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Dogs are funny little animals. Some of them hate water while others will try to attack it coming out of the sprinkler in the yard. If your canine is of the type that enjoys it enough to drink from a fountain, the WaterDog could be pretty a pretty cool item to buy. It plugs into the outdoor hose spigot and features a motion detector. When it senses your dog approaching, it opens up a gentle flow of drinking water; when he's done and walks away, the flow is cut off. This saves water while letting your dog stay hydrated and not dependent on your remembering to fill up his water bowl.
It's $70 for the WaterDog. If for some reason you don't want to plug it right into the hose spigot, there's a $35 Remote Location kit that lets you place it anywhere in your yard, perhaps right next to Fido's doghouse if he's an outdoor pet.
[ Product Page ] VIA [DVice ]


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In the video below, we demonstrate how one can whiten his or her teeth at home naturally with a secret ingredient: turmeric. All you need to do is create a paste and use it over your teeth, according to YouTuber FitLifeTV.
Does it work? First and foremost, FitLifeTV isn't a medical professional, but his results look good (see above picture). That said, WebMD does state that early research shows that turmeric could serve as a "drug-therapy mouthwash" to help decrease the risk of gum disease.
What's his recipe? Check out the video below:
Full Recipe: Turmeric toothpaste
Regarding teeth whitening, in particular, there's been anecdotal evidence of it working, aside from FitLifeTV's claims. For example, blogger Heather from mommypotamus.com claims she's switched completely away from teeth whitening strips to a turmeric-based solution. She writes, "Years ago, I was so addicted to whitening strips that I would often pop one in after eating on my lunch break ... My teeth started to ache and the tips became slightly translucent." This went away once she turned to natural solutions. Regarding turmeric, she states, "You may notice an immediate difference with the first application, you may not. But if you'll do it consistently for a few days to a week, I think you'll be surprised by how much of a difference it makes."
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subset: commoncrawl


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< Return
Girls U19 Teams (Home League)
Click on the field or team name for more information. When updated, the game score is the number within the brackets following the team name. Click the
icon to enter the game score. Icon will appear be on games that have completed and do not have a score entered already. Teams with an (*) next to their name are responsible for field set-up or tear down.
No game schedule available at this time.
Delta Youth Soccer League P.O. Box 2085 Antioch, CA 94531 (925) 978-5020


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Amcor posts 16pc profit rise
Packaging company Amcor has increased its first half profit by 16 per cent and forecast growth in its underlying profit for the full financial year.
Amcor made a net profit of $238 million in the six months to December 31, up from $205 million in the same period the previous year.
The company said volumes in its key markets in developed countries were stable in the period, while volumes grew strongly in its emerging markets.
Profit growth also came despite the impact of the high Australian dollar on its earnings from overseas, which detracted $20 million from its profit, Amcor said.
"The outlook for the current year remains unchanged from the full year results in August," chief executive Ken MacKenzie said in a statement.
"It is expected Amcor will deliver another year of higher underlying profits in the current year."
Amcor's underlying profit in the six months to December of $322 million was up six per cent from the previous corresponding period.
Amcor took a $83.7 million hit in significant items relating to the closure of its cartonboard plant in Queensland, and another $20 million charge related to the high Australian dollar.
The group's flexible packaging division's profit before interest and tax rose 4.7 per cent to $344.6 million after benefiting from volume growth in emerging markets and the integration of the Aperio and Aluprint acquisitions.
The rigid plastics division also increased its profit, by 8 per cent to $122.9 million, while the Australasian and packaging section had a 7.8 per cent drop to $82.8 million.
Amcor increased its unfranked interim dividend to 19.5 cents a share from 18 cents.
Morningstar analyst Nathan Zaia said Amcor's results had come in a little below expectations, mainly due to lower profits in the flexible packaging division during the second half.
"Management say this is a temporary effect of acquiring lower margin businesses. Once synergies are extracted, profitability will return," he wrote in a note to clients.
"Given management's track record of integrating acquisitions in recent years, particularly with Alcan, we are inclined to back management's capability to get the job done."
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For many, this is a day that couldn't come too soon! The first (with at least one more hot on its heals) oral disease-modifying therapy drug for relapsing forms of multiple sclerosis has been approved by the Food and Drug Administration (FDA). It may be available to patients as early as Oct. 4.
Known generically as fingolimod, the drug will be marketed by Novartis as Gilenya (pronounced jil-EN-ee-ah) for reducing the frequency of MS clinical relapses and delaying the accumulation of physical disability in relapsing forms of MS.
This is the first new disease-modifying therapy approved for MS since November 2004, and the first approved as a first-line treatment in over a decade. "First line" refers to a drug that may be prescribed to a patient without any recommendation that the person try other drugs first.
As we all know far too well, no one can say for certain how MS disease-modifying drugs work. It appears, however, that fingolimod (okay, I'll start calling it Gilenya) blocks some blood cells in the lymph system and keeps them from going to the brain and spinal cord – a new approach to immune-mitigated diseases.
The size of the protein molecule that does that binding is small enough that it is not digested in the gut, and it is for this reason that Gilenya can be taken in capsule form rather than injected or infused.
According to Dr Russell Katz, M.D., Director of the Division of Neurology Products in the FDA's Center for Drug Evaluation and Research, "Gilenya is the first oral drug that can slow the progression of disability and reduce the frequency and severity of symptoms in MS, offering patients an alternative to currently available injectable therapies." (Dr. Katz was quoted in the FDA press release on Gilenya.) This is when compared to currently available interferon drugs and placebo.
Gilenya is, of course, not without risks.
Minor side effects can include headache, flu, diarrhea, back pain, elevation of certain liver enzymes (which could be a sign of liver injury), and cough.
FDA is requiring the product warning label to include potentially serious risks, among them decreased heart rate and/or other heart effects after the first dose; increased risk of infections; risk of macular edema (swelling of the center of the retina); decrease in lung function; slight increase in blood pressure; and risk of harm to a fetus (based on animal studies).
The price of Gilenya, as reported in our interview with MS expert Dr James Bowen hasn't been announced by Novartis. Bloomberg cites a Swiss drug industry analyst as saying Gilenya will probably cost around $30,000 annually, about the same as injectable and infused medications for MS. A healthcare analyst quoted on NPR Shots predicts that Gilenya could eventually gain about 20 percent of the MS drug market in the United States.
While many have heard the term "convenience factor" (often indicating a higher price) bandied about for a while when it comes to oral meds for MS, I'd like the manufacturer to think about another tack: How about pricing Gilenya 10 percent LOWER than your competitors' drugs?
Think about it, Novartis… If you price Gilenya below the other drugs you're likely to get a higher return in the long run, and people living with MS might be able to choose this road without insurance companies balking at the price.
Just a thought… from a person who gives a damn!
Wishing you and your family the best of health.
Important: The views and opinions expressed in this article are those of the author and not Everyday Health.


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Posted 7 years ago
(728 items)
Tracking # 1Z1359AY0355089797
Item Price Qty Total
# 12933019 - Lot Of Assorted Leather & Cowhide Items $12.22 1 $12.22 I bought 5 bag/purses, for $12.22, The leather one with fur inside and brass ring is from Australia. Used for?? Maybe kangaroo fur! The one with white fur on one side is French, see red label, it has metal clips to hook on belt. What the white fur is,? The small brown is ladies new coin purse from Canada, The big ladies wallet is used but very little, it just says ROLFS COWHIDE, but has lots inside, credit cards photos etc. The big leather is nice also, It just has R.O. H.E. H.A. and has nice Eagle engraved on front. They will make good gifts or I will use for something! I just have to buy sometimes! Any help appreciated Thanks for looking! Don


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July 24, 2018 at 6pm to July 24, 2019 at 7pm – No.1599 FengPu Avenue, FengXian District, ShangHai, China. The porter system was now commenced, and from a pint to a pint and a half of this beverage was taken in the four and twenty hours. The porter was ordered to be left off; remedial measures were presc… Organized by wall base | Type: business
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In celebration of the ninetieth anniversary of the founding of the Jewish Institute of Religion in 1922 by Rabbi Stephen S. Wise and the Free Synagogue, the New York campus of HUC-JIR held a year of events honoring our past, giving gratitude for what our community has become today, and committing ourselves to continue the spirit of JIR as we look to the future. Our students, who represent the future religious leadership of Reform and liberal Judaism, were urged to Be Wise – to think imaginatively in relation to the needs of our contemporary Jewish community, and dare to make real their own vision for liberal Judaism of the twenty-first century.
As part of the Be Wise Entrepreneurial Grants Competition, students were challenged to design a project that would promote entrepreneurialism and bring a spirit of innovation and creativity to campus by exploring and experimenting with community-building and outreach techniques. Students were asked to showcase the values upon which Rabbi Stephen S. Wise founded the Jewish Institute of Religion that are still part of the New York campus culture today. Students submitted proposals to the Be Wise Entrepreneurial Grants Competition outlining the need or problem they intend to address, and what they hope to achieve. They had to explain how the project carries on the work of Rabbi Stephen S. Wise and his vision for JIR.
Rayna Green (pictured, right), fourth-year cantorial student, and Cantor Sarah Krevsky (left), who was ordained by the Debbie Friedman School of Sacred Music Cantorial Program in 2013, were chosen as the winners of the Be Wise Entrepreneurial Grants Competition. Green and Krevsky are creating a communal songbook of Cantor Benjie Schiller's work. Cantor Schiller (center) serves as Professor of Cantorial Arts at the Debbie Friedman School of Sacred Music at HUC-JIR's New York campus.
HUC-JIR sat down with the winners to learn more about their project:
Why did you decide to create a communal songbook of Cantor Schiller's work?
"Yitchazeik v'yashuv... " These unfamiliar words were introduced in song at Kallah 2012 during t'fillah. The sh'lichei tzibbur taught the beautiful new melody and soon the whole community was singing and creating harmonies with ease. Some sat in awe of the beautiful composition. Others quietly whispered to their neighbor, "Do you know who wrote that? Where can I get the music?" The last notes concluded, the kahal satiated with the new music that we had sung.
Following the service, we found each other to talk about the new music that we learned Cantor Schiller wrote. "It's such a shame," we commiserated, "that there isn't one great songbook of all Cantor Schiller's music. Wouldn't it be wonderful if we could all access her music?"
We agreed that our classmates would benefit from a compilation of Cantor Schiller's music. We considered compiling a songbook that students could access at school. However, with our hectic schedules and lack of resources, the dream project was set aside.
The Entrepreneurial Grants Competition gave us the opportunity and motivation to make a published songbook of Cantor Schiller's communal music a reality. Rather than limiting our audience to our HUC-JIR classmates, people in Jewish communities all around the country could have access to Cantor Schiller's music. Clergy, lay leaders, congregants, choirs, could be inspired and help others connect to new spiritual heights through Cantor Schiller's moving compositions.
We presented our idea to Cantor Schiller who, to our great delight, loved the idea. During her years teaching at HUC-JIR, Cantor Schiller noticed that the congregation desired more moments to sing together as a community with the sh'liach tzibbur. HUC-JIR gave her the space and inspiration to write more communal, lifecycle music that people could join in song together. Cantor Schiller felt passionately about keeping the integrity of her writing style for these communal moments. She acknowledged that congregants can be challenged and stretched both musically and spiritually.
Cantor Schiller expressed to us a similar desire to share her compositions, but a lack of time and resources had held her back for years. After hearing her pieces included in t'fillah, concerts or classes, students often approach Cantor Schiller asking for her music. Since much of her communal music is not published, she makes photocopies of her handwritten notes. She does not always have the time she desires to devote to publishing her music because of all the ways that Cantor Schiller gives to the HUC-JIR community as well as the wider Jewish community. Often times she hesitates to give out handwritten music, music with no accompaniment, or music still under revision. But the community is thirsty for her music. Not only does the HUC-JIR community request her music, but her cantorial colleagues often email or call her requesting specific pieces of her music. She reports that in the weeks leading up to the High Holy Days the demand is higher.
With the support of the Entrepreneurial Grant, we were able to bring our dream to a reality. Together with Cantor Schiller, we were able to have the monetary resources to create a communal songbook of her music.
Who is the audience for your songbook and how do you hope it will impact them?
The publication of a compilation of Cantor Schiller's music will hopefully reach the larger North American Jewish community. Although Cantor Schiller writes beautiful music for choir as well as solo art songs, this songbook will be focused on crafting communal spiritual moments. Cantors will be able to bring Cantor Schiller's music to their community and will hopefully become part of their synagogue music canon.
One of the many reasons that Cantor Schiller's music is received so well is because of her innovation and creativity. There is a thoughtfulness that she puts into each note, phrase, and rhythm that paints the text in a truly unique way. Taking poetry, such as May these Trembling Flames, and creating a musical intro to lighting Shabbat candles, gives people a new way to experience this ritual. In Water to Water, Cantor Schiller focuses on the ritual of mikveh, when she offers a piece of music that speaks to the challenges that many people can identify with. People can see themselves in her music. Thanks to Cantor Schiller's creative portrayal of this perspective, another person may find a connection to Judaism.
Publishing Cantor Schiller's music will bring a new perspective of liturgy to the liberal community. Her music is written in a sophisticated way that is still accessible and singable for non-musicians. Generally unfamiliar texts, such as Psalm 100 and Kaddish d'Rabbanan, come alive through her melodies. Music has a way of entering our souls and staying with us throughout our lives. Through Cantor Schiller's music, the words of our liturgy, and the texts of our people, come alive in new ways.
How has Cantor Schiller influenced your studies at HUC-JIR?
In too many ways to count. Cantor Schiller is an incredibly gifted musician and it's been especially thrilling to see her creativity come through her compositions. Working with her, we have learned that every note a composer writes is intentional and important. Her thoughtfulness towards music has helped us to also become better musicians. Keeping the composer's point of view in mind, we look at music and try to imagine the perspective of the composer. It brings new life to both her music as well as other music we sing.
Throughout our time at HUC-JIR, Cantor Schiller has been such a wonderful model of what a cantor can be - truly, a cantor's cantor. She serves her congregation, teaches and shares her wisdom with her students, and takes time for her own musical passions by composing music. Cantor Schiller shows compassion to every person she meets and it comes through in her music. It's truly wonderful to observe her "in action" and to learn from her. Studying and working with Cantor Schiller is nothing short of an incredible gift.
What have you learned about Stephen S. Wise through the Be Wise Entrepreneurial Grants Competition?
Stephen Wise was an innovator and entrepreneur of his time who helped shape the face of Reform Judaism. As we have embarked on this project together, as entrepreneurs in our own way, we have learned that passion goes a long way in making a dream a reality. Cantor Schiller's own innovation and creativity makes her music unique and helps people connect to liturgy and rituals in a new way. Just as Wise couldn't imagine the doors he opened for Jews when he spoke out about social justice and Zionism, so does Cantor Schiller's music invite the Jew who is searching for a way to connect personally. As we reached out for support of this project, it became even more clear how Cantor Schiller herself and her music reaches out to all Jews across denominations. Her music is all inclusive, bringing Jews and non-Jews together in elevated ways, just as Wise did with his words and his vision.
What have you learned about entrepreneurialism through this project?
Finding people who are just as excited and passionate about the project as you is incredibly helpful! Midway through our project, our original publishing company fell through and we had to find a new company to work with. We ended up connecting with Joe Eglash from Eglash Publishing and were thrilled to find that Joe was also incredibly passionate about publishing Cantor Schiller's music and sees incredible value in her work. Finding people like that is not always easy, but is worth it in the end.
At the beginning of the project we were given the advice to "adapt as you move forward." We certainly found that we needed to revise our project at certain points throughout the year. Although difficult to change directions at some points, it always ended up being to our benefit. After we switched publishers to work with Joe, we suddenly found ourselves in a position to include more music that we had originally envisioned! Joe urged Cantor Schiller to look back through her music and see what other music might be applicable for this songbook of communal music. This unexpected surprise certainly gave us more work, but ultimately will make the songbook even richer.
Finally, neither of us knew anything about publishing. It was difficult in some ways to embark on a project that we had no knowledge about. Where do we start? How does one use the music program Sibelius? What is the process of getting music published? We discovered that people were incredibly willing to answer our many questions and help in any way they could. We are still learning the ins and outs of writing out music in Sibelius, but slowly getting better. At the end of the day, it was a good lesson to remember that just because you don't know about something does not mean you shouldn't try.
Is there anything else you'd like us to know?
Working towards publishing a songbook of Cantor Benjie Schiller's music has been a rewarding and learning experience. The extra time we got to spend with our teacher was invaluable and it's exciting to know that we will continue working together. It also gave us the opportunity as classmates and colleagues to deepen our relationship which is always incredibly valuable. We are both so thrilled to be a part of publishing the music of Cantor Benjie Ellen Schiller. It is truly an honor.
A native of Anchorage, Alaska, Rayna Green grew up attending Congregation Beth Sholom and spent her summers at Union for Reform Judaism Camp Swig. While in college, she directed Camp Sholom and song-led at Hillel Campus services. Rayna went on to song-lead at Camp Newman and was the inaugural Head Song Leader at Camp Kalsman. A graduate of the University of Oregon with a B.A. in Family and Human Services, Rayna joined Temple Beth Israel in Portland, Oregon in 2003. For seven years, Rayna served as preschool teacher, senior and junior youth group advisor, Song Leader for the Sunday School and Tot Shabbat services, and a member of Beth Israel's house band, Def Schlepper. Rayna helped found Beth Israel's 20s and 30s group, offering an alternative prayer service. As a Student Cantor, she served Port Jewish Center in Port Washington, New York for two years. Rayna is going into her fourth year at HUC-JIR's Debbie Friedman School of Sacred Music in New York. She is thrilled to be the Student Cantor at Brooklyn Heights Synagogue this coming school year.
Cantor Sarah Krevsky was born and raised in Wyndmoor, Pennsylvania, a suburb of Philadelphia. She graduated in 2008 from Brandeis University with a Bachelor's degree in Near Eastern & Judaic Studies and Music. Following college, Sarah studied for the cantorate at HUC-JIR's Debbie Friedman School of Sacred Music, where she was ordained in May 2013. After returning from her first year of cantorial study in Israel, Sarah was honored to served for two years as the cantorial intern once a month at Temple Beth El in South Bend, Indiana, and then in her final two years of cantorial school at Garden City Jewish Center in Long Island, New York. Additionally, she has taught first grade at East End Temple in New York City and has tutoring many young adults in preparation for their b'nai mitzvah. For two summers, Sarah worked as a chaplaincy intern at New York Medical Center through Health Care Chaplaincy. This coming September, she will be serving full time as a chaplain resident at the VA Hospital in New York City.


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D-Link DIR-655 Xtreme N Gigabit Router
Editors' note: The D-Link DIR-655, which was first released in 2007 with Draft-N specs, is one of D-Link's most longstanding wireless routers. The latest firmware upgrade fixes bugs, adds features, and supports the 802.11n specs.
At around $100, the DIR-655 offers basically everything you'd want from a single-band home router. It has fast throughput, a very stable wireless signal, and a generous set of networking features. The router also sports D-Link's SharePort technology, which turns its USB port into a networked one that supports virtually any USB device. If a single-band router is all you need, and it probably is in most cases, the DIR-655 is a good bet. Otherwise, check out dual-band routers that CNET has reviewed, such as the DIR-855 or the Cisco E3000.
Setup and design
The DIR-655 looks like a typical wireless router with a square shape and three detachable antennas sticking up from its back, cluttering the network ports. The router's ports include four Gigabit LAN ports (for wired clients), one WAN port (to be hooked to an Internet source, such as a broadband router), and a USB port. This USB port can be used to host a USB device or to support Windows Connect Now (WCN). WCN is an old but handy technology that allows you to transfer the router's encryption key from the router to a Windows computer using a USB key, sparing you from having to remember the encryption key.
On the side, the router has a Wi-Fi Protected Setup button, which is another convenient way to let wireless clients enter the encrypted wireless network. Press this button and you open a 2-minute time window in which other WPS-enabled devices can join the network without you having to enter the encryption key manually.
On the front, like most routers, the DIR-655 has an array of blue LED lights showing the status of the router, the LAN ports, the wireless network, the USB port, and the connection to the Internet.
We didn't experience any problems setting up the DIR-655. The router comes with a CD that contains the D-Link Router Quick Setup desktop software. Following the wizard, we were able to get everything up and running, including connecting to the Internet and other wireless clients; we were also able to set up an SSID for each frequency. Alternatively, you can use the Web-based interface, which is well-thought-out, responsive, and more comprehensive than the desktop application.
Like most D-Link routers, the DIR-655 is wall-mountable and also comes with a detachable base to enable it to work in the vertical position.
D-Link regularly releases new firmware for its routers, which, apart from fixing bugs, sometimes dramatically changes the feature set of the router. We tested the DIR-655 with its latest firmware, version 1.34NA. Initially, its USB port was designed just to host a USB printer, but starting with firmware version 1.21, the router has a new feature called SharePort. This enables the router's USB port to work as a networked USB port.
SharePort comes with a software application called SharePort Network USB (SNU) that you'll need to install on your network computers. The software allows the computer to recognize a USB device plugged into the router as if it were plugged directly into the computer's USB port. For this reason, unlike other USB-equipped routers that support only printers and external hard drives, SharePort allows the DIR-655 to share virtually any USB device over your network.
SharePort does have a big drawback, however. By making the router's USB port work the same way as a computer's, SharePort makes it so only one PC can access a USB device plugged into the router at a time. So, if one person is using a printer that's plugged into the router, others won't have access to it until it is released using the SharePort Network USB software. This makes it a little less appealing than the old print-serving feature, where the printer could be accessed by multiple computers at a time.
We tried the SharePort USB port with multiple devices, including printers and external hard drives, and it worked as intended. We found that you can still share the attached USB device with multiple computers if you just share it from the one computer that has control over it, the same way you would share a folder or a computer on that computer. This seems to be a workaround to spare you from having to install SNU on multiple computers. However, this also means the host computer has to be on for the device to be available to the rest of the network.


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From Sweet To Steely: Amy Adams In 'The Master'
The new movie "The Master," written and directed by Paul Thomas Anderson, is getting a lot of attention for Anderson's masterful filmmaking and for the powerful performances by the film's stars, including my guest Amy Adams. She's also starring with Clint Eastwood and Justin Timberlake in "Trouble with the Curve." Her other films include, "Junebug," "Enchanted," "Doubt," "The Fighter," "Julie and Julia" and "The Muppets."
Let's start with a scene from "The Master," which takes place after World War II. Amy Adams plays Peggy Dodd, the wife of Lancaster Dodd, the charismatic leader of a cult called The Cause. Joaquin Phoenix plays a G.I. who is mentally unstable and unable to fit in anywhere or with anyone. Then he stumbles into a party of the cult members and tries to find a home with them. But Amy Adams' character becomes skeptical that he's right for the group and she's suspicious of his motives. Here she is sharing her concerns with her husband. He's played by Philip Seymour Hoffman.
AMY ADAMS: (as Peggy Dodd) I wonder how he got here and what he's after. Is it really all so easy that he just came across us? He's a drunk and he's dangerous and he will be our undoing if we continue to have him here.
PHILIP SEYMOUR HOFFMAN: (as Lancaster Dodd) If we are not helping him then it is we who have failed him.
ADAMS: (as Peggy Dodd) Perhaps he's past help or insane.
GROSS: Amy Adams, welcome to FRESH AIR and congratulations on "The Master." At the center of "The Master" is a cult and your husband, Philip Seymour Hoffman is the founder of it. You're his, I don't know, like third or fourth wife, but like you're almost the power behind him. In some ways like you control him. What did Paul Thomas Anderson tell you about this cult that you and your husband lead so they could have enough of a backstory to fill in the details of it?
ADAMS: You know, it's interesting because in thinking about my conversations with him he didn't bring up any specificity as far as it being a cult or go study this religion or go read this. So for me, the way that I work, I didn't feel responsible for coming up with the history of this religion cult belief system. For me I always go into the character, so most of my discussions with Paul really had to do with my character, who she was, where she was from. She was very highly-educated and it was a time where women didn't have as many choices of what to do if they were very smart and very educated. It was just a different world.
And so I sort of came to the conclusion in doing my own research about that era that this was a woman who found her power behind a man really. And I thought it was a really wonderful opportunity to create somebody that I'd never played before, somebody who on the surface was very, very mothering, almost genteel and then underneath there was this boiling almost rage, this fierceness, and to play somebody with that kind of duplicity was very interesting to me.
GROSS: So you and Philip Seymour Hoffman's character put members of this group through different exercises, and one of them is questions - just like asking the same question over and over, like what is your name?
ADAMS: Yes.
GROSS: What is your name?
ADAMS: Yes.
GROSS: What is your name?
ADAMS: Yes.
GROSS: Do your past failures bother you? Do your past failures bother you? Do your past failures bother you? What did you think about or talk about when thinking about those exercises and why you're putting people through them?
ADAMS: Well, in the original script that I read my character was not involved in those. Paul very much would sort of come - he'd just say hey, come to set. I want you to do something. Like the in the film the exercise that I do is what color are my eyes? And he just had me look in camera and basically ask different questions as he called them out. It wasn't something that I had a lot of time to put a lot of thought into. He was telling me in the moment what to say, so it's a great exercise in staying focused and staying in character. It's almost like a hypnosis that I felt like I was hypnotized by the process of doing it, staring into camera and repeating these questions and that's what struck me when I was participating. There are a couple of times I appear on screen and those weren't scripted, those were in Paul's imaginings in the moment...
GROSS: That's really interesting because he's telling you what to do but on screen you're telling another character what to do.
ADAMS: Character what to do.
GROSS: Yeah.
ADAMS: Exactly. So who is the master?
GROSS: So it's like he's controlling you and your controlling Freddy. Yeah. Yeah.
ADAMS: Yes. Paul is the master and I'm happily a member of his cult.
GROSS: If you're just joining us, my guest is Amy Adams and she's one of the stars of the new Paul Thomas Anderson film "The Master." She's also currently in theaters starring with Justin Timberlake and Clint Eastwood in "Trouble with the Curve."
One of the ways you got your start with dinner theater. What's that like from the perspective as a performer, you know, when dinner is being eaten or served?
ADAMS: I took it very seriously. For me it was my Broadway, you know. I never knew where I would end up so for me it was all about living in the moment and I took it very seriously and I loved it. I loved the work. I loved getting, you know, to just sing and dance every night.
GROSS: What shows did you do?
ADAMS: I did "Brigadoon," "Anything Goes," "Seven Brides," a lot of shows.
GROSS: So you got to do a lot more classics than you ever would have done on Broadway.
ADAMS: Exactly. I probably never would have been hired on Broadway had I not moved out to LA and pursued acting and film, which is sad really. I just did Shakespeare in the Park.
GROSS: Yeah. I know, "Into the Woods," the Stephen Sondheim show.
ADAMS: Yeah and I worked with some amazing, amazing talent. And just working...
GROSS: "Into the Woods" is Stephen Sondheim's fairytale musical...
ADAMS: Yes.
GROSS: And there's like three different like parallel fairytales that are told.
ADAMS: Mm-hmm.
GROSS: And it's the really dark version of "Enchanted."
ADAMS: The second act is definitely. Yeah.
GROSS: Yeah. Because, you know, a few years ago you starred in the movie "Enchanted" as a princess living in - it's like an animated princess that starts off as animation...
ADAMS: Yeah.
GROSS: You meet your handsome prince and you're about to marry when the wicked queen intervenes and wants to get rid of you, so she pushes you down a well and somehow as you go deeper and deeper into the well, you emerge out of the well, but when you emerge you lift off this cap and it's actually a sewer cap in Manhattan.
ADAMS: Mm-hmm.
GROSS: And you climb out and you're not only in the middle of Times Square instead of fairytale land, you're also in the middle of like the real world as opposed to the animated world. Instead of an animated character, you are Amy Adams playing a princess.
ADAMS: Yes.
GROSS: And you have no idea where you are or what you're doing there. And then you get to sing in this too. And I thought I'd play little song in which you sing. And this is "Happy Working Song," and because you're tidying up this like single father's home who has taken you in because you have no place to go. You see that his apartment is really a mess so you lean out the window and sing and, of course, all the animals hear and want to come and help you.
Now in the animated movie it would be like, you know, the cute squirrel and the cute chipmunk and the cute bunny and, you know, all the adorable little forest creatures. But you're in Manhattan so, like, the roaches are coming out of the drain and the rats are, like, running out of the sewers and the pigeons are flying over and they're all coming to your house and they all help you clean. And it's hysterical and here is the song that - you're cleaning as all these, like, vermin are helping you tidy up the house.
ADAMS: Hello.
ADAMS: Hello. Well, it's always nice to make new friends. All right, everyone, let's tidy things up. (Singing) Come, my little friends as we all sing a happy little working song, merry little voices clear and strong. Come and roll your sleeves up, so to speak, and pitch in, cleaning crud up in the kitchen as we sing along. Trill a cheery tune in the tub as we scrub a stubborn mildew stain, pluck a hairball from the shower drain to that gay refrain of a happy working song. We'll keep singing without fail. Otherwise, we'd spoil it. (Unintelligible) and scrubbing up the toilet. How we all enjoy letting loose with a little la da dum, dum, dum while we'll emptying the vacuum. It's such fun to hum.
GROSS: That's Amy Adams from "Enchanted." You really have a lovely voice. That's...
ADAMS: Thank you.
GROSS: That's so much fun. How old were you when you started in "Enchanted?"
ADAMS: I was 32, maybe. I was older.
GROSS: Yeah. It's, like, older for, like, the young princess...
ADAMS: Yeah.
GROSS: ...who, theoretically, would probably be, like, a teenager, so was it intentional to give the role to somebody your age?
ADAMS: I don't think so. Everyone sort of knew how old I was, so it didn't matter to them, as long as I looked and could play the part. I'm sure the DP had some challenges at times, but...
GROSS: So what did you do to get the kind of - those sweet, corny, like princessy gestures that you use in the film and when you're first in Times Square in Manhattan, you're in this, like, exaggeration of a princess gown with the puffy sleeves and the big, puffy skirt and it's such a gross exaggeration of it that it keeps getting in the way of everything.
ADAMS: Yes. I think it helped that I had been a dancer, so I tend to approach a character from a very physical place, anyhow. I went back and watched the older Disney films. "Snow White" had that a lot. She very much had that sort of hand push with the delicate fingers. And then, when I was working with the animators, they did a rough animation of how they saw Giselle running in the forest and I saw how they had her move and I thought, that's perfect.
And, really, they helped inform me and I just took it from there and kind of brought it into a three-dimensional world, but, really, I just used Disney animation from the past and then what they had come up with about how Giselle moved and one of the things that I loved is that she appeared to not understand gravity, like she didn't - she didn't understand weight, so when she moved, it was as though she didn't feel the floor and that was something I noticed about how she moved through the forest and I wanted to bring that as much as possible into New York.
GROSS: Is it ever like a relief to have lines written for you? Because, in life, you don't. In life, you have to really figure out what it is you want to say, knowing that what you might say might have consequences, but you know, when you're acting and you're reading lines, you can do that with abandon. It's not - you know, you don't have to think about - you have to think about how you're saying what you're saying, but you don't have to think about what words to use because those are taken care of.
ADAMS: Yeah. I'm much more comfortable speaking through my characters' voices than my own. I...
GROSS: Is that part of the reason why you became an actor?
ADAMS: I think so. I love talking and I love communicating with people and hearing new ideas, but I do get very self-conscious about how I form my thoughts and I tend to be somebody who acts from a very instinctual place and tries to live from a very instinctual place. So, on occasion, when I have to intellectualize an emotional experience, it's very hard for me.
So when I'm able to just get lost in the life of my character and in sort of emotional truth and reality that they experience, I really enjoy that and it helps me understand humanity a little bit more and that's one of the sad things about - once you become known as an actress, you can't disappear into humanity as easily and I've really missed that. I miss being a voyeur. I try. I just get caught now.
GROSS: Well, thank you so much for talking with us.
ADAMS: Thank you.
GROSS: You can see Amy Adams in two new movies "The Master" and "Trouble with the Curve." Coming up, film critic David Edelstein reviews the new time travel thriller, "Looper." This is FRESH AIR.
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text:
In 1994, the General Assembly decided that the International Day of the World's Indigenous People would be observed on 9 August every year during the International Decade of the World's Indigenous People. In 2004, a Second International Decade was proclaimed to further the "strengthening of international cooperation for the solution of problems faced by indigenous people.
As we strive to foster sustainable and equitable development, it is vital we listen to the voices of indigenous peoples. It is imperative that we learn from their knowledge. This year's theme, 'Indigenous designs: celebrating stories and cultures, crafting their own future', highlights the need for preservation and revitalization of indigenous cultures, including their art and intellectual property. It can also be used to showcase indigenous artists and cooperatives or businesses who are taking inspiration from indigenous peoples' customs and the indigenous communities who may have participated or benefited from this.
It is a reminder of the responsibility of individuals as consumers, to understand that there is a story and a personal experience behind every piece of cloth, textile or artwork from an indigenous individual or community.
"Indigenous peoples represent remarkable diversity -- 5,000 distinct groups in some 90 countries. They make up more than 5 per cent of the world's population, some 370 million people. Together, they are custodians of a valuable and often fast-disappearing cultural heritage. We see their creativity and innovations in the arts, literature and the sciences. These contributions are highlighted by the theme of this year's observance, 'Indigenous designs: celebrating stories and cultures, crafting our own future'." UN Secretary-General in his message for the day.
International Day of the World's Indigenous People
UN Secretary-General: message for the International Day of the World's Indigenous Peoples
High Commissioner's media statement for the International Day of the World's Indigenous People
Other statements: www.un.org/en/events/indigenousday/messages.shtml
The Brussels based United Nations Regional Information Centre for Western Europe - UNRIC provides information on UN activities to the countries of the region. It also provides liaison with institutions of the European Union in the field of information. Its outreach activities extend to all segments of society and joint campaigns, projects and events are organized with partners including the EU, governments, the media, NGOs, schools and local authorities.
United Nations Regional Information Centre for Western Europe (UNRIC Brussels)
Residence Palace, Rue de la Loi/Wetstraat 155, Block C2,7th and 8th floor, Brussels 1040, Belgium
Tel.: +32 2 788 8484 / Fax: 32 2 788 8485


text:
Activity Wales is evolving into something bigger and better.
If you would like to be a client in the new launch, enter your details below.
Over the next few months, Activity Wales will be evolving into something bigger and better.
A new look website and a new portal for everything that's going on in Wales.
If you'd like more information about the re-launch of Activity Wales, please enquire using the contact form or using the details provided below.
Remember, if it's in Wales… It's in Activity Wales!
Get in touch


text:
CT simulation is a process used by the radiation therapy team to determine the exact location, shape, and size of the tumor to be treated. This is done in a separate room that contains a treatment table and special imaging equipment.
During simulation, you will lie on the treatment table. The radiation therapist will position you in the precise way you will ultimately be treated and then watch you through a window while a CT scanner takes images of the treatment site. You must lie still during simulation so the exact area to be treated can be pinpointed.
The radiation therapist may use special pads, body molds or other devices to help hold your body comfortably in the proper position.
After your radiation oncologist locates the exact area to be treated, your skin may be marked with several small tattoos, each the size of a freckle. These tiny, permanent dots will be used to make sure you are accurately positioned at each treatment session.


text:
stillsostrange and I survived the zombie run, despite bankruptcy (theirs), cold (Texas's), and insufficient packing (mine.)
I'm plugging away on Karen Memory, though I've hit that bit in the middle of the book where I have to stop and think about things. This is complicated by some reasonably scary family medical stuff that's causing me fairly significant anxiety. Still hoping to make my deadline, but it might be a near thing. Fortunately, scott_lynch will be coming out to visit me after his Exciting Toronto Book Tour! (He's signing at the beautiful Bakka Phoenix this weekend!) and that will help make everything better.
But the really exciting news is that Emma and Will and I have finally finished "Dark Leader." Or at least, nearly. It's got one scene left to be written, and then it goes to beta read, and there will be NEW MUCH-DELAYED SHADOW UNIT. And after that, three more episodes. 0.0
And I just got a bunch of other small projects cleared up. So all that's left is Karen, really. And some nonfiction stuff I need to do.
45400 / 80000 words. 57% done!
I need to get on this. 0.0 Augh, deadlines and life.
And here's my honeydew list now.
Thing for Boskone: 10 December 2013
"Covenant" line edits
Essay contracts
Interview questions for JJA
Award reading and judging
Karen Memory: 6 January 2014
Cyborg story: 28 February 2014
Sekrit project: February or April 2014
Tiptree story: 30 June 2014
Apocalypse story: 30 June 2014
"A Time to Reap": 1 August 2014
Other apocalypse story: 31 December 2014
Book proposal: Eternal Sky 4-6
"Something's Gotta Eat T. rexes": ?
An Apprentice to Elves: ?
travel and appearances 2014:
MIT SFS: Cambridge, Massachusetts, January 10th at 6 pm. (with scott_lynch)
Boskone: Boston, Massachusetts, February 13-15, 2014
Tucson Festival of Books: Tucson, AZ, March 14-16, 2014
Vericon: Harvard Univerity, Cambridge MA, March 22-24, 2014
RavenCon: North Chesterfield, Virginia, April 25-27th, 2014 (Guest of Honor)
4th Street Fantasy: Minneapolis, Minnesota, June 20-23, 2014
ConVergence: Minneapolis, MN, July 3-7, 2014
Finncon: Jyväskylä, Finland, July 11-13, 2014 (Guest of Honor)
Worldcon: London, England, August 14-17, 2014
ICON: Iowa City, IA, October 31-November 2, 2014
Windycon: Lombard, IL, November 14-16, 2014
Weird West story: August 2015
No fixed deadline:
Smile (unless its name is actually Salt Water)
Unsuitable Metal
Gotham Jazz
Untitled Gangland Urban Fantasy That Keeps Bugging Me
"Untitled Space Opera Thingy" aka "Periastron"
"Posthumous Jonson"
"On Safari in R'lyeh and Carcosa with Gun and Camera"
"This Chance Planet"
"Patience and Fortitude"
"A Time to Reap"
Untitled bard trolling story


text:
Required training for all UW-IT Staff.
This hands-on training is designed to provide you working knowledge of UW Connect to enable using the system in your daily work. Learn how to create and update Incidents, Requests, Problems, and tasks using guided business scenarios.
Understand how UW Connect and related ITIL processes enable UW-IT to achieve its operational and organizational objectives.


text:
UNIVERSITY PARK, Pa. — Barry Lee, director of the graduate program in sociology in the College of the Liberal Arts, is the 2013 recipient of the Graduate School Alumni Society Graduate Program Chair Leadership Award.
The award honors faculty members for exemplary leadership that benefits graduate students and faculty in an existing graduate program at the University.
Lee has served twice as graduate program chair in the Sociology Department, first from 1991 to 1996 and then from 2009 to the present. During his first tenure, he grew the graduate program from approximately 35 to 45 students and shifted the emphasis from a regional to a national recruiting base. He also increased the program's diversity by recruiting 15 minority students. Doctoral degree alumni who entered the program during this period are now tenured faculty members at the University of Michigan, the University of North Carolina, Ohio State University and Rice University. Others are in administrative or research positions at the National Institutes of Health, the National Center for Health Statistics, the U.S. Sentencing Commission and the Research Triangle Institute.
During his current tenure, Lee's accomplishments include developing an in-house National Science Foundation graduate research fellowship workshop; four students have won NSF fellowships during the past four years. He has enhanced recruiting efforts through mass e-mailings and participation in poster sessions at national conferences, and he has recruited 13 students from ethnic and racial minorities. Recent placements of Ph.D. students include faculty and postdoctoral positions at Harvard, Cornell, Dartmouth, Johns Hopkins, Washington and Tulane.
"Barry works hard and has accomplished so much over the years because he sincerely cares about graduate student education," one nominator said. "His overarching goal is to see that our students are well trained, obtain the best possible positions on graduation and find their time at Penn State to be productive and rewarding."


text:
Unfortunately, due to my recent flu situation (finally got over it really yesterday), we weren't able to put together a tailgating situation like we originally wanted to for this game. Perhaps we'll do this down the road.
Also, we won't be able to live blog tomorrow. But after the game we will have a first-hand account of what we've witnessed. Should be a great game – Go Packers!


text:
some says and as the articles say, swing timer is meant for animations or concurrency with swing components(Single tasks), how about for multiple tasks? they say "you should use Swing Timers rather than implementing your class with a Runnable interface, making a Thread
'Sleep' ", but with using Swing Timers, the significance of getting "SLOW" is really obvious..
i have 3 classes, a JPanel child each, AnimatingPanel1, AnimatingPanel2, AnimatingPanel3, running a simple animation using swing timer, these 3 animation panels are used all at the same time in a separate class named AnimationWindow
import java.awt.*; import java.awt.event.*; import javax.swing.Timer; import javax.swing.JPanel; public class AnimatingPanel1 extends JPanel implements ActionListener { private Timer timer; private int x; public AnimatingPanel1() { setPreferredSize(new Dimension(400, 100)); timer = new Timer(5, this); timer.start(); } public void paint(Graphics g) { super.paint(g); g.setColor(Color.WHITE); g.drawRect(x, 5, 100, 50); } public void actionPerformed(ActionEvent e) { if (x >= 200) { x = 0; } x += 5; repaint(); } }
import javax.swing.*; import java.awt.*; public class AnimationWindow { public static void main(String[] args) { JFrame frame = new JFrame(); JPanel framePanel = new JPanel(new BorderLayout()); AnimatingPanel1 ap1 = new AnimatingPanel1(); AnimatingPanel2 ap2 = new AnimatingPanel2(); AnimatingPanel3 ap3 = new AnimatingPanel3(); ap1.setBackground(Color.BLACK); framePanel.add(ap1, BorderLayout.NORTH); ap2.setBackground(Color.GRAY); framePanel.add(ap2, BorderLayout.CENTER); ap3.setBackground(Color.BLACK); framePanel.add(ap3, BorderLayout.SOUTH); frame.getContentPane().add(framePanel); frame.pack(); frame.setVisible(true); } }
to make the posting of codes short, i didnt include AnimatingPanel2 and AnimatingPanel3, they have exactly the same codes as AnimatingPanel1, only the class name differs,
the slowing issue can be resolved with a multi-threaded approach, controlling the working thread with a boolean flag, everyting runs fine
like this one
AnimatingPanel1 modified to a class implementing a Runnable interface
import java.awt.*; import javax.swing.JPanel; public class AnimatingPanel1 extends JPanel implements Runnable { private Thread timer; private int x; private boolean stop; public AnimatingPanel1() { setPreferredSize(new Dimension(400, 100)); timer = new Thread(this); timer.start(); } public void paint(Graphics g) { super.paint(g); g.setColor(Color.WHITE); g.drawRect(x, 5, 100, 50); } public void run() { while (!stop) { if (x >= 200) { x = 0; } x += 5; repaint(); try { Thread.sleep(5); } catch (InterruptedException e) { Thread.currentThread().interrupt(); } } } }
1.) if they say a swing timer should be used for swing animations, but how about these samples, multiple timers in different classes seems to work REALLY SLOW than making each AnimatingPanel implement a Runnable interface?
2.) what is the best or better approach? a multi-threaded one? or multiple-swing timer tasking and how can it be correctly done?
im totally confused, a simple question even typing "Multiple Swing Timers" with google doesnt seem to give a definitive answer, am i missing something here?.. please enlighten me. thanks in advance


text:
Featured News - Current News - Archived News - News Categories
by Joshua Maloni
Business Insider, an award-winning, New York City-based website, has named Lewiston to its "10 Best Small Towns in America" list. The online publication cited Lewiston's placement in the Rand McNally/USA Today "Best of the Road" competition, its historic significance, and proximity to Niagara Falls in ranking the municipality No. 5.
In the past two years, Lewiston's restaurants were twice featured on the Travel Channel, its Historical Association events (including the "Battle of Queenston Heights Commemoration and Re-enactment") garnered national press, and its largest venue, Artpark, picked up a sixth award from Buffalo Spree magazine for its presentation and outdoor facilities.
"With Artpark, Lewiston is well known as Western New York's cultural centerpiece. But today, Lewiston is emerging on all fronts as one of the nation's premiere small towns - attracting people from all over the world who come here to experience the arts, fascinating history, delicious food and hospitality, and friendly people," said town resident Lee Simonson, who spearheaded the volunteer effort that netted Lewiston a top five finish in the "Best of the Road's" "Best for Food" category. "And many people not only visit, but they are so impressed, they are deciding to make Lewiston their new home. Successful communities need three things: enthusiastic volunteers, engaged businesses and supportive local government officials - and Lewiston has all three and more!"
Village Mayor Terry Collesano said he was pleased to learn of Lewiston's ranking, but added, "I think we're No. 1."
"But it's a great honor, it really is," he said. "To be recognized nationally as the fifth in the nation as the best little town, it's a great honor.
"(Lewiston) used to be known as the place to be; the destination. It was always the best secret in Niagara County, but now the word's out. Everyone knows now. We're not a secret any longer. We're now known throughout New York state as well as the country, and this is a great honor."
Town of Lewiston Supervisor Steve Reiter said the ranking, "recognizes the efforts that our community has set forth and the standards that we set."
He said Lewiston's quality of life, coupled with low taxes and shared services, make it an attractive place to live and work.
"It's just a whole genre of good things coming to rest," he said. "It just shows the efforts (of) our service organizations, and charitable organizations, along with the government and business community. ... It's all coming together very well. That selection is a testament to what everybody is doing."


text: I have referred to comments from LeRoy in the past quite a bit and there is good reason for this: he knows what he is talking about. Read here from today's jsonline for their great segment called 5 Questions. While I don't totally agree with him saying the O-Line protected Rodgers reasonably well in St. Louis, the rest of his points are accurate and insightful. I have thought for a while now that he'd make a great coach.


text:
A new study from the University of Houston Hobby Center for Public Policy (HCPP) finds the state of Texas is getting bigger faster than most other states. The ripples of this rapid growth will be felt in education, health services and labor force needs.
"Texas Population: Changes in Size, Composition and Distribution, 2000-2010," used data from the U.S. Census Bureau to paint a picture of the Lone Star state. The study was initiated at the Institute for Demographic and Socioeconomic Research in San Antonio.
Between 2000 and 2010, the Texas population grew by more than four million people, from 20.8 million in 2000 to 25.1 million in 2010. That's double the population since 1980, a rate of growth that is among the fastest in the nation. This growth has brought more diversity to the state, as more than 53 percent of the Texas population is minority.
While the median age of Texans has increased, the population is still considered young—33.6 years old. The median age has increased over the last 20 years, but is still younger than the national median age of 37.2 years old.
"A society like Texas, with a young population, implies the potential for rapid population growth, as well as a continuing need for investments in education and employment," said Nazrul Hoque, principal investigator and HCPP fellow. "Policymakers also must be keenly aware of the demands on health care and other forms of support for minority and aging populations of Texas."
The growth of minority populations in Texas is reflected in enrollment at the University of Houston. For example, since 2010, the Hispanic freshman population has outnumbered its Anglo freshman counterparts.
"Hispanics represent the largest ethnicity in our freshman applicant pool and our enrolling class. It is a trend that we expect will continue," said Jeff Fuller, UH director of student recruitment." With this, UH is continuing to position itself to be among the largest universities enrolling Hispanics in the country."
The study found the fastest-growing regions during 2000-2010 were the Capital Area with an increase of 35.9 percent, followed by the Lower Rio Grande Valley (30.1 percent increase), Houston-Galveston (25.4 percent increase), South Texas (25.1 percent increase) and North Central Texas (23.2 percent increase). The slowest growing regions were West Central Texas (0.8 percent increase), South East Texas (0.9 percent increase), Golden Crescent (2.6 percent increase) and Ark-Tex (4.2 percent increase).
"This new demographic population analysis is very important to our state's communities," said Jim Granato, professor and director of the HCPP. "We're very pleased to have professor Hoque spearheading this effort as the Hobby Center continues to expand."
Other findings include:
- Of the population increase of 4.3 million between 2000-2010, 53.7 percent was due to natural increase and 46.3 percent from net migration.
- The proportion of Texas population 65 years of age or older has increased from 9.9 percent in 2000 to 10.4 percent in 2010.
- The Nortex region of the state (near Wichita Falls) is the only region that lost population between 2000-2010.
- The population of the Houston-Galveston Region increased from 4,854,454 in 2000 to 6,087,133 in 2010.
To view the study, visit http://www.uh.edu/class/hcpp/_docs/Texas%20Population%20Changes%20in%20Size%20Composition%20and%20Distribution%202000-2010.pdf
For more information on the UH Hobby Center for Public Policy, visit http://www.uh.edu/class/hcpp/


text:
The year was 1573, and 19-year-old Frantz Schmidt was beheading stray dogs in his back yard. He was not a troubled teenager in need of psychological attention. Frantz was practicing for his life's calling.
Unlike teens today, Frantz didn't have to decide what he wanted to be when he grew up. Male teens followed in their fathers' footsteps. For Frantz, that meant becoming an executioner. It also meant having to live with enormous social stigma.
Despite the shame, Frantz, a Lutheran, believed his executioner's role was divinely sanctioned. Martin Luther wrote that "the hand that wields the sword and strangles is … no longer man's hand but God's." Executioners, he believed, are "very useful and even merciful," since they stop villains and deter crime. Historian Joel Harrington (The Faithful Executioner, Macmillan, 2013) called Luther's comment "a celebrity endorsement for the profession." If there is a lack of hangmen and you are qualified, Luther urged, apply for the job.
Luther believed that civic order is divinely ordained. The cities of Frantz's native Bavaria had been plagued by bandits, feuds between noble houses, and roving knights who supported themselves by pillaging. Bavaria needed a justice system to curb such violence and discourage vengeance and vendettas.
Nevertheless, Luther's endorsement was sharply at odds with the teachings of the early church Fathers. They didn't oppose the state's use of capital punishment. They didn't even address that question, since Christianity was still a countercultural minority with an ethic for "resident aliens."
But as Ron Sider noted in The Early Church on Killing (Baker Academic, ...1
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text:
An abundance of cultural experiences awaits as you drift from country to country, region to region, town and village across Europe.
The delight of travelling often lies in observing new ideas, new ways and new people – Europe is a melting pot of cultures waiting to be discovered.
West Country Wonders
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4 Nights Half Board at the Best Western Hotel, Tiverton
North Norfolk's Royal Heritage
Great Britain
4 Nights Half Board staying at the Best Western Brook Hotel, Norfolk
Isle of Arran & Isle of Bute - Country Castles & Idyllic Isles
Great Britain
4 Nights
The Pearl of the Adriatic - Rovinj
5 Nights in Croatia on Half Board Basis
What our customers say about us
All in all, a wonderful company to work with.
I have worked with ICT for nearly 20 years, and in all the time I have worked with them, the staff have been excellent to work with. They are always approachable, and go out of their way to help. Jason Tapper, who now looks after our account is very helpful, he takes a lot of pressure of us, and is always pleasant.
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Our customers have come back most impressed with their break.
For our 2018 Brochure we booked a Friday to Monday trip to the SS Rotterdam Floating Hotel including Harbour Cruise and entry to the Euromast. The hotel was fantastic with the authentic décor and cabin style rooms. The food was apparently wonderful. As a whole the weekend was very well organised with a nice relaxing feel to it that our customers enjoyed thoroughly. We are already looking at booking this trip again for 2019, thank you!
Bothwell Bridge is a charming Scottish village just south of Glasgow.
I recently accompanied a group to The Bothwell Bridge Hotel. Bothwell Bridge is a charming Scottish village just south of Glasgow. The hotel is situated on the main street with a large car park. The staff were extremely friendly and nothing was too much trouble. From reception, bar and restaurant staff, their service was highly attentive.
Bedrooms were very spacious and clean with nice en suite bathrooms. A very pleasant bar area leads into a large conservatory where breakfast and evening meal is served
The breakfast had plenty of choice and of a good quality. For evening meal, Our group were given a menu to choose from before the tour with 3 choices for each course. The group were all very happy with their meal. I would be happy to recommend this hotel to future clients


text:
Fire protection for tunnel
Promat Fire & Insulation Private Limited
Unit No. 605, 6th Floor, Tower B
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