet anymore. It's SUV City Ballet now.
The much-publicized centennial year 2004 began auspiciously the day after Balanchine's actual birthday of January 22, with the world première of a very expensive "tribute" to Balanchine by Susan Stroman, a talented woman who boasts numerous hit Broadway shows—including Contact and The Producers—and five Tony Awards to her credit. And so as Balanchine entered his 101st year the Queen of Broadway raked his stage with Broadway bombast in her "first full-length ballet," Double Feature. But at least it sold some tickets. What Stroman was doing uptown at Lincoln Center paying so-called tribute to Balanchine's distinguished Broadway career with her swanky but pedestrian moves is unclear. Except that she is popular, and award-winning, and there was a hope that she might draw her Broadway-based audience twenty blocks uptown to Lincoln Center. The year of marketing, I mean celebrating, Balanchine had begun with a dissonant clunk.
On Saturday, May 1, almost two hundred alumni of New York City Ballet (in the spirit of full disclosure, I am one of them) dating back as far as 1948 gathered at the New York State Theater at the invitation of the company director, Peter Martins, to take a bow for past services and share some vodka and blini. After only briefly discussing how the company just "isn't what it was" (how could it be? it's now Martins's company, not Balanchine's), discussion quickly moved on to the usual reunion banter: who's married, who's divorced, who's no longer gay, and who's reproduced. Many of us skipped the last ballet on the program—we knew we'd seen it done better—but beneath our ironic remarks lay disappointment. Most of us weren't so interested in "ballet" per se; we were interested in Balanchine. His dances are now performed like ballets; we had approached them as missions. We are not naysayers, just dinosaurs who remember when the pterodactyls still flew at the State Theater.
The season's highlight—and unquestionable low point—came with the world première of Musagète, a ballet by the Russian hackman Boris Eifman in his first effort for NYCB, in which he dramatized Balanchine's life according to his own. The vulgarities of this melodrama in Tortured-Artist Syndrome were legion. It must be also noted that when the principal dance critic of The New York Times saw fit to claim that the image of Balanchine's beautiful last wife, Tanaquil Le Clercq, being dragged offstage on a length of funereal fabric (she was tragically paralyzed with polio at age twenty-seven) presented an "image [that] does not offend," dance criticism reached a whole new plateau of equivocal diplomacy.
Elsewhere Balanchine was celebrated by virtually every dance company in the world, including a twelve-hour "wall-to-wall" performance at Symphony Space in New York, as well as in numerous exhibitions, notably at Harvard, Hartford, Lincoln Center, and St. Petersburg, while the Museum of Television and Radio, in both New York and Los Angeles, provided screenings of Balanchine ballets dating back as far as 1956.
The year also saw the fiftieth anniversary of Balanchine's The Nutcracker, the ballet that spawned a thousand others every Christmas, and an embarrassing financial scandal at the Saratoga Performing Arts Center (SPAC). In February it was announced that for the first time since 1964 the company would not perform at its annual summer home in 2005 as a "cost-cutting measure," according to the president and executive director of SPAC, Herbert Chesbrough, who had worked closely with Balanchine for decades. By November, after public protest and a state audit, the decision was reversed with the curt statement by the investigating government official: "We were shocked that an institution like the New York City Ballet would be the scapegoat for the financial difficulties of SPAC." It was also noted that Chesbrough was found to have been receiving a salary of more than $300,000 a year plus benefits (including having his wife on the payroll) and is scheduled to receive more than $400,000 as a severance package upon his retirement next year—just about the same amount as SPAC's annual deficit.
It is telling, though disturbing, that perhaps the most poignant image to emerge from Balanchine at one hundred is an advertisement for Movado watches (a corporate sponsor of NYCB) featuring Darci Kistler, Balanchine's last angelic messenger and adored child-woman, whose rich but uneven career, sadly thwarted by injury upon injury, echoes like a cry in the dark since Balanchine's death. In the full-page ad, her beautiful, mournful gaze, twenty years after losing her maestro, peers like a blond widow out of a black web. She, the last muse of the Man Who Knew Time, is posed with her arm across her neck like a noose. Balanchine taught his audience and his dancers how to bear loss with grace, and the serene sadness evident in Kistler's enigmatic face is the visage of a woman whose loss indeed has been great.
Two decades have now passed and how ironic that it has left this last great hope from the Balanchine era marketing timepieces to preserve her transitory art. Balanchine said of the time after him: "Everything will be different…. It will be something else." It sure is.
This Issue
March 10, 2005
This phrase is from the jacket copy written by Teachout himself. ↩


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It was six months ago today that a mob of Trump supporters stormed the U.S. Capitol. That deadly event stunned the nation and the world. It led to Donald Trump's second impeachment, and it spurred a massive federal investigation. NPR justice correspondent Ryan Lucas joins us to bring us up to speed on where things stand now. Hi, Ryan.
RYAN LUCAS, BYLINE: Good morning, Leila.
FADEL: So we all remember the violent and shocking scenes of January 6. But six months later, Ryan, what's the status of the investigation?
LUCAS: Well, I've said it before, but it's worth repeating. This is a massive, massive investigation. Prosecutors have said it's likely to be one of the largest in American history. The U.S. attorney's office here in Washington, D.C., is leading the prosecutions. They've brought in government lawyers from other offices to help out with the case load. I'm told the FBI's Washington field office has agents from elsewhere rotating in to help out. The federal district court in D.C. is up to its ears in cases. Numbers also give a sense of this. Officials say more than 500 people have been arrested in connection with the attack on the Capitol so far, and more people are arrested every week. So it is still very much an active investigation.
FADEL: Now, a handful of the Capitol riot defendants have pleaded guilty so far. What have we learned from those guilty pleas?
LUCAS: Well, they provide a potential roadmap of how a lot of these January 6 cases are likely to end because remember, most federal cases do indeed end in a plea. There's one person who has pleaded guilty and been sentenced so far. That's Anna Morgan-Lloyd, a 49-year-old woman from Indiana. She pleaded guilty to one misdemeanor count of picketing, parading or demonstrating in the Capitol. She was sentenced to three years probation and 120 hours of community service but no jail time.
I've talked to several attorneys who are defending January 6 clients, and they think that sentence is likely a bellwether for other capital defendants who, like Morgan-Lloyd, weren't violent. They just kind of wandered into the Capitol on January 6, took some photos in the hallways and the rotunda and then left.
FADEL: But what about the ones that were? What about the people who burst onto the Senate floor or broke into congressional offices?
LUCAS: Right. And some of the images that we all remember from January 6 are those sorts of things - the guy with the horns standing in the well of the Senate...
FADEL: Yeah.
LUCAS: ...The guy with his feet up on Nancy Pelosi's desk. It's really interesting. From court papers and talking to defense attorneys, it appears that prosecutors have drawn a red line around that sort of thing. The case of Paul Hodgkins, who's a crane operator from Florida, is a good example. And I say that because the primary thing that differentiates Hodgkins from Morgan-Lloyd, the woman from Indiana, is that Hodgkins walked onto the Senate floor. Hodgkins' attorney told me that prosecutors wouldn't give him a misdemeanor plea deal. They insisted on Hodgkins taking a felony. And in the end, Hodgkins pleaded guilty to one felony count of obstructing an official proceeding.
FADEL: Now, the government has brought big conspiracy cases against the Proud Boys and the Oath Keepers tied to January 6. What's the latest on those?
LUCAS: Well, those cases remain in the pretrial phase, so lots of hearings. But in the big Oath Keepers case, one of the 16 charged co-defendants has pleaded guilty to conspiracy, as has another individual tied to the alleged conspiracy. Importantly, they have both agreed to cooperate with the government. So that is a major boost to investigators in that case, which is one of the highest profile of the whole Capitol riot investigation.
There has been no public movement, really, though, on another significant piece of January 6, and that's the two pipe bombs that were planted near the Capitol. Investigators have released footage of the suspect, but they are still seeking leads to try to find out who was behind those.
FADEL: NPR's Ryan Lucas, thank you.
LUCAS: Thank you.
(SOUNDBITE OF MAMMAL HANDS' "BECOMING") Transcript provided by NPR, Copyright NPR.


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Manage Entities Using Event Actions
This example shows how to control entity generation rate and write event actions to change entity attributes in a simple queuing system. In a discrete-event simulation, an event is an observation of an instantaneous incident that may change a state variable, an output, or the occurrence of other events. SimEvents® allows you to create custom actions when an event occurs. These actions are called event actions. Events can have corresponding actions. You can write event actions to change entity attributes by using MATLAB® code or Simulink® functions.
Start with a Simple Queuing System
This is a simple queueing system with Entity Generator, Entity Queue, Entity Server, and Entity Terminator blocks. In this example, an entity represents a tank of a truck that arrives at a gas station. The attribute of an entity represents the current gas level in a tank. Event actions represent the changes of the gas level in a tank. Tanks are randomly generated, queued, and they are serviced with a pump which transfers a constant amount of gas for one second. Tanks depart from the station with their new total gas amount.
Modify the Model
Select the whole model or the entity paths originating from the Entity Generator, Entity Queue, and Entity Server blocks and right-click to select Log Selected Signals. Simulation Data Inspector is used to visualize the flow of tanks and their gas level in the model. For more information, see Inspect Simulation Data.
Rename the Entity Generator block as Tank Generator, the Entity Queue block as Waiting Queue, the Entity Server block as Pump, and the Entity Terminator block as Exit.
Rename the path originating from the Tank Generator block as Tank to Queue, the Waiting Queue block as Tank to Pump, and the Pump block as Tank to Exit.
Configure and Simulate Model
Double-click the Tank Generator, and select the Entity type tab. Change the Entity type name to
, and the Attribute Name toCurrentGasLevel
.The entity attribute
represents the existing amount of gas in each tank.Simulate the model. Open the Simulation Data Inspector. Observe that the tanks approach the Waiting Queue, the Pump, and the Exit with the same rate.
Tanks leave the station with their initial gas amount
which is the Attribute Initial Value.Open the Tank Generator block parameters dialog box. In the Entity generation tab, set Time source to
Matlab action
. Observe the default MATLAB code.dt = rand(1,1);
The code randomizes the entity intergeneration time parameter
to represent random tank arrivals.Simulate the updated model. In the Simulation Data Inspector, observe that tanks arrive randomly with the same initial gas amount
.Observe that the tanks are generated randomly but they approach the pump with a regulated fixed rate because service time for the Pump is
.Open the Tank Generator block dialog box. In the Event actions tab, in the Generate action field, enter the code.
entity.CurrentGasLevel = randi([1,4]);
Tanks arrive at the station with a random gas amount that ranges from
.Simulate the updated model. In the Simulation Data Inspector, observe that the tanks arrive with random amounts of gas.
For the Pump block, set these parameters:
In the Event actions tab, select Service complete.
For the Service complete action field, enter the code.
entity.CurrentGasLevel = entity.CurrentGasLevel + 3;
Each tank is filled with 3 units of gas for
s duration, and then it departs the pump.
Observe that the Tank Generator and the Pump blocks update with the event action icon {...} indicating that the blocks define an event action.
Simulate the updated model. In the Simulation Data Inspector, observe that each tank leaves the station with 3 additional units of gas.
Modified Model to Manage Entities in a Queueing System
This is the modified model after configuring the simple queueing system.
See Also
Entity Generator | Entity Queue | Entity Server | Entity Terminator


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Meshstore Returns
We know that things don't always go to plan. It's our goal to deal with any product returns as quickly and as fairly as we possibly can.
Change of Mind
Any goods purchased from Meshstore may be returned for a credit within 14 days of delivery.
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Product Warranty
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How can you join?
You can either join an existing cleanup, organized by somebody else. The organiszer arranges gloves, garbage bags and gives a short briefing about the route to take. Search a cleanup below and become part of OderCleanUp.
You can also organize a cleanup by yourself. This means you will select a starting location and route, reach out to your municipality to pick up the collected garbage afterwards, and make sure everybody has gloves and bags.


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An Ox, drinking at a pool, trod on a brood of young frogs, and crushed one of them to death.
The mother, coming up and missing one of her sons, inquired of his brothers what had become of him. "He is dead, dear mother; for just now a very huge beast with four great feet came to the pool, and crushed him to death with his cloven heel."
The Frog, puffing herself out, inquired, "If the beast was as big as that in size."
"Cease, mother, to puff yourself out," said her son, "and do not be angry; for you would, I assure you, sooner burst than successfully imitate the hugeness of that monster."
Moral of Aesop's Fable:
"Impossible things we cannot hope to attain, and it is of no use to try"
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Firewood 31/31
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Wed, 4 March 2015
Briefing.com's Chief Economist Dr. Jeff Rosen talks employment report, service sector, gas prices, labor market & more. |
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Rolling spectacularly through a memorable second half, Maccabi Tel Aviv beat mighty CSKA Moscow 93-85 in the second Euroleague semifinal on Thursday. Maccabi advances to the final to play Skipper Bologna on Saturday night at 20:30 CET. Having trailed by 11 in the first half, Maccabi closed the gap to just a point at halftime and used its surging momentum to put the game away in the fourth quarter. In a game that featured stars from top to bottom of both lineups, Anthony Parker proved to be the biggest one of all. He poured in 27 points including a pair of alley-oop dunks in the game-turning third quarter that almost lifted Nokia Arena off its foundation. Maccabi took a seven-point lead into the fourth quarter and never let it slip below five to the finish. The game-breaker was Tal Burstein's triple with 2:30 left, giving Maccabi its biggest lead of the game, 80-68, after which CSKA could not pull within striking distance. Sarunas Jasikevicius scored 14 of his 18 points in the second half for the winners. Nikola Vujcic added 14 more for Maccabi and Maceo Baston a double-double of 11 points and 10 rebounds. For CSKA, Marcus Brown put up 23 points, J.R. Holden 16, Victor Alexander 12 and Sergei Monya 10. Mirsad Turkcan added a double-double of 10 points and 10 rebounds for CSKA.
Maccabi scored the game's first basket, but CSKA dominated the next 10 minutes. Turkcan responded with a triple from the wing, and on CSKA's next possession Monya nailed another one from the same spot. CSKA swallowed up two Maccabi shots around the basket, sending a message that they would not allow easy points. Turkcan then scored on a baseline drive, giving CSKA a 2-8 lead, but Anthony Parker connected on back-to-back jumpers to make it a 6-8 game halfway through the first quarter. CSKA continued to find holes in Maccabi's defense, as Monya scored his fith point on a baseline jumpshot. Nokia Arena errupted for the first time when Baston rose up for a signature two-handed slam. Maccabi tied at 12-12 on the next possession when Parker who hit nothing but net from long range. CSKA didn't stop attacking, however.
It went on an 0-10 run keyed by spectacular baskets from Holden, plus Monya's second triple. Maccabi took a timeout with 1:40 remaining in the first quarter, trailing 12-20. Maccabi scored on its next two possessions, but couldn't cut into the lead. Each time Maccabi hit a shot, CSKA responded with a basket of its own. The quarter ended with an amazing triple by Brown from 8 meters that set the score at 18-27. CSKA veteran Dragan Tarlac scored to give CSKA a nine-point lead early in the second quarter, but Maccabi did not give up. Pushed by an incredible crowd, Baston followed a big three-pointer by David Bluthental with an alley-oop dunk to cut CSKA's lead to 23-29. Brown retaliated quickly, however, and drilled another long bomb from downtown. CSKA used a small lineup with twin point guards and Brown at the small forward spot, as the game turned into a physical battle. Tarlac, playing a key role off the bench, made a tip-in to restore the Russians' double-digit lead at 23-34. Maccabi had been scoreless for more than 2 minutes. Bluthental stepped up with a long two-pointer and Vujcic added free throws for a 27-34 score as CSKA's second unit stepped on court. The loss of Brown to his third foul would hurt CSKA before the quarter ended, however. Jasikevicius made 2 free throw that capped an 8-2 Maccabi run and made it a five-point game at 31-36. Alexander drilled his trademark mid-range jumper, but nothing seemed to stop the Israeli champs, as a tip-in by Baston brought the hosts within 35-38 after 18 minutes. A carousel of free throws followed, in which youngster Yotan Halperin made 4 for Maccabi, pulling the home team to within 41-42 before the halftime buzzer.
CSKA came out of the lockers and got back-to-back baskets by Alexander and Holden to extend its lead 41-46, but from that point onwards, little went right for the visitors. Maccabi got back on track with a three-pointer by Jasikevicius while Parker made a putback to make it 46-46. Maccabi took its first lead since the game's very first shot at 49-48, on a Parker free-throw. They would not reliquish the lead for the remainder of the game. Another easy basket by Parker forced a CSKA timeout. while Maccabi fans celebrated the change in momentum. There was more fun to come. Jasikevicius connected with Parker on a pair of spectacular alley-oop dunks that almost brought down the house. Brown gave CSKA some fresh air with a three-point play, but Maccabi was unstoppable in both ends of the court. Jasikevicius followed 2 free throws by Vujcic with a bomb from downtown, extending his team's lead to 58-51. CSKA stayed in the game thanks to a driving layup by Holden and 2 foul shots by Theo Papaloukas made it a three-point game at 58-55. Vujcic stepped up for Maccabi with 4 quick points as he and Maccabi matched very physical. Even with Turkcan rebounding on both ends of the floor, Maccabi kept a 62-55 lead entering the fourth.
Gur Shelef opened the final period with a reverse layup. Brown brought CSKA back to life with his third three-pointer of the game, but only CSKA's first after 10 misses since the first quarter. Brown's three ignited a 2-7 run in which Papaloukas added a layup and 2 free throws, enough to make it a four-point game at 66-62 with more than 6 minutes to go. Bluthental stepped up in crunch time with a five-meter jumper. Alexander and Turkcan combined for 4 points to keep the Russian champs into the game at 70-66. Maccabi looked to Parker, who made his second three-pointer, after which the play started getting physical on both ends of the court. Maccabi had a different level of intensity, however, grabbing two offensive rebounds in the same play for a third-chance layup by Baston, while 2 free throws by Jasikevicius off a midcourt steal gave Maccabi a 77-68 lead with less than 3 minutes to go. CSKA called timeout to put a small lineup on the floor, with Monya at power forward, but it didn't work. Burstein then drilled a three-pointer that was the game-breaker, extending Maccabi's lead to double digits for the first time, 80-68. CSKA had no other option than shooting threes, but even when Alexander and Brown combined on 3 hits from downtown, Maccabi made smart choices on offense, sending Jasikevicius and Vujcic to the line at every opportunity. Maccabi made 9 of 10 free throws in less than a minute, enough to prevent any kind of comeback. The local fans erupted in joy in the final minute, as the outcome was clear and Maccabi returned to the Euroleague final!


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A Complete Deployment Image
- A Complete Deployment Image
- Steps Toward the Install
- Running the Install
Windows 2000 deployment expert Jeffrey Ferris shows you how to combine a computer-naming script with NETSET.EXE and a network configuration script to completely deploy a Windows 2000 Professional workstation using a disk-imaging utility and SYSPREP.
By now you've got your standard install image, you've modified COMPNAME.VBS to conform to your organization's naming standard, and you've written a version of JOINDOM.INF that configures workstations to use your standard network configuration (see the first three articles, "Deploying Windows 2000 Professional," "Scripting the Computer Name," and "Configuring Network Settings with a SYSPREP Image"). Now it's time to put all three together into a fully automated process.
What You'll Need
You'll need these components for this process:
Windows 2000 Professional
SYSPREP v1.1, (downloadable from http://www.microsoft.com/WINDOWS2000/downloads/deployment/sysprep/default.asp)
Windows 2000 Server Resource Kit
- DeployPak.zip (download here). The files in DeployPak.zip are described later in this article.


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It's 2012, and The New York Review of Magazines is back after a two-year absence. A lot has changed in that time—readers switched on iPads, The New York Times Magazine laid off columnists and, oddly, Google started a print magazine. This issue is full of content that attempts to come to grips with everything that's happened.
One of the challenges of putting out a publication like The New York Review of Magazines is that we find ourselves, at the top of each new calendar year, with the pressing need to define some terms and justify our mission. So let's start by defining the most important term of all. What is a magazine?
Simply put, the magazine is both a medium and a cultural product. As with all cultural products, a close examination of it can tell us something of our society's preoccupations and concerns. That's where NYRM comes in. Magazines are the chosen lens through which we look at a host of larger issues. You'll find our features address matters of technology, humor, food and more.
But we also value the simple pleasures of reading. We don't just examine the magazine as a cultural product; we believe in it as a medium. Whether on pixels or bound paper, it remains the best venue for in-depth analysis and long-form nonfiction as well as for various kinds of creative writing.
We haven't shied away from long investigations. Our writers' stories took them everywhere from a military base in Maryland ("Military Mags Retreat From Print") to the insular world of college humor magazines ("College Humor Gets the Last Laugh"). But we also have plenty of light snacks to whet your appetite, including one staffer's kiss-off to her first love among magazines ("Breaking Up With Vogue") and a quiz that will test your magazine knowledge ("How Well Do You Know Your Newsstand?"). There's even a poem for you literary types.
We love magazines. We wouldn't be putting NYRM out into the world if we didn't. Our back-of-the-book review section surveys more than a dozen of them—some good, some not so good and some just plain weird. We like to think there's something here for everyone.
In this age of instant communication, of news that breaks even before it's supposed to break, we're confident that magazines, whether print or digital, still have a purpose and can still bring pleasure. We will have succeeded if this issue of NYRM introduces you to some that are getting it right and excites you about how much is still possible.
Download the 2012 print issue of The New York Review of Magazines here.


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Well, by the grace of God and with the help of a stalwart wife unafraid to lock me in the basement, I've managed to "beat" the NaNoWriMo (National Novel Writing Month) challenge for the first time, at least from a wordcount perspective. The goal for the month-long challenge is to complete the first draft of a novel, or 50,000 words minimum. It had been my goal to go beyond that minimum by at least double, clocking in at 100,000 words and completing the rough draft of a novel set in the Four Horsemen Universe. In the end, I managed 70,279 words, and much of that was in the 8 days following Thanksgiving. It's been quite a journey, to say the least!
However, when November 1st rolled around, I was still in the midst of outlining. I've gotten much better over the years at planning out critical plot points and twists, but the journey between those points is often a nebulous area for me, prone to much head-scratching and hours spent doing anything but putting in keystrokes or penstrokes. So, November 1st became November 2nd, and 3rd, and before I knew it, we were four days into the month and still nothing written other than what was in the outline. At that point, I decided I had to just get to it and continue the outline while drafting.
Then life interfered, as it always does. And while I was getting words down, it was a trickle of what I knew I was capable of. 1,500 words one day, 400 the next, 3,300 the following, and so on. By the time Thanksgiving got here, my wordcount was sitting at 8,527. Just barely past the opening scenes of Jackie Warren's novel adventure, and nowhere near the inciting incident. That made for a very frustrating experience, especially as I was hearing about the successes going on with the people in both of my writers' groups. I wasn't envious of them. I was kicking myself for not living up to that potential, for letting them down. This, I think, is one of the best parts of being in a group of writers with just as much drive as you. Their accomplishments spur you on. At least, that's the case for me.
Thanksgiving happened, and it was then I decided to just pull back from the writing for a day, to rest and be thankful for all God's blessed me with, from my family and friends and colleagues to the desire to write and the opportunities that have been set before me. I also took time to reflect on those who are nowhere near as blessed as I am, who suffer many more afflictions or life stresses and go on to produce so much.
And then on Black Friday, while many were out killing each other over factory-second TVs and game consoles, I went down to the basement, set up a writing spot, and got to work. In that one day, I wrote 9,183 words, more than I'd produced the entire month. I've done 10k days in the past, but they were rare. And I'm tired of them being rare, so the push was on! And from Black Friday to Friday the 30th, a total of 61,752 words were produced. They're rough words, but they're words on digital paper, waiting to be torn apart, reassembled, and polished up in the editing phase, which will begin shortly.
The point of this post is to show that it is certainly possible to produce a fair amount in a relatively short amount of time. Now, I wish I'd been more consistent with this throughout the month. The words produced would probably be of a higher quality if I'd spread this out over the entire month rather than the last week of the challenge, and I'd have reached my goal of having the entire novel done by the end of the month if I'd been putting in, say, 4,000 per day rather than 7,500 a day in a frantic final push. But, I know now what I'm capable of doing when I have five solid hours of writing to do per day, and a basement with nothing else to do other than write.
So, yes, once more: I am very thankful for the people in both my writing groups for giving me the encouragement needed to push on through with the draft, not just during November but in the weeks before and the weeks to come. And since this particular manuscript is set in the Four Horsemen Universe, special thanks to Chris Kennedy and Mark Wandrey for creating such a badass place to house a group of characters I hope people find cool and fun to follow.
I have no idea on the ultimate fate of this novel, as I sort of decided to put the cart before the horse and whip up this draft before the story was even looked at or approved. But, hey, it's too cool a universe to not want to write in it. I haven't been this excited about a shared world experience since back when I was writing Star Wars and Warhammer 40K fanfiction, so I couldn't help but dive right in.
In any event, back to the basement dungeon I go, to finish the draft, figure out what needs to be done with the editing, and then get a proposal written up. As mentioned earlier, this novel features the character Jackie Warren and her Justin Timers from the short story "Return to Sender" in the Tales From the Lyon's Den anthology published back in October. If you enjoyed the story and characters and have something you'd like to know more about or see more of, now's the time to let me know! The carcass of a rough draft has yet to be opened up in an editing autopsy, so many things could change.


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Routine X-rays of the Spine Do Not Improve Outcomes for Patients
August 11, 2022
As we discussed in our second newsletter this month, diagnostic tests like X–rays should only be performed when a red flag is detected, meaning that the healthcare professional notices signs of a potentially serious underlying condition during the initial evaluation. Despite this, many X–rays continue to be performed on patients with conditions like back pain even when no red flags are identified.
Large groups of chiropractors, for example, including the International Chiropractic Association, promote the use of routine or repeat X–rays to assess the structure and function of the spine. This practice has been used for over 100 years, and it's unclear if doing so is associated with any benefits for patients with back pain. With this in mind, a study was conducted to evaluate whether chiropractors' routine or repeat use of spinal X–rays without red flags have any noticeable impact on patients' outcomes.
This particular study was a systematic review, in which researchers performed a thorough search for any studies with data on patients who visited a chiropractor and were referred to undergo an X–ray of any region of their spine in the absence of red flags. They were specifically interested in patient outcomes that were associated with chiropractic approaches that used these X–rays for diagnosing or assessing the patients' condition. Once identified, they analyzed the results of these studies to determine if there was a clinical utility of X–rays for patients with back pain. Clinical utility was defined as "the degree to which the use of a test is associated with changing health outcomes through diagnosis or selecting an appropriate treatment."
No evidence found in 23 studies to support the use of X–rays
The search process originally identified 959 articles, and researchers screened 176 of these to land on a total of 23 studies that met the necessary criteria and were included in the review.
Researchers were unable to identify any studies that investigated the clinical utility of spinal X–rays in the absence of red flags for evaluating the spine. Similarly, no studies were identified that investigated whether findings from repeat spinal X–rays are valid markers of significant changes when monitoring patients with back pain. These findings suggest that X–rays of the spine without red flags do not appear to be beneficial for patients. The study also points out that X–rays expose patients to some radiation, and although the amount used in a single X–ray is generally considered to be safe, no dose of radiation exists that is not without risk. This risk also increases proportionally with the dose, meaning that X–rays could pose dangers for patients when used repeatedly over time. Taken together, given the lack of benefit to patients and associated radiation risks, this study provides additional evidence as to why X–rays should not be recommended for patients with back pain in the absence of red flags. Doing so exposes patients to harmful radiation and does not appear to have any noticeable impact on their clinical outcomes.
Therefore, patients with back pain are encouraged to not request X–rays and other diagnostic imaging tests from their doctors. They should also be sure to discuss the risks, benefits, and costs of any test being ordered to diagnose or assess their condition before proceeding.
Additionally, patients should strongly consider seeing a physical therapist first rather than their primary care doctor or a surgeon. Physical therapists avoid the overuse of diagnostic tests and only order them when it is deemed absolutely necessary in light of the associated risks and costs. Instead of spending time in search of a diagnosis, they will get patients started on a treatment program from the get-go that will address their limitations and teach them to use their own movements to overcome their pain and disability. So if you are currently dealing with back pain or any other musculoskeletal condition, we urge you to contact our clinic to schedule an initial visit and get started on your path to recovery.


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The U.S. Geological Survey says the Pavlof Volcano, which is about 600 miles southwest of Anchorage and roughly 40 miles from the nearest community, erupted Sunday at 4:18 p.m. local time. Alaska State Troopers could not immediately say if there were any reports of injuries.
The USGS says the eruption also led to tremors on the ground.
The agency has raised the volcano alert to its highest level, which warns of hazards both in the air and on the ground. An image of the volcano posted on the Alaska Volcano Observatory website showed a thick streak of light grey ash arcing up out of the peak and streaming sideways across the sky.
The agency says the volcano, which is about 4.4 miles in diameter, has had 40 known eruptions and is one of the most consistently active volcanoes in the Aleutian arc.
The USGS says that during a previous eruption in 2013, ash plumes rose 27,000 feet. Other eruptions have generated ash plumes as high as 49,000 feet.
The community closest to the volcano is Cold Bay, which is about 37 miles southwest of it.


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Within the framework of the Joint EU/CoE programme JUSTROM3 "Roma Women's Access to Justice", the Council of Europe has launched a Call for Tenders for the provision of consultancy services on Access to Justice for Roma Women in the four countries of implementation, Bulgaria, Greece, Italy and Romania, for the following roles: National Coordinators, Consultants with legal expertise and Facilitators.
You will find below the link per specific country to apply to the Call for Tenders for the provision of consultancy services.
Please note that the tender files must be sent to the Council of Europe both electronically (only to the following address [email protected] and with the correct reference of the call in the subject line) and in paper hardcopy (please follow the exact specification in the call).
Deadline for the submission of tenders: 30 October 2019 (23:59 CET) as evidenced by the postmark, or by the receipt of delivery provided by the dispatching company.
Questions regarding this specific tendering procedure shall be sent at the latest by 23 October 2019, in English, and shall be exclusively sent to the following address: [email protected]. All answers will be published online.


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Universal Pictures has released the first trailer for R.I.P.D., directed by Robert Schwentke and starring Jeff Bridges, Ryan Reynolds, Kevin Bacon, Mary-Louise Parker, Stephanie Szostak, Robert Knepper, James Hong, Marisa Miller, Mike O'Malley and Devin Ratray. Opening in 3D and 2D theaters on July 19, R.I.P.D. is based on the Dark Horse mini-series.
Jeff Bridges and Ryan Reynolds headline the 3D supernatural action-adventure R.I.P.D. as two cops dispatched by the otherworldly Rest In Peace Department to protect and serve the living from an increasingly destructive array of souls who refuse to move peacefully to the other side.
Veteran sheriff Roy Pulsifer (Bridges) has spent his career with the legendary police force known as R.I.P.D. tracking monstrous spirits who are cleverly disguised as ordinary people. His mission? To arrest and bring to justice a special brand of criminals trying to escape final judgment by hiding among the unsuspecting on Earth.
Once the wise-cracking Roy is assigned former rising-star detective Nick Walker (Reynolds) as his junior officer, the new partners have to turn grudging respect into top-notch teamwork. When they uncover a plot that could end life as we know it, two of R.I.P.D.'s finest must miraculously restore the cosmic balance…or watch the tunnel to the afterlife begin sending angry souls the very wrong way.
Watch the trailer below and you can also view new images by clicking here!


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Mr. Electrico
An excerpt from Sam Weller's 2010 Ray Bradbury interview for The Paris Review
[ . . . ] The need for romance is constant, and again, it's pooh-poohed by intellectuals. As a result they're going to stunt their kids. You can't kill a dream. Social obligation has to come from living with some sense of style, high adventure, and romance. It's like my friend Mr. Electrico.
That's the character who makes a brief appearance in Something Wicked This Way Comes, right? And you've often spoken of a real-life Mr. Electrico, though no scholar has ever been able to confirm his existence. The story has taken on a kind of mythic stature—the director of the Center for Ray Bradbury Studies calls the search for Mr. Electrico the "Holy Grail" of Bradbury scholarship.
Yes, but he was a real man. That was his real name. Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end.
The next day, I had to go the funeral of one of my favorite uncles. Driving back from the graveyard with my family, I looked down the hill toward the shoreline of Lake Michigan and I saw the tents and the flags of the carnival and I said to my father, Stop the car. He said, What do you mean? And I said, I have to get out. My father was furious with me. He expected me to stay with the family to mourn, but I got out of the car anyway and I ran down the hill toward the carnival.
It didn't occur to me at the time, but I was running away from death, wasn't I? I was running toward life. And there was Mr. Electrico sitting on the platform out in front of the carnival and I didn't know what to say. I was scared of making a fool of myself. I had a magic trick in my pocket, one of those little ball-and-vase tricks—a little container that had a ball in it that you make disappear and reappear—and I got that out and asked, Can you show me how to do this? It was the right thing to do. It made a contact. He knew he was talking to a young magician. He took it, showed me how to do it, gave it back to me, then he looked at my face and said, Would you like to meet those people in that tent over there? Those strange people? And I said, Yes sir, I would. So he led me over there and he hit the tent with his cane and said, Clean up your language! Clean up your language! He took me in, and the first person I met was the illustrated man. Isn't that wonderful? The Illustrated Man! He called himself the tattooed man, but I changed his name later for my book. I also met the strong man, the fat lady, the trapeze people, the dwarf, and the skeleton. They all became characters.
Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I'm glad you're back in my life. I said, What do you mean? I don't know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I'm glad you're back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.
Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that's what attracted him.
When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of "Beautiful Ohio," and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I've never stopped.
Seventy-seven years ago, and I've remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, "Live forever." And I decided to.


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Design Act. Sternberg Press
Posted in graphic design, politics, Uncategorized, writing on January 27th, 2012Tags: Design Act, Iaspis, Magnus Ericson, Ramia Mazé, Sternberg Press
Design Act. Sternberg Press
Edited by Magnus Ericson, Ramia Mazé
Contributions by Magnus Ericson, Natasha Marie Llorens, Ramia Mazé Interviews with Ana Betancour, Otto von Busch, Mauricio Corbalan, Pelin Dervis, Anthony Dunne, Joseph Grima, Peter Lang, Yanki Lee, Tor Lindstrand, Helena Mattsson, Ou Ning, Doina Petrescu, Fiona Raby, Meike Schalk, Christina Zetterlund
Design Act: Socially and Politically Engaged Design Today—Critical Roles and Emerging Tactics is a project that presents and discusses contemporary design practices that engage with political and societal issues. Since 2009, the Iaspis project Design Act has been highlighting and discussing practices in which designers have been engaging critically as well as practically in such issues. Itself an example of applied critical thinking and experimental tactics, the process behind the Design Act project is considered as a curatorial, participatory and open-ended activity. Design Act has developed through an online archive, public events, and an international network.
Co-published with Iaspis
Design by Johanna Lewengard
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Good Karma – TOL01-1
Original price was: $44.95.$25.95Current price is: $25.95.
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