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Let $\mathcal{L}$ be some first-order language, and $T$ be a consistent set of formulas of $\mathcal{L}$ which is not recursively enumerable.
Under what conditions will there be $T'\supset T$ such that $T'$ is consistent and recursively enumerable?
Let $\mathcal{L}$ be some first-order language, and $T$ be a consistent set of formulas of $\mathcal{L}$ which is not recursively enumerable.
Under what conditions will there be $T'\supset T$ such that $T'$ is consistent and recursively enumerable?
I'm not sure what kind of conditions you seek, but let me simply point out that one can build a decidable theory $T'$ having continuum many inequivalent subtheories $T$. Since only countably many of these subtheories can be decidable (or even c.e., co-c.e. or even arithmetic, etc.), we would thereby produce continuum many theories with no nice computability features, but which have a decidable extension.
For an example, consider the language having infinitely many constant symbols $c_n$, and let $T'$ be the theory asserting $c_n\neq c_m$ for distinct $n$ and $m$. This is a completely trivial, decidable theory, but every partition of the constant symbols gives rise to a distinct subtheory $T$, which asserts merely that constants in different classes of the partition are distinct. Since there are continuum many partitions, we have continuum many inequivalent subtheories of $T'$, most of which are therefore not c.e.
Similar examples can be made whenever a theory $T'$ asserts the truth of infinitely many logically independent statements, since there would be continuum many subtheories asserting any particular subset of those statements. Most of these subtheories will not be c.e., since there are only countably many c.e. theories, even when $T'$ is decidable.
Let $A = T \cup R$ where $R$ is any set of refutable statements from $T$ (i.e., $T \vdash \lnot \varphi$ for all $\varphi$ in $R$). A simple necessary condition for such a $T^{\prime}$ to exist is that $A$ is not recursively (computably) enumerable. If it were, then given a r.e. (c.e.) $T^{\prime} \supseteq T$, we could recursively enumerate all statements of $T$ by listing only the ones in $T^{\prime}$ that also appear in $A$ (i.e., $T = T^{\prime} \cap A$). The reason for this equality is that $T^{\prime}$ is an extension of $T$ so it must contain all the statements in $T$ but then it cannot include any in $R$ by its consistency.
Now let $I$ be the set of all statements that are independent of $T$ (i.e. all $\varphi$ such that $T \nvdash \varphi$ and $T \nvdash \lnot \varphi$). In the case that $T$ is deductively closed meaning $T \vdash \varphi$ implies that $\varphi \in T$, a corollary of the above result is that $I$ cannot be the complement of a recursively enumerable set. This is the instance of letting $R$ be the set of all statements refutable from $T$.


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The Boston Conservatory Announces Winter/Spring 2013 Season
You are hereHome/ The Boston Conservatory Announces Winter/Spring 2013 Season
(BOSTON — January 25, 2013) The Boston Conservatory offers award-winning, affordable, high-quality performances by students, faculty and guest artists throughout the academic year. Among the offerings for the winter/spring 2013 season: new installments of the popular Piano Masters and String Masters series; performances of the beloved opera La Bohème, a fully staged production of Thoroughly Modern Millie and an exciting new Conservatory-wide festival, as well as a variety of additional offerings in music, dance and theater.
The Conservatory offers many free performances, as well as ticketed events ranging in price from $10-$30. Ticketed mainstage performances are $30 for premium seating and $25 for general admission with $5 discounts for seniors and $10 discounts for students. Piano Masters, String Masters and Ensemble-in-Residence concerts are $15 general admission, $10 for seniors and free for students. Orchestra concerts at Sanders Theatre are also $15 for general admission and $10 for seniors and students.
Special performance packages are available, enabling patrons to take advantage of discounts when purchasing tickets to multiple shows. Unless free or otherwise noted, tickets are available beginning Jan. 23 through The Boston Conservatory Box Office: (617) 912–9222 and www.bostonconservatory.edu/tickets. For more information, call The Boston Conservatory event line at (617) 912–9240 or visit www.bostonconservatory.edu/. In addition, the Boston Conservatory also presents more than 200 free student performances and recitals every season. From staged to semi-staged theater, dance and opera performances to instrumental and voice recitals, there is something for all lovers of the performing arts. For a complete schedule, visit www.bostonconservatory.edu/perform.
Performance location key:
At The Boston Conservatory:
Boston Conservatory Theater, 31 Hemenway Street
Concert Room, 1st Floor, 8 The Fenway
Seully Hall, 4th Floor, 8 The Fenway
Studio 401, 4th Floor, 31 Hemenway Street
Zack Box, Basement, 8 The Fenway
Fenway Center, 77 Saint Stephen Street, Boston
Old South Church, 645 Boylston Street, Boston
Sanders Theatre, 45 Quincy Street, Cambridge
All performance venues are handicapped accessible.
PRESS CONTACT: Joyce Linehan (617) 298–0200, email@example.com
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Pregnant Perfect during pregnancy
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Pregnant Perfect during pregnancy
After Nursing or just after birth
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A pair of luxe joggers is an absolute essential, especially when you're carrying a littl'un. You could even team this Isabella Oliver pair with a small heel for a laidback evening lookInstyle UK
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Maria Newman
Recent and archived news articles by Maria Newman of The New York Times.
Tavern on the Green's Chef Leaves, Five Months After Its Reopening
Katy Sparks is stepping down at the restaurant in Central Park, which reopened last spring to poor reviews.
September 13, 2014, Saturday
Beard Foundation Presents Leadership Awards
Ben Burkett, a farmer in Mississippi, is one of five winners of the James Beard awards, announced Thursday.
July 17, 2014, Thursday
Yelp Reviews Help Track Food Illnesses
New York City's health department completed a pilot project that used the website to identify unreported food-borne illnesses.
May 23, 2014, Friday
Beard Awards Move to Chicago
This is the first time in the award show's 25-year history that it will not be produced in New York City.
May 21, 2014, Wednesday
Ready to Roll With the Punches
For conversation, conviviality and convenience, a bowl or pitcher of punch does the trick.
May 21, 2014, Wednesday
Second Food Critic Leaves Village Voice
Tejal Rao resigns after a year of writing restaurant reviews and blog posts.
May 20, 2013, Monday
Tortillas in Space
Making sandwiches out of bread is just not practical when you're orbiting Earth.
May 16, 2013, Thursday
In Swallow Magazine, the Food, Sights and Scents of Mexico City
The third issue of Swallow Magazine has an unusual feature: scratch-and-sniff stickers that are imbued with the aromas of the city.
April 8, 2013, Monday
A Farmers' Market in Warmer Climes
In Southern California, a year-round farmers market where the customers are wearing flip-flops.
February 20, 2013, Wednesday
Hands-on Cooking Lessons
Why some videos go viral, like this cooking one.
February 14, 2013, Thursday
Rss Feeds On Maria Newman
Subscribe to an RSS feed on this topic. What is RSS?


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If i'm im'ing or tweeting with another team member about a trello card, is there a way for me to say 'Hey look at this card: http://trello/123xyz' so that they can go directly to the card (assuming they are a member of the board, etc) -- rather than asking them to go find the card based on assignment and search for the title?
Yes. When you click on a card and it opens, you can just copy the URL.
The URLs are very long,but they do work, e.g.
(Note to potential editors: I've deliberately not used Link syntax here, in order to make it obvious what the URL looks like!)
Update 20/10/2012
Note that as the URL contains the board name, the URL will stop working if you move the card to a different board (which was probably not possible when this question was asked).
Now there's a "Share, Print and Export" link on each card which provides a shorter URL to the card which is not tied to the board it's currently on.
There's now a 'More...' link at the bottom right of the card. Clicking this opens a pop-up which includes a short 'Link to this card' URL. (I suspect this was previously the 'Share, Print and Export' link mentioned by Josh Metcalfe in his answer.)
If you want to link to a card by its number you can use:
I discovered by trying that you can use
and it works.
There's a link called 'More...' in the lower right corner of the card.
Under that, there's a shareable link to the card. Like this:
Actually, just typing in a hash followed by the card ID works - Trello links it automatically to the correct card within the same board. You can find out what the card number is under "Share and more..." in the sidebar.
Share the Trello card number ('Card #1117'). By entering the number into search box, your colleague will immediately open the card.
If you don't want your browser to open a new tab (at least in my experience with Chrome), you can get rid of the protocol and hostname from the link, as follows:
Also, using the board-independent link (as suggested in other answers) has the unfortunate consequence of redirecting the browser. Hitting the back button then immediately redirects the browser again. To return the the original place from which you linked, you need to go two steps back in the history. This is not the case with the link.
I wrote a simple extension for Chrome which adds a "Short URL" button to the Actions menu, allowing you to one-click copy the short URL to your clipboard.
It's open source and I'd appreciate any issues or Pull Requests people fancy doing to make it better! :)


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Mr. Peniston is managing editor of Defense News
- Binding: Paperback & eBook
- Era: 20th Century
- Number of Pages: 288
- Subject: Naval History
- Date Available: January 2013
Your tax-deductible gift to the Naval Institute Press underwrites worthy books that might not otherwise be published.
A Select Book on the CNO's Professional Reading Program as a "Title of Interest"
Like its World War II namesake of Leyte Gulf fame, USS Samuel B. Roberts (FFG 58) was a small combatant built for escort duty. But its skipper imbued his brand-new crew with a fighting spirit to match their forebears, and in 1988 when the guided missile frigate was thrust into the Persian Gulf at the height of the Iran-Iraq War, there was no better ship for the job. Forbidden to fire unless fired upon, Captain Paul Rinn and his crew sailed amid the chaos in the Gulf for two months, relying on wit and nerve to face down fighter jets and warships bent on the destruction of civilian vessels. Their sternest test came when an Iranian mine ripped open the ship's engine room, ignited fires on four decks, and plunged the ship into darkness. The crew's bravery and cool competence was credited with keeping the ship afloat, and its actions have become part of Navy lore and a staple of naval leadership courses ever since.
This is the first book to record the Roberts' extraordinary tale. After years of research and interviews with crewmembers, journalist Bradley Peniston chronicles the crew's heroic efforts to save the ship as they fought flames and flooding well into the night. The author also describes the frigate's origins, its operational history, and the crew's training. Peniston's personal approach to the subject not only breathes life into the historical narrative but gives readers an opportunity to get to know the individuals involved and understand the U.S. retaliation to the mining and the battle that evolved, setting the stage for conflicts to come.
Bradley Peniston is editor of Armed Forces Journal and formerly managing editor of the weekly newspaper Defense News. He has covered the U.S. military in more than a dozen countries and spent time aboard more than fifty warships. His work has appeared in the New York Times, Washington Post, Moscow Times, Naval Institute Proceedings, and elsewhere. He is also the author of Around the World with the U.S. Navy.
See Related Items:
Proceedings story - The QDR: Where Are the Blue-Water Ships?


text:
Battery Power Center
Ideal for small boat transom applications (boats that do not have battery compartments). Features easy access external battery terminals that allow trolling motor leads and charger leads to be connected without opening the box. Built-in battery meter displays current state of charge.
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Please enter a maximum of 5 recipients. Use ; to separate more than one email address.
Honeywell's Integrated Control and Safety System (ICSS) solution will manage control and safety operations of the topside and hull and also monitor operational safety during cargo handling. Additionally, closed-circuit television, and fire and gas detectors will be integrated with the system.
Honeywell will provide an integrated control and safety
system (ICSS) for the worlds first floating liquefied
natural gas (LNG) liquefaction, regasification and storage unit
(FLRSU) for the Exmar-Pacific Rubialis project located offshore
With the surge in demand for alternative cleaner energy, the
project will help to supply valuable natural gas to energy
users globally, Honeywell said in its Wednesday announcement,
noting that floating facilities allow companies to unlock
difficult-to-reach gas reserves.
Honeywells extensive experience in LNG shipping and
offshore was a key factor for our partners in this
project, said David Higgins, marine director for
Honeywell Process Solutions. We are working with Black
& Veatch on topside pre-treatment and liquefaction
processes and with Wison for the barge, cargo tanks and
utilities. Thus, we are bringing our process controls and
marine experience together in this groundbreaking project which will be the first to
produce LNG in the offshore environment.
The vessel is a non-propelled barge equipped to convert natural
gas into LNG. It is also able to store the LNG for offloading
to shuttle tankers or LNG carriers. Liquefied natural gas takes
up about 1/600th the volume of natural gas in a gaseous state
and allows companies like Exmar to more efficiently transport
the product to its end-customers.
While the industry continues to discuss the potential of
floating LNG facilities in bringing new sources
of clean energy to market, this partnership enables us to bring
the right technology and approach to make
production of LNG at sea a commercial reality, said Greg
Wayne, project manager for Black &
Veatch. We chose Honeywell because of its strong presence
in LNG marine applications.
The FLRSU will be constructed at Wison Offshore &
Marines fabrication yard in Nantong, China, with Black
& Veatch providing the topside LNG plant design as well as
LNG equipment and components.
International ship management group Exmar will own and operate
the FLRSU in the Caribbean Sea starting in the first quarter of
We are extremely pleased to introduce this innovation
into the LNG industry, said Exmar CEO Nicolas Saverys.
Exmar is the first operator to do re-gasification onboard
a ship, and we are the first one doing ship-to-ship liquid
transfer. Now, with the FLRSU, we will be the first one to do
floating LNG liquefaction, enabling us to bring
previously-untapped gas to consumers at a time when the world
wants cleaner fuels.
Honeywells ICSS solution is based on the companys
Experion process knowledge system (PKS). The critical
ICSS solution will manage control and safety operations of the
topside and hull and also monitor operational safety during
cargo handling. Additionally, closed-circuit television, and
fire and gas detectors will be integrated with the
This project is a ground-breaking effort
for the industry, and Wison is pleased to work with Honeywell
and Black & Veatch to assemble the best technological team
possible to ensure that this facility is capable of performing
to the level Exmar requires," said Dr. L. Dwayne Breaux,
executive vice president of Wison Offshore & Marine.
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A searchable database of project activity in the global hydrocarbon processing industry
Engineers and designers are highly skilled individuals. Forcing them to enter design changes using tables, forms and spreadsheets is unproductive and uneconomical, and it increases the likelihood of human error—this is the way that most instrumentation software systems currently work. For too long, software vendors have denied engineers and designers the simple practicality of a graphical visual engineering interface with "drag and drop" capability and inbuilt intelligence, ensuring changes are automatically replicated into all the associated data and databases.
Is 2016 the peak for US gasoline demand?
Too soon to tell
July 2016


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Study Abroad Home > Parent and Family Information
Congratulations, your student is interested in studying abroad!
Studying abroad provides an incredible opportunity for students to expand their worldview and gain an appreciation and understanding of a different culture. A study abroad experience is also an excellent opportunity for students to develop valuable and transferrable skills, such as critical thinking, problem solving, and adaptability.
In addition to the development of these marketable and transferrable skills, international experiences often provide a powerful and unique opportunity for students to gain greater insight into personal strengths and aspirations. Students gain a sense of independence, courage, and self-confidence that will help them navigate life as a global citizen.
The study abroad team strives to foster a spirit of independence throughout the study abroad experience, beginning with pre-departure preparations, to maximize the academic, personal, and professional growth of our students. The study abroad team at Saint Louis University will provide your student with the tools necessary to take responsibility and ownership for his or her study abroad experience, and we encourage you to do the same. We encourage you to talk with your student and play an active role in his or her upcoming semester abroad, but we do encourage students to contact the study abroad team directly with any questions or concerns they may have.
Careful planning and research, prior to departure, often helps students manage their study abroad expectations and foster positive academic, personal, and professional experiences.
Parent & Family Webinars:
For additional information, we encourage you to please participate in the Parent and Family Study Abroad Information Webinar and the Parent and Family Pre-Departure Webinar.
Where can I find information about study abroad programs at Saint Louis University?
Are there information or pre-departure sessions for parents and families?
How can I help my student choose the right program?
Can my student study abroad and still graduate on time?
Will my student need a passport and/or visa to study abroad?
How much will it cost for my student to study abroad? Will financial aid still apply overseas?
Will my student have health insurance while abroad?
What is FERPA?
What is SLU's refund policy?
How is my student prepared prior to departure?
How can I help my student prepare for a semester abroad?
How should I communicate with my student while they are abroad?
Can I visit my student while they are abroad?
How can I prepare for my student to return home?
What resources are available as my student returns home?
Where can I find information about study abroad programs at Saint Louis University?
Saint Louis University offers many types of international programs that students can participate in. Please explore the wide variety of SLU approved study abroad/exchange programs and gather additional information regarding the unique opportunities available through each of these programs.
Are there information or pre-departure sessions for parents and families?
The study abroad team offers both an Information Webinar and a Pre-Departure Webinar geared towards parents and families. Additional information, including dates and times, may be found on the Parent & Family Webinar page.
How can I help my student choose the right program?
Talk with your student and ask questions. The following topics may help you get started talking with your student about his or her upcoming semester abroad:
Encourage your student to research a variety of programs to determine which program will best fulfill your student's goals and expectations. The study abroad team has also created a tool for students to use when deciding which program is best for them. This tool is available online and will help students compare and contrast different programs.
Can my student study abroad and still graduate on time?
Yes! We encourage all students to meet with their academic team to discuss studying abroad and when a study abroad experience would best fit within their academic plan.
Will my student need a passport and/or visa to study abroad?
All students studying abroad will need a valid passport. Some students will also be required to obtain a student visa. Students obtain a visa after they are accepted to a program. Obtaining a visa can be a lengthy process so we encourage students not to delay in this process. Additional information regarding passports and visas may be found here.
How much will it cost for my student to study abroad? Will financial aid still apply overseas?
Saint Louis University strives to make the cost of a study abroad program fairly comparable to tuition, room and board here at SLU. Saint Louis University academic scholarships, federal loans and grants may apply for SLU approved semester/year programs (athletic scholarships do not apply). Students participating in a SLU approved semester and year-long program will continue to receive bills from Saint Louis University.
Tuition remission, tuition exchange and FACHEX only apply towards the SLU Madrid campus. SLU scholarships do not apply towards non-SLU programs. Other aid may apply.
There are a number of external scholarship opportunities funded by independent organizations with a dedicated interest in promoting global education.
Specific program fees are detailed on the Study Abroad Financial Aid and Scholarship portion of the webpage.
Will my student have health insurance while abroad?
Saint Louis University requires all students participating in a SLU approved program to obtain international health insurance. The Office of International Services will enroll all students traveling internationally with a SLU approved program, providing students with this comprehensive insurance while abroad. Additional information regarding the international health insurance policy and coverage is available here.
What is FERPA?
FERPA is The Family Educational Rights and Privacy Act and is a federal law that protects education records from being disclosed to any party other than the student. Students do have the option to waive their FERPA rights, through mySLU Share, should they choose to make this decision. If your student has not given us permission to speak with you about his or her program, we will only be able to answer general questions.
Additional information regarding FERPA, may be found on the Office of the University Registrar webpage.
We do strongly encourage students to maintain an open line of communication throughout their study abroad experience.
What is SLU's refund policy?
Please refer to the refund policy found here.
How is my student prepared prior to departure?
Study abroad is a comprehensive experience at Saint Louis University. The study abroad team is available for one-on-one advising and looks forward to working with each individual student as he or she prepares for a semester abroad. In addition to individual advising, all semester and year-long study abroad students are required to attend a mandatory pre-departure session. The pre-departure session covers topics such as: goal setting, cultural competence, culture shock, academics abroad, travel preparations, health and safety, international insurance, drugs and alcohol, and safety and security resources. The pre-departure orientation provides an opportunity for students to meet other study abroad students and recent returnees.
Students are also requested to review the study abroad handbook, available online.
How can I help my student prepare for a semester abroad?
As mentioned previously, talk with your student, ask questions, and encourage your student to set goals and research prior to departure. Careful planning and research, prior to departure, often helps students manage their study abroad expectations and foster positive academic, personal, and professional experiences abroad.
How should I communicate with my student while they are abroad?
Communicating with your student once they arrive abroad is important. We encourage students to send a quick message to family and friends once they arrive to their host destination, to let you know they've arrived safely! Friends and family can use email, video chats and internet calling to stay connected with students. These are inexpensive ways to communicate with one another.
Can I visit my student while they are abroad?
Of course! Talk with your student and assure that he or she reviews the academic calendar of their host institution to determine the best time to visit! Students often have an extended break in the middle of the program, and many students opt to travel with family as the program ends. Visiting your student abroad is a great opportunity to travel and to experience your student as the ultimate travel guide!
How can I prepare for my student to return home?
Encourage your student to complete any last minute items while they are abroad. Whether that is meeting with professors to assure that they have completed the necessary course work or confirming flight details, this will allow for a smooth transition as students return to the U.S.
Returning home from a semester or year abroad can be difficult for students and many students experience reverse culture shock. Please talk with your student, ask questions, look at pictures, and exhibit a genuine interest in their experiences abroad. Encourage your student to talk with the study abroad team and participate in re-entry events on campus.
What resources are available as my student returns home?
As mentioned previously, studying abroad is a comprehensive experience at Saint Louis University that continues as students complete their semester or year abroad and return to the St. Louis campus. Returning from a semester or year abroad can be an emotional rollercoaster for students. The study abroad team hosts a re-entry series to help students acclimate to life back on campus. Additional information regarding our re-entry series may be found here.


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Where do I start?
I love Patricia McBride, but wasn't overwhelmed by her "Who Cares?"
Except for "Dying Swan", while I can appreciate her authority, Uliana Lopatkina doesn't reach me in any other way.
I think Louise Nadeau was gorgeous in many, many roles, but I could not bear her acclaimed "Agon" or Aurora.
I heartily disliked Darcey Bussell's "Agon" in the Balanchine Celebration in 1993 (the one on VHS/DVD).
I like almost no film I saw of Nureyev or Fonteyn, and by the time I saw Nureyev live, I wish I didn't.
I found Baryshnikov disengaged in most of his classical roles.
I agree heartily with you re: Bussell, both in general, and particularly in her Agon pas de deux for the '93 Balanchine Celebration. While some of the US critics in particular may have been in agreement with me about Bussell in terms of her lack of acting ability and (per Kisselgoff) the tightness/lack of epaulement in her upper body technique, she seemed to receive almost universal praise when it came to her Balanchine interpretations. I think Mr. B would not have been so impressed by her Agon; this may seem nitpicky, but he would've disliked her use of hands and fingers in particular, I think - they lacked articulation and were what Mr. B might have called 'spoon hands.' In general I think that more worthy dancers at RB were overlooked during Bussell's reign, including Belinda Hatley.
Another dancer whose popularity mystifies me (much more than Bussell, actually) is Cuban prima Viengsay Valdes. While I understand that she's somewhat of a polarizing figure (some find her flashiness 'vulgar'), for me it comes down to her technique. While she can turn and balance incredibly well, these seem to be the only two tricks in her bag. Otherwise her technique seems caught in some past era and is not up to current standards for any ballet dancer, prima or otherwise -- sloppy footwork, lack of turnout, no looseness in the hips or legs, and unattractive (in my opinion) port de bras. And yet she's so beloved by the Cuban public and by a number of prominent critics worldwide. What am I missing, I wonder?


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Bishop Larry D. Trotter out of Chicago is facing a lot of scrutiny after he posted a photo on Instagram with his 4-year-old granddaughter.
Sounds innocent right? Well, it was where the photo took place that have people upset.
In the photo, Trotter is smiling in a bubble bath with his granddaughter. Many people believe the photo is inappropriate and disgusting; while others say it is just an innocent photo of a grandfather and grandchild.
Trotter is a Bishop for the Sweet Holy Spirit Church in Chicago. No word on who took the photo but people are claiming the photo was taken by Trotter's daughter, the mother of the small child.
What do you think about the photo? Do you think it's inappropriate or do you agree it is an innocent photo?


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Advanced Internet Searching (for adults)
Location:St. Helena Branch
Date & Time:Tuesday, June 18, 2013 - 10:30am – 12:00pm
Are you tired of getting millions of hits when you just need one website? Learn to master Internet searching using Google, Bing and other websites! Registration is required. Space is limited. For more information, contact the Reference Desk at 843-255-6487.


text:
This copy is for your personal, noncommercial use only. You can order presentation-ready copies for distribution to your colleagues, clients or customers here or use the "Reprints" tool that appears above any article. Order a reprint of this article now.
February 04, 2013
6-9 PF Matthew Atewe of Notre Dame Prep in Massachusetts has cut his list to a final six, and Clemson is in the group. The others are Nebraska, Charlotte, Nevada, Wake Forest and Auburn. Atewe has taken official visits to Nebraska, Kansas State and Auburn. Right now he's planning to announce on his birthday, March 7th.Tweet
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Pentecost Sunday marks the end of the
Easter season and celebrates the coming of the Holy Spirit upon the
Apostles and the Virgin Mary.
"O God, as you sent your Holy Spirit upon the early Church in the fiery
tongues and mighty wind of Pentecost, so now, we ask you to send that same
Spirit upon us that we may go forth to proclaim the Gospel of Christ to
every creature." - begining of the prayer for The Year of Faith (Oct. 11,
2012- Nov. 24 2013)
Give us your feedback and comments so we can improve.


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When Lobster Was Spam: 5 Gourmet Foods That Used to be Cheap
So the economy has been canceled, and no one can afford to eat anything other than canned soup and the occasional box of macaroni and cheese. But you can cheer yourself up with the knowledge that some day, people in fancy restaurants will pay top dollar for the food found in the average dorm room or trailer park.
How do we know? Because many foods that we now consider to be classy and/or expensive were at one point the foods that meant Timmy probably wasn't getting that new foot for Christmas. So in a couple of generations we'll see who is laughing about our tower of Noodle Cups.
#5. Lobster
It's no surprise that lobster didn't use to have much of a reputation. It is, literally, a sea insect. The lobster belongs to the same animal group as both the spider and the common bug, which should be your first clue. They were initially thought of as giant hassles that got in the way when fishermen were fishing for, you know, fish. You know in Forrest Gump when they first pulled up their nets and a bunch of junk fell out? The lobsters were the equivalent of that toilet seat.
The lobsters they presumably found crawling around the bottom of the fish bucket were originally what fishermen gave to their indentured servants to eat. People were so averse to eating it that they ground it up and used it as fertilizer, instead. Being seen as someone who had to eat lobster was something you generally didn't tell anyone until at least the third date.
British POWs during the Revolutionary War supposedly revolted over being fed too much lobster, after having apparently developed culinary Stockholm Syndrome from British food. Some states actually had laws against feeding lobster to inmates more then a few times a week, on the grounds of cruel and unusual punishment, as it was seen as the equivalent of eating rats.
Then How Did it Get So Fancy?
Somebody went and invented the railroad. Soon, rich people from the middle of the country--who were painfully unaware of what was cool--were tricked into buying the sea insects. But after tasting them, they realized that they must have discovered the long lost gatekeeper for butter.
Ironically, lobster is now a commonly requested food for prisoners receiving a last meal before execution, where as back in the day who knows how many last meal requests were something to the effect of, "Anything but more freakin' lobster, ya cruel bastards!"
#4. Oysters
The oyster is a cousin of the snail, nature's glue stick. Oysters also hang out with, and look like, rocks; further proof that giving in to peer pressure is an important survival technique.
Furthermore, in the olden days, eating one required you to be really committed to the task of eating something that looked like a rock. If you succeeded in prying them off of rocks without just giving up and eating a baby, you still had to get that sucker open, because they have to be eaten when they're as close to alive as possible. This involves cracking open a shell that is the animal kingdom's equivalent of a medieval chastity belt.
Eating one you've found to be already even a little bit open (and therefore dead) is pretty much booking a two-night stay at the nearest bathroom, where you'll have plenty of time to wonder why it was you thought that it'd be a good idea to eat a rock.
So you can see why the abundance of oysters in the 19th century led to their being mostly eaten by the working poor in the U.S. and the U.K. (also, they're not very nutritious). Dickens even mentions them derisively in The Pickwick Papers, making them certified riff-raff food even in a literary universe where people are willing to start shit over gruel.
Then How Did It Get So Fancy?
The industrial age brought a population boom and many, many oysters were eaten. Coupled with the kind of pollution you normally only see in dystopian 80s movies about 1999, many of the oysters were killed off, driving up price and demand, and therefore catching the interest of rich people.
To fix this problem, foreign oysters were brought in to replenish the population. Unfortunately, 19th century medical science was still in its Flintstone's car stage, and nobody thought to point out that the local and foreign oysters might carry diseases that the other might not be immune to, leading to tons of oysters eventually becoming rocks for real.
Thus oysters were made permanently scarce and pricey, and as Beanie Babies proved, rich people will spend money on anything if doing so means that you can't have it.
#3. Foie Gras
Foie gras goes back to ancient Egyptian times, when man discovered that the liver of a really, really fattened goose was a lovely primeval combination of tasty and gross. Getting the goose to prime hedonistic conditions requires feeding it to the point of the liver growing to 10 times its normal size. Which means that you can continue eating those Hot Pockets secure in the knowledge that at least when you die, at least part of you will be great on toast.
The dish almost died out during the Middle Ages, when most people were chiefly concerned with trying to stay away from the burning piles of plague victims. Geese were probably able to stop having nightmares about waking up in bathtubs full of ice.
But the Jews, with their constant address changes (due to constantly being banished from one country after another), needed a source of cheap, kosher fat. It was kind of a disgusting necessity, and the first written document about foie gras is actually written by a Jewish religious leader admonishing his people for how gross the whole thing is.
In fact, this advanced-degree having lady goes so far as to postulate that bans on foie gras are anti-Semitic because they attack a necessity of medieval peasant Jewish cuisine. However, this is assuming that most people in favor of a ban on foie gras (now usually made with duck) express an argument more complex then "Hey, I remember thinking that ducks were cute last Easter, which was the last time before now that I have thought about them."
"Aww, aren't you temporarily sympathetic!"
Then How Did It Get So Fancy?
The Renaissance brought back interest in things other then just conquering people, which meant that royals were getting back to the business of conquering their arteries. People traveled to the Jewish ghettos in Rome to buy lobes of foie gras; these lobes found their way into the kitchens of royals, who were getting frustrated waiting for the deep-fried Twinkie to be invented.
Then, word got around that foie gras was off-putting and awesome, the French started putting it in everything and charging $10 an ounce.


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Bohan Medical & Dental Center
Redirected from Bohan Medical & Dental Centre
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The Bohan Medical & Dental Center is a regional hospital in Grand Theft Auto IV and Grand Theft Auto: Chinatown Wars, located along the northernmost end of Leavenworth Avenue in Northern Gardens, Bohan, Liberty City.
Designated a respawn point when the player dies the closest to the hospital, the Bohan Medical & Dental Center is unusual in design as it appears to be based within a complex that is also occupied by commercial businesses (including a 24/7) as well as an LCPD station on the northern side of the structure.
Like most hospitals in the game, the hospital has no interior, but features parked Ambulances to the southwest along Leavenworth Avenue, as well as a health pack behind the southern steps to the hospital.


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Today in Tweet Beat, Heidi Montag is copping a feel, Michael Lohan reveals the most trustworthy news sources, and Teresa Giudice dispels rumors.
If you want the Truth, go to TMZ, Radar or X17, not Life & Style or any of Bauer's publications
I know there are tons of rumors today. Don't believe everything you read. (Except my "In Touch" cover story. That really was me!) xx
By the way, everyone sounds like CRAIG FERGUSON in GLASGOW!!!!
The terror of my neighborhood. http://twitpic.com/2m5ior
I used to go back for more cabbage at school, I'm weird!
I've been LOVING hats lately... what's your fave fall accessory?
and just say no to the brown lip liner.
If 5 years ago someone would have told me I'd be interested in social media or chickens, I would have laughed my head off.
Moment of Silence for Tupac Shakur
I want to blow your mind cuz I don't (necessarily) have to cup you balls in the process.


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5 Mind-Blowing Easter Eggs Hidden in Famous Publications
If you're a longtime reader, you know we've got a thing for Easter eggs -- those little hidden clues in movies/books/games that the creators seemingly inserted purely so that they would never be found. Maybe it's because writers and artists get bored, or maybe they know that years down the road someone like us will come along and draw them out ...
#5. Watchmen Had an Entirely Symmetrical Chapter
DC Comics
Alan Moore, the coked-out great-uncle of the comic book world, is famous for his painstaking attention to detail -- his stories are so loaded with hidden messages that you're kind of wasting your money reading them just once. Watchmen, for example, is chock-full of literary allusions and historical in-jokes that you probably missed because you were too busy snickering at your own zingers about Doctor Manhattan's blue balls. But even if you pride yourself on having caught every single reference to 18th century Romantic poetry, none of that holds a candle to the fifth chapter's entirely symmetrical layout.
To demonstrate, here's the centerfold of the book:
DC Comics
Sorry, no boobs in this centerfold.
Notice how the panels reflect each other, with three on the left, three on the right, and the middle bisecting at the page break? Well, the entire 28-page issue is like that -- Page 1 mirrors Page 28, Page 2 mirrors Page 27, and so on, until the mirror syncs up at the centerfold.
Think of the effort, the sheer amount of planning Moore and artist David Gibbons had to do to make that possible. Now forget it, because it's nothing compared to what's coming next: Not only are all the panel layouts symmetrical, but the matching pages follow the same stories and characters. For instance, the first six pages of the issue show Rorschach breaking into Moloch's house; the last six pages show him breaking out of it. On Page 7, cops investigate a murder; they don't show up again until Page 22, its mirror twin.
DC Comics
Poster Buddha spends a lot of time in reflection.
Crazy, right? But it's not quite Alan Moore crazy yet. To give it that extra nudge over the Cliffs of Insanity, not only are the pages mirrored, not only do they follow the same characters and storylines, but the images in the panels are often mirrored as well. In the fourth panel of Page 10, Dan (Nite Owl) is in the foreground on the far left, with Laurie (Silk Specter) in the background. On the mirrored page, Laurie is on the far right, with Dan in the background.
DC Comics
It starts with Dan eating chicken and ends with him going to choke it.
On Page 8, the bottom panels show purple triangles on a pink background; the "reflected" page shows pink triangles on a purple background.
DC Comics
That's so cool, we're not even going to talk about the pirate turning a shark into a boat.
And lastly (also, firstly), the first and last pages of the chapter form a red X, referencing the skull and crossbones from the chapter's cover.
DC Comics
A comic with so many layers, even the spoilers are subliminal.
And with that, we've officially hit the level of borderline-demented detail that Moore revels in forcing you to break out your magnifying glass and spend an inordinate amount of time discovering. Of course, you could've taken a hint sooner by paying closer attention to the chapter's title -- "Fearful Symmetry" -- but where's the fun in that?
#4. Todd McFarlane Hid Felix the Cat in Every Comic Book He Drew
Todd McFarlane frequently bumped into a man at his local comic book shop who, at the slightest provocation and presumably in his very best Comic Book Guy voice, would repeatedly inform him that he didn't purchase any of McFarlane's comics because he wasn't into superheroes (McFarlane, in case you're not familiar with the name, is best known for his work on Spider-Man and Spawn). Noticing that the man carried a Felix the Cat doll with him wherever he went, McFarlane utterly failed to do the prudent thing -- namely, hitting 911 on his cellphone and keeping his thumb poised over the call button -- and instead asked him, "If I put Felix the Cat in my comics, would you buy them then?"
The man answered yes, so McFarlane did just that -- he put Felix the Cat into every single comic he drew from that point on. In Spider-Man #1, Felix's grinning visage can be found in the crowd directly below Spidey's either comically muscular or elephantiasis-ridden left thigh:
Going as Spider-Man villain Felix Hardy, aka the Black Cat.
In #2, he's on the label of a jar of obscenely red jelly (don't think about it too much because it gets disturbing):
Still less disgusting than cat nut butter.
In #3, he's on the sign atop a taxi (first panel):
A Broadway musical ad, foreshadowing Spider-Man's tragic future.
Skip to #5, and he's ... oh, it's the taxi again. Hey, how about you try sneaking a famous cartoon cat into every single thing you create and we'll see how long it takes you to hit a repeat, huh, smart guy?
Three issues in a cab, 'cause rush hour's a bitch.
This could go on and on ad infinitum, but you get the idea. We're not sure if McFarlane is an Olympic-level smartass or if he's still sorting through some issues stemming from relentless teasing by his peers when he once reneged on a double-dog dare as a child, but either way his level of commitment to proving himself to some random dude with a cat doll is almost as impressive as said dude's comic book collection must be by now.
#3. Rupert Murdoch Got Stealth-Dissed (in a Newspaper Owned by Rupert Murdoch)
Cameron Spencer/Getty Images News/Getty Images
We've all worked for a boss we hated, or at the very least thought was kind of a dick. And chances are you've spent at least a little time daydreaming about how to passive-aggressively get revenge on your bosses in just such a way that you can secretly laugh behind their backs for the rest of your life (or at least your employment) without them ever figuring out who was behind it.
nosonjai/iStock/Getty Images
"Did you get my latte?"
But what if you worked for, say, Australia's best-selling newspaper and your boss was, say, Rupert Murdoch, the man who basically controls the print and TV output of five continents? In that case, it would take balls of truly stellar proportions to try to pull off something like that.
Well, there appears to be a solar system forming around a certain sneaky editor's "binary stars" as we speak, because he or she did precisely that. The puzzlemaster (apparently not something out of an '80s fantasy movie starring David Bowie) chose to hide their message in the one section of the Sunday Telegraph that adults tend to flip right past: the ultra-cleverly named kids' section, the Funday Telegraph.
via Sydney Morning Herald
"OK, so I sneaked in a reference to my band, Live Sihco Drum. Big deal."
In case your Led Zeppelin-ese is rusty, the third line of Harry the Dog's word search puzzle read backward spells "MURDOCH IS EVIL." Not only did this slam on the big boss man go unnoticed by the paper's editing team, but it wasn't until two days after the edition was printed that the public noticed it at all, possibly while someone was wrapping a fish in it. But as soon as they did notice, damned if Twitters everywhere didn't explode about it -- with the exception of one Mr. Rupert Murdoch's, which remained stoically tweet-free for days afterward.
The Telegraph refused to comment on the matter, and it appears that the guilty puzzle maker is still unidentified. We're sure that's just to protect their privacy and not because they've conveniently disappeared or anything.


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I am trying to connect to FB Chat using the X-FACEBOOK-PLATFORM authentication technique. I am currently using the Strophe library.
Everything else is done and working, I saved this bit for last (I knew it was going to be hard).
However Strophe only provides support for MD5 which I can't use as its a JS client. So instead I need to find a way to do a special Strophe connection.
I have seen the Strophe plugin at;
However this doesn't work since OAuth 2.0 enforcement. I'm confident to do the connection manually if I absolutely have to however I'm hoping somebody has already solved this problem.
At the very least could somebody tell me how to do the connection manually (as in the Strophe functions to bypass .connect(); and do it yourself).
Thanks Andrew


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Under advice from Toby Bartels, I am posting this question here; it falls under the general heading of constructing data types categorically as fixed points of functors.
The first question I have is a warm-up. There's a way to interpret a natural number n in any cartesian closed category C, as a dinatural transformation of the form
c^c --> c^c
which intuitively takes an element f: c --> c to its n-th iterate f^(n): c --> c. One may hope that if C is "nice", then every such dinatural transformation will be of this form, or better still, that the end
\int_{c: C} (c^c)^(c^c)
(assuming it exists) behaves as a natural numbers object in C. So first, I am interested in what "nice" might mean here: what are some general conditions on C that ensure we can construct a natural numbers object as an end in this way?
Second, this end can be rewritten as
\int_{c: C} c^(c^(1 + c))
provided that C has coproducts, and the assertion that this behaves as a natural numbers object is equivalent to saying it is an initial algebra for the endofunctor F(c) = 1 + c (that's algebra for an endofunctor, not for a monad), making it a "fixed point" of F by a famous old result of Lambek.
This suggests a second more general question: given an endofunctor F: C --> C on cartesian closed C with a strength (essentially, a structure of C-enrichment), I want to know what "nice" conditions on C and/or F guarantee that the end
e = int_{c: C} c^(c^F(c)),
if it exists, is an initial F-algebra. It's not hard to write down an an F-algebra structure for this end e, and show that it is weakly initial, i.e., show that if x is any F-algebra, then there at least exists an F-algebra map e --> x. The issue then is over the uniqueness of this map, or rather what nice conditions would guarantee that.
Discussion of specific cases like PER models would be alright, but I'd probably be a lot more excited if it led to consideration of more general abstract conditions on C or F.


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December 21, 2008
Johnny Clegg rocks Kirstenbosch Gardens
Just another day in Cape Town. Thirty degrees, sipping pink champagne on rolling green lawns in the shadow of one of the most famous mountains in the world. Oh yes, did I mention we were watching Johnny Clegg at the same time?
Okay, so it wasn't exactly a private viewing, but the Kirstenbosch National Botanical Garden manages to make a crowd of 5000 or so seem like a few hundred people.
And it might not have been your average teenage boy's idea of a jol because most of those 5000-plus were moms, dads, grandparents and small children.
But the concert tonight was fantastic – one of the most beautiful settings you could ask for and good old Johnny Clegg (who must be approaching grandfather age himself) outdid himself once again in his admirable enthusiasm, energy and pure African spirit.
Within a couple of songs the entire crowd was dancing, most were singing, and picnic dinners and fold-out chairs were quickly abandoned in favour of raised arms, clenched fists and impi dancing.
The gardens are looking their best – green, lush and colourful – and my little three-year-old kept asking me what the wonderful smells were (she didn't seem to accept my answer: fynbos).
The Old Mutual Summer Sunset Concerts are on at Kirstenbosch every Sunday from 17h30 to 18h30 until April 5, 2009.
It's great to know that these events are accessible and affordable, at R80 a ticket. (See details on our events calendar for booking for future concerts.)
There's nothing to make you feel more positive about this country and more inspired to take the "I am an African" stand than singing along to Impi, Spirit of the Great Heart, and Scatterlings of Africa. Just another day in the Mother City.
Pictures and video by Tiffany Turkington-Palmer. Visit Tiffany's Flickr portfolio.


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3/4 Sleeve Essential Seamless Tee
Style: 570061596
Out of Stock
Soft, seamless tee in a comfortable, close-fitting design with versatile 3/4-length sleeves. 95% Nylon, 5% Spandex. Machine wash; line dry. Imported.
- Close stretch fit.
- Scoop neck. Seamless torso construction.
- Hits at mid-hip (24.5" from shoulder).
- Imported
- For each piece purchased from our Foundations collection, we will donate $1 to Living Beyond Breast Cancer.
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In upcoming Marvel film Avengers: Age of Ultron, they are using Quicksilver and Scarlet Witch, characters which are Mutants (X-Men). So has Fox agreed for the characters to be used or Marvel and Fox both own the rights for these X-Men characters?
Quicksilver and Scarlet Witch are a special exception to the licensing of the Mutant portion of the Marvel universe to Fox. Due to them being mutants, but also being important Avengers, both companies retain partial rights to the characters. Fox can use them as mutants and children of Magneto. Marvel can use them as Avengers, but they can't mention they're mutants or mention Magneto.
Kevin Feige said:
Legally, 20th Century Fox may object to the use of characters it is producing. So Marvel and Fox may both end up in suing soup due to some characters if one of them decides to sue the other. Though my opinion would be that both firms lawyers and management would negotiate the films and scripts to get a way out of this. Its just power play to get leverage over the other studio. You can read up more on Marvel Studios deals with other studios to get a good picture about how much of Marvel characters are actually licensed outside itself.


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16 Apr 2011 9:33 AM #1
xtypes and Ext.require
Well, there are the xtypes which are IMHO a good way to define your component tree (as they are created on demand).
But I cannot understand why the built-in ExtJS widgets are registered to the Ext.Loader. It would be good if there's a registration for xtypes like
Ext.registerClassForXType ('grid', 'Ext.grid.Panel');
So, if an xtype isn't found and Ext.Loader is activated the class will be loaded first. The standard widgets should be registered by default.
It seems that Ext.ClassManager.instantiateByAlias does this. It's not used internally I think. Why?
P.S.: Same problem exists with layouts as "layout:'border'" does not work without an Ext.require.
16 Apr 2011 11:32 PM #2
Use Ext.ClassManger.setAlias, i.e
Ext.ClassManager.setAlias('My.awesome.Widget', 'mine'); // Then later on in your application's code var mine = Ext.create('mine'); // Will automatically load 'My.awesome.Widget' if it doesn't exist yetSencha Touch Lead Architect
17 Apr 2011 1:52 PM #3
Ehm, yes, but why isn't it used for ExtJS base widgets, i.e. form elements?
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For a heartwarming transition from fall into the Christmas season, create this grapevine wreath bearing pears, plums, lemons, oranges, acorns, and cherries, and adorned with a lovely red plaid bow. The scrappy border consists of 2 1/2" x 4 1/2" strips, in colors to accentuate the design motif, and has cornerstones of squares set on point. Whether you are an intermediate or advanced quilter, with our hand or fusible technique, it will be gracing your fireplace mantel or wall in mere hours. Hanging tabs are optional on this wall quilt, which measures approximately 24" x 30". Designed by Vicki Arnold
Item : SMVFB2204


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Penn State Nittany Lions vs Nebraska CornhuskersSat, November 23, 2013 - 1:00 PMBeaver Stadium in University Park, PA
We are sorry, the date for this event has already passed. This event took place on 11/23/2013. Click here to view upcoming events for Penn State Nittany Lions.
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Have a question? Need help? Call us at 800.477.5285


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5 Bitter Truths About Chocolate
While we'd like to continue to believe that chocolate comes from a purple garbed man in a whimsical factory, the real chocolate world is far darker and far harder than we ever would have thought.
Though the general disregard for children is about the same.
#5. Eat Lead!
You know already that lead is bad for you. This is why we have such a thing as "unleaded" gasoline, and in general don't allow lead near anything you're about to breathe or eat. So what does this have to do with chocolate?
Well, it just so happens that the shells of cocoa beans, the chief ingredient in chocolate, have an almost supernatural ability to absorb lead from the air. Of course, this is only a big deal if there's a lot of lead in the air, right? Sure, which is why it's unfortunate that Nigeria, where a shitload of our cocoa comes from, still has lead in their gasoline. That's why a Hershey bar tastes so damn good: The secret ingredient is African exhaust.
The average candy bar ranks fourth for highest lead content in a food. Don't panic yet, though; lead occurs naturally in everything, even wholesome vegetables and grains, and while there is no amount of lead that isn't harmful to the human body, a little bit of the stuff in our bloodstream is more or less unavoidable and probably won't do anything bad enough that we'll ever notice.
Infants and children, on the other hand, are basically screwed. Because they're already stupid, kids absorb higher concentrations of lead into their system than the rest of us, just through their day to day activities of eating dirt and inhaling paint chips. Also, they breathe faster than an adult, which further draws in whatever lead happens to be floating around and sends it toward their sensitive little brains. Even before they start wailing on that candy, they have more lead in their bodies than Vito Corleone. Then comes Halloween.
What effect is this heavy metal smorgasbord having on our youth? A study conducted on some not-so-academically-gifted students showed that most of them had high levels of lead in their systems. Now, we know that it comes from a variety of sources, but for the fat kids, it's easier to put two and two together. Unless you don't know what two and two equals, because you just ate a bag of M&M's.
While no specific manufactured chocolate is named, high levels of lead have been discovered in some of them, and by high, we mean damned close to the limit allowed by international standards. Just from chocolate powder alone, one study found an American kid might get anywhere from three to 12 percent of their tolerable weekly intake of lead in one serving.
Now combine this with all the other exposure to lead children could be getting and it isn't difficult to notice the brain busting potential here.
#4. Destroying Rainforests and Dealing with Dictators
Enjoying that Kit-Kat? Well stop because it's made of fucking monkey fingers! OK. It isn't really. But it might as well be according to Greenpeace.
Greenpeace put that commercial together when it learned that Nestle was dragging its heels on a promise it (and every other chocolate company) had made to stop using palm oil (a substance used in place of cocoa butter). Palm oil is produced by assholish plantation owners who clear vast amounts of rainforest, endangering the Sumatran tigers, orangutans and rhinoceroses that live there.
Also it looks like the amber from Jurassic Park. But, really, don't let that distract you from how awful of a thing this is.
Flipping off Mother Nature just that extra little bit, these particular rainforests sit on peat bogs, which release tons of carbon into the atmosphere when disturbed. Just these deeds, plus some pressure from Internet groups, made most chocolate companies, like Cadbury, immediately begin to phase out their business dealings in Malaysia and Indonesia.
The fact that these plantations were also accused of using slaves, stealing land and outright murdering people is barely mentioned in the little bit of media covering this issue. Of course, Nestle has been dealing with slave labor to purchase cocoa for years, so it's doubtful they'd let a few brutal human rights violations elsewhere get in the way of business.
Pictured: One of Nestle's Malaysian chocolate slaves.
And it hasn't. Just last year, Nestle was discovered buying milk from farms owned by Grace Mugabe, wife of Robert Mugabe, President of Zimbabwe. To give you some context here, Mugabe once expressed a desire to "be a Hitler tenfold."
Grace Mugabe, known for lavish spending sprees while her own people suffer ridiculous poverty, and beating the hell out of a Times photographer (because he was taking pictures of her lavish spending), runs these farms like you might expect: Terribly.
Plus, hey, kind of looks like an alien. Throwing it out there.
Workers are paid 40 dollars a month, can't afford the milk they help to produce and don't have electricity in the houses provided by the business. Also bad, the farms themselves were basically stolen, back in 2003, from the original owners after months of violence and intimidation by the Mugabe regime. The United States, Canada and the EU all have trade sanctions against Grace Mugabe. Nestle, however, is based in Switzerland, which isn't part of the EU, so they don't have to give a rat's ass.
A more accurate logo. Also? A badass album cover if Nestle ever decides to become a metal band. (Instead of murderers.)
One month after Nestle's relationship with the Mugabes came to light, Nestle pulled out of Zimbabwe, citing international pressure. The fact that Mugabe's thugs had begun harassing Nestle workers was just a wacky coincidence, wacky events being expected when you're working in the candy industry.
#3. Ridiculous Lies About Health Benefits
While it may not surprise you that much that Big Chocolate, like any "Big" industry, doesn't give a crap about your welfare, the lengths these companies go to step over your bloated, greasy corpse to raid your wallet rank with some of the stupidest and most nefarious in the business world.
Milton Hershey, for instance, often claimed that "an ounce of chocolate provided more energy than a pound of meat." He even made a wrapper for his bar stating it.
It was this one... You probably didn't need us to tell you that.
But then again, for Hershey, chocolate was serious business and he hated it being classed as mere confectionary. Workers were not ever allowed to use the word candy in reference to chocolate. In 1926, Milton, who may have been more naive than malicious, went to the Supreme Court to convince them to officially make chocolate a food. The court declined on the basis that Hershey only brought his opinion along for evidence.
"This court rules in favor of shut-the-fuck-up-Milton-Hershey."
The National Confectioners association took it a step further, stating that candy is actually good for you, helps you lose weight and actually prevents tooth decay. That's right. Your doctor, nutritionist and dentist are just living in Oppositeville. You're only 20 Snickers away from perfect health, a six pack and a winning smile.
Also bringing the crazy was the Mars Corporation, who took this message of health to the extreme, creating a marketing campaign linking their chocolate bars to apples, oatmeal and milk. One ad, featuring a glass of milk turning into a Milky Way, caught the attention of the Federal Trade Commission, who forced Mars to stop implying their products are nutritious in their commercials.
So, Mars made a pamphlet instead that claimed eating chocolate every day was about as good as eating an apple a day. Then they sent them to dentists around the country so they could distribute them to patients.
Is that "play"? That guy at the end is clearly having a heart attack.
Cadbury's neglect for public health took the lazy man's approach. When a leaking pipe in one of their factories appeared to be causing a rare strain of salmonella in some of their products, Cadbury informed authorities and the public of the danger...five freaking months later. By this time, 30 people had fallen ill.
In court, they pled guilty to all charges put against them and promised to do better in the future. Also of comfort, Cadbury's multiple recalls for neglecting allergy warnings, a melamine scare for 11 of its products and their continued use of trans fats in their chocolate, despite packages that state a value of zero. Nice.
Yeah, we'd still eat it too.


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Welcome to the home of SABS, the Spanish Association of Barbershop Singers. The Association was inaugurated in October 2008 and was the brainchild of Nico de las Peñas and his brother Jorge, after a visit to their first-ever Harmony College in Coesfeld, Germany. SABS has become a reality because of their tenacity, enthusiasm and determination and Nico was a natural choice as our first President. He handed over the mantle to Gail Grainger, who has done an excellent job in promoting SABS.
In April 2015, founder and Board member, Lyn Baines, took over as President and is ably assisted by the incoming Vice President, Barbara Burks.
As a young association, we are still spreading the barbershop word and building our membership, which currently stands at over 200, comprising men's, women's and mixed groups from all around Spain and Portugal. We celebrated our first-ever festival of barbershop in Spain with 'En Armonía'™ in June 2009 and we were delighted to welcome UK's Finesse ladies' quartet and two of the 2012 BHS champions Ringmasters " Martin and Rasmus" from Stockholm, Sweden. Our first true get-together was attended by almost all our members and was a resounding success.
How things have moved on, with successful conventions in Madrid in 2010, Murcia in 2011, Malága in 2012 and 2013, Calpe in 2014, Málaga in 2015 and again in Calpe in 2016. We were pleased to welcome many European guests who took part in our third international contest in Calpe 2016 and details of En Armonía 2017 will soon be available on the website. Numbers are limited, so make sure that you register soon and take advantage of the Early Bird savings.
We truly appreciate the support and encouragement from barbershoppers from all over the world and we continue to encourage more people to embrace this unique artform of ours with our third Harmony College planned for October 2017 in Los Alcázares and singing workshops throughout Spain and Portugal.
According to delegate feedback, En Armonía 2016 was our best convention yet. We'd love to see you in Málaga in 2017.
Contacte/Contact President's Email


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Apologies in advance for this spectacularly uninteresting question, but it has just come up in my work. (Okay, not in a truly important way, but I am trying to gauge the scope of a certain construction.)
Let $K$ be a field and $A$ be a division Albert algebra over $K$, i.e., a certain kind of $27$-dimensional commutative Jordan algebra over $K$.
Is it true that for all nonzero elements $x,y \in A$, one has $(xy) y^{-1} = x$?
Note that this is true in any finite-dimensional division algebra in which each subalgebra generated by two elements is associative, in particular in any composition algebra. But so far as I know (and by the way I know nothing about Albert algebras!), this "2-associativity" property does not hold here.


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Los Angeles Ballet Makes Southern California Debut
Posted 10 November 2006 - 06:12 PM
Performances to Take Place Across Los Angeles, including Wilshire Theatre Beverly Hills, Redondo Beach Performing Arts Center and Alex Theatre, Glendale.
October 11, 2006 (Los Angeles, CA) Los Angeles Ballet makes its exciting debut as the citys own professional ballet company led by world-renown artists Thordal Christensen and Colleen Neary, as Artistic Directors. With 21 dancers hand-selected from the highest caliber schools and companies around the globe, Los Angeles Ballet will set a new standard for dance in Los Angeles and captivate a large and diverse audience by performing in venues across the city.
Los Angeles Ballets first season begins with The Nutcracker at the Wilshire Theatre Beverly Hills December 2-3, moving to Redondo Beach Performing Arts Center December 23-24 and culminating at Alex Theatre, Glendale December 30-31. Benjamin Millepied and Maria Kowroski from New York City Ballet and Paloma Herrera from American Ballet Theatre will be featured guest artists.
Nutcracker tickets are on sale immediately by calling 310-998-7782 or by visiting www.losangelesballet.org, with annual subscriptions available from $89.25 to $242.25.
We are thrilled to become part of the cultural landscape that makes up Los Angeles and are enthusiastically preparing for our Nutcracker season, said Christensen. With a home-based professional ballet company, Los Angeles audiences and a new generation of dance enthusiasts can regularly experience world class dance and enjoy the companys exquisite dance productions designed expressly for Los Angeles.
The creative tour de force behind Los Angeles Ballet is Christensen and Neary, a husband and wife team who have more than 50 years combined professional experience in dance. Christensen danced with the Royal Danish Ballet, New York City Ballet, Bejart's Ballet du Xxieme Siecle, and Pacific Northwest Ballet and was appointed artistic director of the Royal Danish Ballet and the Royal Danish Ballet School in 1999.
Neary performed with the prestigious New York City Ballet and Pacific Northwest Ballet. She was appointed First Ballet Mistress in Charge of Productions for the Royal Danish Ballet in 1999 and is also a Repetiteur for The George Balanchine Trusta special distinction that makes Neary one of the few in the world allowed to stage Balanchine ballets for professional companies.
We have an exciting repertoire ahead of us that reflects our artistic backgrounds and pays homage to some of worlds greatest choreographers, added Neary. The Nutcracker will be a special production for Southern California and act as a wonderful showcase for what we can achieve as a company.
Los Angeles Ballet dancers have joined the Company from such esteemed dance institutions as Dance Theatre of Harlem, Staatsballett Berlin, Louisville Ballet, New York City Ballet, Westside School of Ballet (Los Angeles), The Royal Ballet School, School of American Ballet, and Pacific Northwest Ballet. Each of the 21 dancers brings his or her own artistic sensibility to the Company and will dance both principal and supporting roles throughout the season.
The Company, a not-for-profit arts organization affiliated with the Westside School of Ballet, makes its professional home at the Malibu Performing Arts Center. Julie Whittaker is the Companys executive director.
Los Angeles Ballet is a new organization and not affiliated with previous organizations of the same name.
The Nutcracker
Los Angeles Ballets season debuts with The Nutcracker featuring original choreography by Christensen and Neary.
Accompanied by a live orchestra, Los Angeles Ballets production of The Nutcracker will have a distinct Southern California flair. The production follows the traditional story of Clara and her family welcoming guests to a party on Christmas Eve and the adventure which ensues.
Created by Los Angeles designer Catherine Kanner, the setting is 1912 California in a classic Spanish style home with Mexican, Spanish and European influences. Throughout two acts, the audience will be introduced to hints and tastes of Southern California. The sets create the feeling of being inside a childrens book; a real place yet fantastical -- warm and inviting. Audiences will feel at home yet will soon learn to anticipate fresh variations on the traditional themes.
Spring and Summer Programs
The Companys spring and summer programs will feature guest artists Artem Shpilevsky of Bolshoi Ballet as well as Yvonne Borree, Nikolaj Hübbe, Maria Kowroski, Nilas Martins from New York City Ballet. The spring program is entitled New Beginnings (Concerto Barocco, Duo Concertant, Napoli, Act III) based on the works of George Balanchine and August Bournonville, and in the summer the Company introduces its program with An Evening with Balanchine (Serenade, Apollo, Rubies).
Ticket Information: 310-998-7782; http://www.losangelesballet.org
Wilshire Theatre, Beverly Hills
8440 Wilshire Boulevard
Beverly Hills, 90210 Dec. 2, 2006 at 2 p.m. and 7 p.m.
Dec. 3, 2006 at 1 p.m. and 5 p.m.
March 15-16, 2007
[Performance Times TBD]
June 9-10, 2007
[Performance Times TBD]
The Nutcracker
New Beginnings (Concerto Barocco, Duo Concertant, Napoli, Act III)
An Evening with Balanchine
(Serenade, Apollo, Rubies)
Redondo Beach Performing Arts Center
1935 Manhattan Beach Boulevard
Redondo Beach, 90023
Dec. 23, 2006 at 2 p.m. and 7 p.m.
Dec. 24, 2006 at 1 p.m. and 5 p.m.
March 15-16, 2007
[Performance Times TBD]
June 1-2, 2007
[Performance Times TBD] The Nutcracker
New Beginnings (Concerto Barocco, Duo Concertant, Napoli, Act III)
An Evening with Balanchine
(Serenade, Apollo, Rubies)
The Alex Theatre, Glendale
216 North Brand Boulevard
Glendale, 91203
Dec. 30, 2006 at 2 p.m. and 7 p.m.
Dec. 31, 2006 at 1 p.m. and 5 p.m.
March 31, 2007
[Performance Times TBD]
May 26, 2007
[Performance Times TBD] The Nutcracker
New Beginnings (Concerto Barocco, Duo Concertant, Napoli, Act III)
An Evening with Balanchine
(Serenade, Apollo, Rubies)
*Repertoire subject to change
Media Contacts:
Ariel Carpenter/Michelle Thomas
mPRm Public Relations
Posted 10 November 2006 - 06:39 PM
Mr. Christensen and Ms. Neary have put together an ambitious and very appealing season. I wish I could see it, but I'll have to count on our SoCal members to put me in their seats.
Los Angeles Ballet's website provides portals to buy tickets.
Thanks for the notification, and every wish for the success of the company.
Posted 11 November 2006 - 09:52 PM
So I guess this is a double welcome -- to you to Ballet Talk and to the Los Angeles Ballet as it takes to the stage for the first time .
Mr. Christensen and Ms. Neary have put together an ambitious and very appealing season. I wish I could see it, but I'll have to count on our SoCal members to put me in their seats.
Los Angeles Ballet's website provides portals to buy tickets.
Thanks for the notification, and every wish for the success of the company.
Thank you very much for your kind reply. We are very excited for LAB's debut! Especially with the amazing dancers that we have, it is going to be a great season!
Best wishes,
Posted 12 November 2006 - 12:30 AM
I look forward to the next time I'm in Los Angeles so I can see the new company.
Best of luck!
Posted 23 February 2007 - 04:24 PM
[size=4]LOS ANGELES BALLET ANNOUNCES SPRING REPERTOIRE
NEW BEGINNINGS[/size]
Featuring works of Balanchine and Bournonville, New Beginnings to Exhibit Depth of Skill and Artistry of LAB Ensemble with Ambitious Program
February 23, 2007 (Los Angeles, CA) Los Angeles Ballet [LAB] presents its Spring repertoire, entitled New Beginnings which will be performed March 15-31 at venues across Los Angeles, LAB Artistic Directors Thordal Christensen and Colleen Neary announced today. The repertoire features celebrated works of George Balanchine and August Bournonville, including Agon, Concerto Barocco and Napoli Pas de Six and Tarantella.
The program, which will serve as a showcase for the strength and artistry of LAB dancers, introduces new Company members, including Melissa Barak, formerly with New York City Ballet and a Westside Ballet School alumna; and Sergey Kheylik, who performed with LAB during The Nutcracker season. In addition, Rainer Krenstetter, first soloist with the Staatsballett Berlin, will make a guest appearance* in Napoli Pas de Six and Tarantella. (Please see below for principal casting.)
In addition, New Beginnings repertoire underscores the creative leadership of the Company. Both Concerto Barocco and Agon will be staged by Ms. Neary, who is Repetiteur for The George Balanchine Trusta special distinction that makes her one of the few in the world allowed to stage Balanchine ballets for professional companies.
Also, Napoli Pas de Six and Tarantella, choreographed by Bournonville, will be staged by Mr. Christensen, former artistic director with the Royal Danish Ballet and The Royal Danish Ballet School.
We are particularly proud to share the work of these great ballet masters interpreted by our corps of talented dancers, Ms. Neary said. These ballets will really showcase our dancers and their ability to perform complex works in addition to such annual favorites as The Nutcracker, Mr. Christensen added.
About New Beginnings
New Beginnings will feature three ballets based on the work of choreographers George Balanchine and August Bournon
- Agon -- Choreographed in 1957 for New York City Ballet, Agon is a collaboration between Balanchine and Stravinsky composed of 12 dancers. This ballet is a masterpiece of modernism and musicality.
- Concerto Barocco -- Set to Bach's Double Violin Concerto in D Minor, this Balanchine ballet beautifully demonstrates the purity between musicality and structure. Concerto Barocco was choreographed in 1941 for American Ballet Caravan and presented in 1948 for the Inaugural performance of New York City Ballet.
- Napoli, Pas de Six and Tarantella -- The spirited, joyous wedding celebration of Teresina and Gennaro, choreographed by August Bournonville, with music by Helsted and Paulli.
Tickets for New Beginnings are on sale immediately by calling 310-998-7782 or by visiting www.losangelesballet.org. Annual subscriptions are available from $59.50 to $161.50; and single ticket sales range from $35 to $95.
About Los Angeles Ballet
Launched in 2006 by artistic directors Thordal Christensen and Colleen Neary, Los Angeles Ballet made its exciting debut with The Nutcracker as the citys own professional ballet company focused on capturing the creative aesthetic unique to Southern California. With a professional ballet presence in Los Angeles, the Company is building a large and diverse fan base who will become devoted, supportive patrons.
Los Angeles Ballets 21 dancers have joined the Company from such esteemed dance institutions ranging from Dance Theatre of Harlem, The Royal Ballet School and Louisville Ballet, to New York City Ballet, Westside School of Ballet (Los Angeles), and Pacific Northwest Ballet.
The Company, a not-for-profit arts organization affiliated with the Westside School of Ballet, makes its professional home at the Malibu Performing Arts Center. Julie Whittaker is the Companys executive director.
Principal Casting for New Beginnings
Concerto Barocco: Corina Gill, Oleg Gorboulev, Melissa Barak
Agon: Sergey Kheylik, Lauren Toole, Corina Gill, Oleg Gorboulev, Andrew Brader, Maco Doussias, Kelly Ann Sloan, Erin Rivera-Brennand
Pas de Six and Tarantella from Napoli:Rainer Krenstetter, Oleg Gorboulev, Masahiro Suehara, Peter Snow, Sergey Kheylik, Maco Doussias, Corina Gill, Lauren Toole, Kelly Ann Sloan, Nancy Richer, Erin Rivera-Brennand, Erika Bandy, Andrew Brader
Posted 15 March 2007 - 11:07 PM
I was excited about the programming: Concerto Barocco, Agon, and diverts from Act 3 of Napoli. Neary and Christen chose well, where the great choreography sustained the evening and gave the dancers a great challenge to come up against. Agon in particular isn't a walk in the park for even the big companies. So not only was it interesting to see how the dancers would accomplish the ballets, but the ballets themselves were just fantastic to watch.
The performances were very promising - a bit tentative in the corps (understandable, they're new), but overall very well coached and clean.
Agon in particular came off very well. There was an exciting energy and fizz when the female corps stormed onto the stage to Stravinsky's atonal violin beats at the beginning of the ballet. The men held their own as well (though a few seemed to try too hard, and ended up sloppy).
Corina Gill gets the kudos for holding up virtually the entire evening on her shoulders: she not only led one ballet, but ALL THREE on the program. She danced the adagio/pas de deux role in Barocco, then took on the pas de deux in Agon, and then showed up for a brief by very impactful variation in Napoli. And she was fantastic in all three roles - her dancing had a musicality and confidence that adapted to each ballet. Most amazingly: a transformation from the subtly seductive Agon to cheerful, elegant and fleet-footed lightness in Napoli, with barely 20 minutes in between. She's tiny in stature, but dances big - a joy to watch. Oleg Gorboulev partnered her in Barocco and Agon. We didn't get to see him dance much on his own, but he was a sturdy partner and had strong, easy presence on stage.
We don't get much Balanchine in SoCal, so this was a nice big helping of Balanchine's great ballets. They're doing this program through the weekend, and then one more time at the end of the month. The next program should be great as well: Serenade, Apollo and Rubies.
Posted 15 March 2007 - 11:28 PM
Thor and Colleen spoke at the beginning to explain the background of each piece and why it was chosen for their inaugeral rep season. They were charming. I wish them the best and will try and attend their next rep program. There was one male member that captivated me. A talent to watch for. I was told that he was an SAB student who recently performed in NYCB's Nutcracker in Tea. It was also wonderful to see a lovely former NYCB dancer Melissa Barak dancing second violin in Concerto Barocco. Welcome home, Melissa!
Posted 16 March 2007 - 06:00 AM
There was one male member that captivated me. A talent to watch for. I was told that he was an SAB student who recently performed in NYCB's Nutcracker in Tea.
Probably Masahiro Suehara?
One company member, Peter Snow, worked with me in '03. Did anyone happen to notice him? How is he doing?
Posted 16 March 2007 - 06:30 AM
danced so well and with such spirit. A highlight for me.
Posted 19 March 2007 - 03:21 PM
The audience was fairly full for the Friday show at UCLA, but really bare (less than 1/3 of the seats filled?) at Redondo Beach. Hopefully it will be better for their next performance at the Alex in Glendale on March 31.
Posted 19 March 2007 - 03:25 PM
I went back on Saturday night to see the company in Redondo Beach. That theatre is considerably larger than UCLA's hall, but the stage seemed a bit bigger too. Getting a bit of perspective away from the stage was nice, but I did enjoy the intimacy at UCLA. The company looked good again, but understandably a bit tired at their third marathon weekend performance. Napoli, though, was sheer joy - very bright and bouncy. They really seemed to dig into the Bournonville style, and were much more willing to let go this time around.
One thing though: there was a photographer at the back of the house noisily snapping photographs during the show! He seemd to be LA Ballet's own photographer, as he was there on Thursday night, too doing the same thing during Agon until the company's publicist (or thats who she said she was) asked him to move into the sound booth. I was sitting in the back of the house both times (could not afford to pay up to $95 for front seats- and even in the back they were $55!), so he was right behind me and the noise directly affected me and patrons sitting around me. Not that I don't understand the company's needs for PR and marketing photos, but it's ridiculous to subject the audience to this very annoying sound, especially a paying audience. It kept jarring me out of the ballets - thankfully it was only during Agon on Thursday, but on Saturday, it completely destroyed my experience of Concerto Barocco. The house manager allowed me to move forward since there were seats availabe that night. But most professional theatres have a policy of putting photographers away from the audience or in a sound booth, to muffle the camera sounds (and to comply with union rules) - if this company wants to become fully professional and be considered as such, it will have to pay as much attention to the needs of its audience as it does to the work on stage.
Posted 25 May 2007 - 03:25 AM
Posted 25 May 2007 - 07:08 PM
Serenade needed a lot of work, especially from the corps. Some of the soloists were looking a bit rough as well. Brooklyn Mack was brought in to dance the man's role, and it wasn't flattering to his partner since he looked like he was in a completely different (ie. much better) technical class than his partner --- imagine one of those school performances where they bring in a professional danseur to partner the school girls. They also had no chemistry, and their partnership was a bit lacking as well. There were missed lighting cues as well.
Apollo was in better shape except for a couple of lighting and music gaffs, and they did the full version with the birth scene. Oleg Gourboulev danced Apollo, and did well --- it was a pretty straightforward interpretation. It was nowhere as wrongheaded as the Joffrey's about a month ago when they visited LA, but nowhere near Peter Boal's when Suzanne Farrell's company visited UCLA a couple of years ago. The three muses were fine as well, and Corina Gill makes for a very fine Terpsichore. Terpsichore and Apollo's pas was the highlight of the evening.
Rubies looked like the thing they worked on most. Sergei Kheylik and Corina Gill danced the main roles, and were fine doing it in terms of the steps executed. If anything, they mainly lacked the idiomatic sharpness and jazziness of the piece. It looked as if they were still connecting the dots, going from dot to dot instead of filling the choreography. I suppose this kind of thing comes with time and more familiarity with the choreography. The corps was a bit tighter, but could use a little bit more work as well.
One thing that was a letdown this time was the weakness of the men's corps especially after the men looked so good in their last program. There's not much of it in this program, but for the most part, the men in the corps looked really weak and lacking in even basic ballet carriage: collapsed chests, looking at the floor, etc. They were also especially short.
Another thing that was really annoying, and has been documented and complained to the management before, was the house photographer whose camera could be heard from my seat in row C. Imagine the closing scene of Serenade with clicks going on. He had been moved into the soundbox, but he opened its window so he could still could be clearly heard.
I'm going again on Saturday in Glendale. Hopefully they'll have cleaned up a lot of stuff.
Posted 27 May 2007 - 11:54 AM
I'm going again on Saturday in Glendale. Hopefully they'll have cleaned up a lot of stuff.
Andrew - Did you go last night, and had it been cleaned up? :blink:I wish I could attend, but its not in the cards right now -
Posted 27 May 2007 - 07:12 PM
What remained the same however was the very weak men's corps. It was kind of embarassing putting that quality of dancers on stage for the prices they were charging ($95 for the best seats), which were comparable the big touring companies' prices.
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As any Melbourne music fan knows, the Reclink Community Cup is almost as important as the AFL Grand Final itself. The match between local musicians and local broadcasters has been running since 1993.
Saskwatch will be providing the half time entertainment.
Gates open at noon and entry is $10 adults and $5 for children at Elsternwick Park
Further details here


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Ash Is Cash
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GENESEO, N.Y. - Sal Simonetti, a 20-year veteran of the Webster, N.Y., Police Department has been named Chief of University Police at the State University of New York at Geneseo. He begins his duties July 22.
"Geneseo is fortunate to have an administrator of Sal's caliber joining our college community," said Robert A. Bonfiglio, vice president for student and campus life. "We are impressed with his local and regional law enforcement leadership and especially his commitment to community policing. We look forward to the contributions he will make in maintaining a safe campus for our students, staff, faculty and visitors."
Simonetti started as a patrol officer in Webster and ascended to administration bureau commander, the second ranking officer in the department. In that position, he successfully initiated the process in which the department obtained New York State accreditation. He also co-authored the Town of Webster's Emergency Response Plan.
A graduate of Monroe Community College, Simonetti earned a master's degree in public administration at SUNY Brockport. He also is a graduate of the FBI National Academy in Quantico, Va., and is member of the board of the FBI National Academy Associates for New York State and eastern Canada. He also is a board member of the Webster Comfort Care Home.
Simonetti replaces James Stenger, who retired from the chief's position last summer. Scott Kenney, assistant chief of police, has been serving as interim chief and will return to his assistant chief duties after Simonetti starts.
"Scott was the consummate interim police chief, exemplifying his lifelong commitment to our students' well-being," said Bonfiglio. "Geneseo is fortunate to have had such an able interim appointee."
Media Contact:
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A card shower is requested for Harold Greenwell as he celebrates his 85th birthday on Oct. 7.
His family is hosting an open house Oct. 7 from 2-4 p.m. at 13722 SW 50th, Benton, KS 67017.
No gifts please. Harold was born in Leon. He and his wife Geneva have raised four children. They have 10 grandchildren and one great-grandchild.
Harold retired from Beech Aircraft after 38 years, he was never laid off.
He is a member of the class of 1945 of El Dorado High School.
He served with the Army-Air Force during World War II. He has also been a member of Albert Pike Lodge for more than 25 years.
Location, ST | website.com