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Greece: Profile of a Failed StateWritten by Stephen Lendman Subject: Philosophy: Fascism
by Stephen Lendman
Greece exhibits failed and rogue state characteristics. It governs irresponsibly. It's beholden more to foreign interests than its own. Banker needs are prioritized. Ruling authority outside Greece dictates terms.
The country's unable or refuses to provide public services. It threatens the welfare of its people. It spurns legitimate rule. It's bankrupt but won't declare it.
Governance in Greece combines travesty, tragedy and shame. Democracy's birth place spurns it. It also displays an unprincipled disregard for human need at a time of rampant corruption and prioritized military spending.
In 2011, seven billion euros went for arms. Greece is the tenth largest weapons importer. It's one of 28 NATO countries. Collective defense requires member states to purchase arms and buy them from alliance partners.
As a percent of GDP, Greek defense spending is nearly double that of other EU nations. Germany is one of Athens' main creditors. It's also one of its largest arms suppliers. They account for 15% of Berlin's weapons exports.
No justification exists. Greece has no enemies. It's also broke. It can't or won't provide public services. It borrows hugely to repay and service debt, and rampant corruption is out-of-control.
Transparency International (TI) says "Greek people live in a state of 'corrupt legality,' meaning that the law often condones or even fosters corrupt practices. Corruption is endemic: not limited to any party or social class, nor to the public sector."
"The public sector suffers from substantial gaps in both law and practice, thus allowing corruption to thrive. Public officials have been allowed to act for decades without any transparency or effective oversight."
"As a result, lack of integrity, tendency to demand and accept bribes, and unfaithfulness to public service have proliferated. Wrongdoing has eroded the rule of law and facilitated a culture of impunity."
Privileged elites hide wealth in favored tax havens. Doing so explains part of the problem.
Unaccountability lets them get away with what no one should tolerate. It's especially outrageous at a time of economic crisis and appalling human deprivation. Force-feeding more pain exacerbates deplorable conditions.
Last May, dominant parties polled poorly. Voters rejected austerity. Many voted with their feet and opted out. Ordinary Greeks are beset by crushing wage, benefit, and other social cuts.
Impoverishment, homelessness, and unemployment result. Public anger expresses itself in street protests, strikes, and opportunities sought elsewhere.
Some of Greece's best and brightest are leaving. Why stay without job prospects or futures. Other professionals abroad aren't returning.
Dire economic conditions created a lost generation. Brain drain exodus affects the country's future. Greece is inhospitable to human welfare. Who can survive without jobs, income or futures?
Rage against rogue governance grows. On November 6, The New York Times headlined "Normal Life on Pause, and a Sense of Simmering Rage," saying:
Proprietors go out of business for lack of enough customers and revenue to cover expenses. Deepening Depression conditions exist. Greece's economy is on a downward spiral to oblivion.
"The vitriol toward politicians is in many ways more intense than the outrage expressed toward the European Union and the International Monetary Fund."
"Politicians here rarely venture out in public, and when they do, even the most obscure member of Parliament is accompanied by at least one bodyguard."
On November 7, more austerity measures were enacted. Included are some of the most draconian so far. Street rage became violent. Prior to the vote, 100,000 angry Greeks marched on parliament in Syntagma Square.
Why they haven't stormed it so far they'll have to explain. Don't be surprised if they do ahead in a country best described as a tinderbox ready to explode.
People only take so much. Once pain levels exceed a threshold of no return, all bets are off. Politicians are playing with fire. Revolutionary anger is visceral. One spark too many may ignite it.
Police used tear gas and water cannons to disperse crowds. Protesters threw Molotov cocktails at security forces. A bus stop and kiosk were set ablaze. Athens resembles a war zone.
Dozens of arrests followed. Hundreds or thousands more won't quell rage. Greeks are justifiably mad and show it. It's just a matter of time perhaps before the whole country explodes.
Strikes brought Greece to a halt. Hospitals operate with skeleton crews. Commerce shut down. Journalists walked out. They joined strikers. Broadcasts and publications were suspended.
Troika authority demanded and got another $17.2 billion in budget cuts. At issue is qualifying for $39.6 billion in bailout funds. Greece barely gets enough to pay bureaucrats. Debt service and bailing out bankers get top priority.
The term bailout is a misnomer. Grand theft and extortion more accurately explain policy. Ordinary Greeks are victimized. So is Greece's economy.
It's a shell of its former self. It's a zombie waiting for its obituary to be written. Bankers responsible for crisis conditions are rewarded. Irresponsible governance steals from ordinary people to pay rich ones and corporate crooks.
Prime Minister Antonis Samaris heads Greece's rogue government. On Wednesday, he said Athens took "a big, decisive and optimistic step. A step toward recovery. I am very pleased."
The more Greece borrows, the greater its debt, the harder it is to service and repay, the more future aid that's needed, and faster the country heads toward total collapse.
Catastrophic conditions are pushing people toward deplorable living conditions and starvation. Prioritizing debt service and repayment by greater borrowing guarantees an eventual bad ending.
Impossible to bear pain may become uncontainable rage. More than buildings may burn. Politicians may be targeted. They could be tarred, feathered or shot.
University of the Aegean lecturer Panagiotis Sotiris told Russia Today:
"Every austerity package in the last two and a half years was supposed to be the last one. So it won't be the last one this time. We are going to see more of this."
With minimal discussion, parliament "pass(ed) a huge law. We are very far from democratic procedure. This is a set of measures, which are actually dictated by the Troika."
Ordinary Greeks have no say. Parliament surrendered to diktat authority. A banner one protestor held expressed mass sentiment, saying: "TRAITOR SAMARAS GET OUT"
In August, Greek unemployment hit a record high. Officially at 25.4%, one in four workers have no jobs. Monthly for the last three years, figures rose. True unemployment may be much higher. Moreover, most jobs pay subsistence wages and poor or no benefits.
Young people are hardest hit. In the 15 - 24 age category, 58% are jobless. It's likely closer to two-thirds. In the last three years, wages have been cut up to 60%. Around 70,000 small business ceased operating.
The latest austerity round targets another 150,000 jobs, further wage cuts up to 30%, pensions cut up to 15%, and fewer healthcare benefits.
Bureaucrats across the board are affected. Minimum wages, holiday benefits, and severance pay will be reduced.
Education will also be hit hard. Universities will be shut. Mass staff reductions will follow. Retirement will be raised from 65 to 67. Job protections are weakened. Layoffs are now easier. Redundancy notice was decreased from six to four months.
The done deal isn't quite complete. On November 11, parliamentarians have to meet Troika officials. Their revised budget must be approved.
Greece also wants more. It seeks a further "emergency growth package." It's worth another 10 billion euros. It's nowhere near enough for what Athens needs. Expect more bailout deals to follow.
On November 5, Greek journalist walked out for the second time in a week. They're protesting plans to merge their social security fund with a national system.
Finance Minister Yannis Stournaras initially couldn't get a parliamentary agreement to merge the social security funds of journalists, civil engineers, lawyers, and others into the National Organization for Healthcare Provisions (EOPYY). On November 7, the measure passed.
Greece stands at the abyss of collapse. It's mired in deepening Depression. Since 2007, it's economy shrunk nearly 22%. It continues heading south.
Ordinary Greeks bear the greatest burden. Multiple rounds of wage cuts, layoffs and lost benefits created unforgivable hardships.
Bad as things are now, more force-fed austerity is planned. Expect no end of it ahead. Greece is banker occupied. It's debt entrapped.
Class war rages. Living standards plummeted precipitously. Troika authorities demand state-run enterprises, public land, tourist sites, ports, water, and other Greek crown jewels stripped of all worth and sold at fire sale prices.
Brussels calls it a rescue. Ordinary Greeks know it's impoverishment and unemployment. It's financial warfare. It's more destructive than pillaging armies.
It grabs everything in sight and wants more. Corrupt politicians steal what they can and agree. Ordinary people bear unconscionable pain. Earlier hard times produced Nazism.
World War II followed. Failure to learn from history risks repeating it. At issue is doing it disastrously. No one seems to notice or care. It may be too late to matter once reality hits home. It may come sooner than most imagine.
Stephen Lendman lives in Chicago and can be reached at email@example.com.
His new book is titled "How Wall Street Fleeces America: Privatized Banking, Government Collusion and Class War"
Visit his blog site at sjlendman.blogspot.com and listen to cutting-edge discussions with distinguished guests on the Progressive Radio News Hour on the Progressive Radio Network Thursdays at 10AM US Central time and Saturdays and Sundays at noon. All programs are archived for easy listening.


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Mishkan Torah is a friendly, down-to-earth, community-oriented congregation. We offer something for everyone, young, old, single, married, and both Jewish and interfaith families. Our strong traditions of education and member participation provide a wide variety of opportunities for involvement.
We are affiliated with two movements: Jewish Reconstructionist Communities and the United Synagogue for Conservative Judaism. Our Rabbi is a Reconstructionist. Those who aren't familiar with Reconstructionist Judaism may find this discussion of the underlying philosophy of interest.
Our Hebrew School offers Judaic studies and Hebrew instruction to children from kindergarten through seventh grade. It also includes a confirmation program for older children. The kids attending Hebrew School not only learn a lot, but really enjoy themselves in the process and make good friends.
Please come and visit our haimishe schul. Visitors are always welcome. We are handicapped accessible.
Mishkan Torah is small enough for members to get to know each other yet large enough to provide a variety of programs. Here are some of our past events. Members come not only from areas near Greenbelt, but also from Bowie, Laurel, Silver Spring, Rockville, Burtonsville, Potomac, Columbia and Washington. Wherever we may live, Mishkan Torah has become our "Jewish Community."
More background on our synagogue, including information about our adult study group and various clubs and committees, can be found here. Also, read what some of our members have to say about about us. And take a look at our monthly newsletter or check out our Facebook page.
Mishkan Torah in Greenbelt Live Blog
Susan Harris has posted a charming article about Mishkan Torah in her Greenbelt Live Blog.

subset: commoncrawl


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CAMBRIDGE, Mass. – Molly McShane (Lake Bluff, Ill.) netted the equalizer with just 81 seconds remaining in regulation and Anna Teruya's (Hockessin, Del.) blast in overtime propelled MIT to its second New England Women's and Men's Athletic Conference (NEWMAC) championship in three years, with a 2-1 win over Mount Holyoke College on Sunday afternoon. Teruya was named the tournament's Most Outstanding Player, thanks in large part to her game-winner, as well as her tremendous defensive play throughout the tournament. The win sends MIT (17-3) into the NCAA Division III tournament for the second time in program history while Mount Holyoke (13-5) will need to await tomorrow's selections to see if they qualified for an at-large bid into the postseason.
Trailing 1-0 with under two minutes to play, the Engineers earned one of their 11 penalty corners on the afternoon. After receiving the ball on the insertion, Teruya found McShane, who made a terrific dodge to create space, before firing a backhanded shot past Mount Holyoke goalkeeper, Katie Gibson (Charlotte, N.C.), to tie the game at one. Tech earned another penalty corner late but was unable to convert, sending the game into the extra session.
In overtime, it was another penalty corner that set up Teruya's heroics, after a near-miss by MIT. Molly Duffy (New Providence, N.J.) hit the post with her initial shot but Tech was given a second opportunity on the corner. Duffy sent the ball in to Teruya, who was waiting at the top of the circle, and the senior captain fired a shot into the back of the cage to clinch the conference title for the Engineers.
Mount Holyoke was just over a minute away from winning its first NEWMAC crown since 2003, thanks to Aurora Rougeau's (Florida, Mass.) first career goal early in the second half. The first-year midfielder sent a slow, bouncing ball that slipped past MIT goalie, Jenna Klein (Parma, Ohio) and into the net for the 1-0 lead for the Lyons.
Both defenses yielded little scoring opportunities to their opponents, a different story from Saturday's semifinal contests when MIT and Mount Holyoke combined for 15 goals in a pair of wins. Gibson made five saves for the Lyons while Klein earned the win in net for the Cardinal and Gray, stopping one shot during the second half and overtime periods.
Shara Robertson (Kwazulu Natal, South Africa) had one of the best scoring chances of the first half, as Mount Holyoke's dynamic forward positioned herself on the far post following a corner and tipped a shot from the top of the circle but the ball deflected off the post and MIT was able to preserve the scoreless tie.
MIT will await its postseason fate to be announced by the NCAA on Sunday night. In 2009, the Engineers defeated Nichols College, 2-1, in the first round before falling to Tufts University.


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Earl Sweatshirt & Domo Genesis Interview With The Fader!
Earl Sweatshirt and Domo Genesis Interview at The FADER Fort Presented
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Female Hormone may predict age at menopause
Age at menopause may now be predicted more realistically according to a new study accepted for publication in the Journal of Clinical Endocrinology & Metabolism (JCEM). The study revealed that anti-Mullerian hormone (AMH) levels are related to the onset of menopause and are able to specify a woman's reproductive age more accurately than chronological age alone.
The levels of AMH in the blood reflect the number of small follicles present in a woman's ovaries. This follicle stock enables reproduction by ensuring monthly ovulations. Depletion of the stock leads to menopause, which normally occurs between 40 and 60 years of age.
"Couples often postpone childbearing until after age thirty, even though variation in menopausal age and corresponding variation in natural fertility means that some women are sterile as early as their thirties," say Dr. Jeroen van Disseldorp and Dr Frank Broekmans of the University Medical Center Utrecht in Utrecht, the Netherlands. "Knowing when menopause may occur could greatly impact childbearing decisions and our findings show that such knowledge may now be available from AMH levels."
For this study, AMH levels were measured in 144 healthy, fertile women and the data were used to determine an estimate of mean AMH as a function of age. This information was then used to estimate the distribution of the age of menopause in a sample of 3,384 women between the ages of 50 and 70. Researchers were then able to develop a model based on AMH level and age that could predict age at menopause for individual women.
Prediction of age at menopause for younger women may be more problematic since observed AMH levels were underrepresented at younger ages, and a recent study in mice show that mean AMH levels do not decline at young ages.


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Kata Kata Bijak Confusion is a form of uncomfortable feelings, sadness, anxiety, regret, confusion, and so on. Feelings of confusion itself can be experienced by anyone, be it because of a breakup upset or feel sad when abandoned by family members and friends.
Well, for those of you who are heartbroken because of a breakup or disappointed with the pair that makes you sad and want to pour through status on facebook? Perhaps the words upset that I will write below you can use. Here I present to you upset sad words of love.
I want to try again to repeat what had happened, but everything is meaningless now because you've gone: '(
Suatau day I will not miss you, but my heart, as the cosiest home once inhabited by love
There are times when I have to be willing to let go of what is not mine and I pasrahkan everything to God
A thousand words sorry that you remove it from your mouth, will not be able to treat the injury speck in my heart Kata Kata Bijak Mutiara
If one day we we parted, I was willing. But the only one I begged you, do not ever forget me ever fill your heart smile icon Words Galau
I want to go back to the past, where there were only beside candy and balloons, and I have not felt the pangs of love
In life there are two options, the first is to have you, that second loss. If I choose the former, then I'm afraid the second choice will come to be with my life
Love is not the basis of happiness, but love is the basis of grief
Let bygones be bygones, because it was all over. Let all sink together with the sun
Humans will learn to recognize words ill health, then we must know the heartache to know true love
Sorry if one day I do not get along beside you. Not because I do not love, but I want us to stop hurting each other
Kata Kata Bijak Little motivation for you, do not need to drag on in feeling upset because it will only make you more sad. You should take lessons and meaning of the permasalahaan. Kata Bijak Hopefully troubled words above can be useful for you all. Before leaving seo expert blog please read first words are certainly romantic love for a boyfriend.


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On February 4, 2103, OCR resolved a Title VI compliance review of the Tulsa Public Schools (District). OCR's review assessed whether the District discriminates against limited English proficient (LEP) parents and guardians by failing to ensure they have meaningful access to information that is provided to parents and guardians in English. Prior to the completion of OCR's investigation, the District submitted a Resolution Agreement that, when fully implemented, will address the issue assessed in the compliance review. At the time OCR opened the compliance review, the District did not have written policies or procedures for responding to parent requests for documents in languages other than English or requests for a foreign language interpreter, and did not consistently track or keep records regarding which parents in the District are LEP and when the District received requests from and provided translation or interpreter services, or translation/interpreter services to LEP parents. OCR's preliminary investigation indicated that the District did not have a set process in place for notifying LEP parents that it has interpreters and translators available for school-related communications and sometimes had students serve as interpreters for parents. The investigation also suggested that the District did not consistently evaluate or assess the language skills of the District and non-District employees it uses as interpreters and translators and did not provide training to its foreign language interpreters and translators regarding the role of an interpreter/translator, the ethics of interpreting and translating, and the need to maintain confidentiality. In addition, the investigation noted that the District did not have as many resources in place for communicating with LEP parents who speak a language other than Spanish as it did for Spanish-speaking parents.
Under the Resolution Agreement, the District must submit a detailed plan to OCR for providing language assistance services to LEP parents and guardians ensuring the parents and guardians have meaningful access to information about the District's programs and activities. As part of its implementation of this plan, the District will provide language assistance services to all LEP parents and guardians of District students who need such assistance with respect to information about school programs and activities that are provided to other parents and guardians. The Resolution Agreement also requires the District to provide training for administrators and staff regarding the provision of language assistance services to LEP parents and guardians, and to ensure that all District employees who serve as interpreters and translators for LEP parents and guardians are appropriately trained and proficient in the languages spoken by the parents/guardians. OCR will monitor the District's compliance with the Resolution Agreement.
Read the Resolution Letter PDF (161K) | Read the Resolution Agreement PDF (99K)


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I tried to write a post like this last winter, in which I gave a list of the kinds of things I throw in my soup pot to make it tasty. But I am going to try again, and do this better. You see, I love a great tomato-based vegetable soup, but it's the kind of dish I hate having a recipe for. This is because it's really hard to screw up a basic tomato-based broth soup. The more things you add, the more flavorful it becomes. "The more things you add?" You may be thinking… "So I can add a cup of chopped pickles to my tomato soup for added flavor?" Oh, gross, you know that's not what I mean, stop being difficult.
Let me break down the category basics of what goes into a good tomato-based broth soup, so you can make it right every time, with what you have on hand, and impress all your friends as you whiz around the kitchen dumping things in a pot with no recipe like the fairy godmother of soup, or Hermione Granger, if she was domesticated. Soup wizard!
Lots of soup aficionados like to start their soup with a stock. However, I always start my soups with plain old water. If you simmer it for long enough, it becomes just as complex. Plus, I am lazy. Here we go!
Man, that sounds delicious, right? Really, what I wanted to put here was "fetid veggies" but that sounded much less appealing. But I always start my soups with one or two handfuls of fetid veggies (the stinky family) and some aromatics (carrotes, celery, etc…), sauteed in the bottom of the pot in a smidge of oil, or just some water for any of you oil-phobes, and the tiniest pinch of salt, for a few minutes. Here is a list of some of my favs:
- Onion
- Garlic
- Chives
- Shallots
- Leeks
- Carrots
- Celery
2. Broth Base
Next, I add my broth base. This is always 5 – 6 cups of of water, and any or all of the following:
- 1 28 oz can diced tomatoes, no added salt
- 1 14 oz can crushed tomatoes, no added salt
- 1 6 oz can tomato paste, no added salt
- ½ cup wine or beer
- 2 tablespoons apple cider vinegar
*Note that because we are making a TOMATO-based broth soup, choosing a few different tomato starters to go in is necessary…
3. Legumes
After I have added my broth base, I add my legumes. Legumes sound swanky, but really it's just a fancy way to label plants that produce their fruit in pods. For every savory broth based soup I make, I usually choose two of the following legumes, which are high in protein and fiber and low in fat:
- 1 cup of dry lentils
- 1 cup of dry split peas
- 1 or 2 cans of cooked beans (rinsed and drained!), any and all styles. My favorite for brothy soup is kidney and cannellini. For thicker soups like chili, I dig chickpeas.
4. Grains
Since vegans wants a complete protein, I always pair my legumes with a grain. So along with my legumes, I add 1 cup of dry…
- Quinoa
- Brown rice
- Wheat berries
- Millet
- Barley
5. Liquid ratio
Keep your liquid ratio in mind when adding any uncooked grains and legumes, which will absorb liquid as they cook. If you want to keep your soup brothy, add more liquid. If you want it to be thicker, like a chili, let it ride as is and keep an eye on it.
6. Veggies
Yum-o! The best part. Here are my favorite veggies to add…I try and choose what is seasonal, and often use frozen in winter when fresh veggies are out of season and extremely expensive.
- Sweet potatoes
- Cubed squash (kabocha is my favorite!)
- Sweet peas
- Green beans
- Mushrooms
- Zucchini
- Yellow squash
- Edamame
7. Spices!
Here is where the real fun begins. I am not going to give you any spice measurements—you have to figure that out by yourself, as everyone likes different flavors. Not measuring your spices and doing it by "feel" will really allow you to become super comfortable with creating soup without a recipe. And it's really impressive, and that's what cooking is all about right? Not creating healthy, delicious, soul nourishing food, but impressing people! Kidding, obviously, but go ahead and experiment with different flavors. Start small—you can always go bold later. Also, go EASY on the salt. Some people don't use it to cook at all, and I use it sparsely.
- Oregano
- Basil
- Thyme
- Coriander
- Rosemary
- Turmeric
- Cinnamon
- Saffron
- Cumin
- Chili
- Paprika
- Bay leaf
- Black pepper
- White pepper
- Celery seed
- Salt (stop over-salting! I beg you!)
*A note on "volatile" flavors. OH that expression is wonderful! But "volatile flavors" (aromatic spices) can change during cooking, so sometimes you may need to add a little extra spice near the end of the cooking process.
After I have added my veggies and spices, I bring the soup to a boil, and then simmer it for 1 – 2 hours, covered. Keep an eye on it, and stir often, to check on your level of liquid. If it's too brothy, remove the lid and simmer uncovered until some of it cooks off to your desired ratio is reached.
8. Greens
Everyone—but vegans especially—should aim to eat greens on the regular. That means every day, several times a day if possible. Soup is a great way to sneak those greens in, but add them at the end so that they don't lose too many nutrients or get wilty and slimey. I add 2 to 3 handfuls of greens about 10 minutes before removing the soup from the heat.
- Kale
- Spinach
- Swiss chard
- Beet greens
- Escarole
A few more notes on soup:
- It gets better in the refrigerator as all of the spices and flavors marinate, so the best soup is actually a few days old, I think.
- It makes an incredible breakfast
Okay, now tell me your favorite soup tricks and tips! Next week I will give a few actual recipes for creamier soups.


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Fabricio Coloccini will not miss any competitive action despite his recent red card, thanks to a new FA ruling.
He will, however, miss the Magpies' next pre-season match against Blackpool on Sunday as punishment.
The new guidelines state that players dismissed in pre-season friendlies are banned from the proceeding warm-up match, but it will not affect their participation in competitive games.
The news will come as a welcome relief to manager Alan Pardew, who would not have been happy with his skipper, had the red card meant he missed the start of the Premier League season.
The Magpies captain was shown the red card for grabbing Pacos Ferreira striker Caetano around the neck on Tuesday night. Pardew was unhappy with the decision even though both players saw red for the incident, as he felt there were other incidents which the referee should have dealt with earlier to defuse any potential situation.
"We are disappointed with the referee. He lost control of the game. When you let tackles go you are asking for trouble," Pardew told the Daily Mail.
"It frustrates the players. In the end we had a scene which has cost us our captain."
Yoan Gouffran was forced to limp off after another late tackle and is set to be assessed by the club's medical staff.
Pardew added: "Gouff got a nasty one at the end. It was another tackle that was missed by the ref."
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Dr. Phil show tracks down wrong Lanza
NEWTOWN -- As the nation's attention turned to Newtown in the aftermath of the horrific school shooting, Tom Lanza and his wife -- who raised three daughters in town -- were in Ohio and unaware of the carnage.
"Oh my God," Lanza's wife said as she learned the news on her iPhone. "You won't believe it."
What also surprised them was how many reporters confused their family with the unrelated young man who was responsible.
As major news outlets around the world scrambled for interviews, phones of Tom Lanza's family started running repeatedly.
"Our daughters got them because they Googled and Facebooked people who lived in Newtown with the last name Lanza," Tom Lanza said this week. "We were getting calls from media, from Dr. Phil."
There were many early reporting mistakes.
Shooter Adam Lanza was initially identified as his out-of-state brother, Ryan. Their mother was said to be a teacher, then not. Reporters at first couldn't tell exactly who was dead where or what the family connections were.
Tom Lanza's children moved to Newtown in 1980 and were involved in Girl Scouts, but they didn't attend Sandy Hook Elementary School, and his grown daughters no longer live in Connecticut and hadn't resided in Newtown for years.
So how did family members become pestered with phone calls?
The public section of his daughter Jennifer's Facebook lists her hometown as Newtown, Conn. A basic Facebook search for "Newtown" and "Lanza" lists her information.
Reporters used that information to find her phone number and email address, along with Facebook pages for friends with the same last name. From those names, researchers ran background checks -- something typically done on large stories -- to find addresses and other phone numbers to call.
That's how Dr. Phil McGraw's staff ended up reaching out to the wrong Lanzas.
Contacted Friday by a Connecticut Post reporter, Jennifer Lanza and her husband said their grieving family wanted privacy and declined further comment.
"This whole thing has been very upsetting to them," Tom Lanza told The Post Thursday outside the Newtown General Store. That day he and his wife had seen the green-and-white memorial ribbons in a nearby town and decided to drive to Newtown to get some.
"Our daughters would love to have them when they come home," he said.
Lanza said the tragedy also gave his family a different perspective for Christmas.
"It's not so much the presents and stuff, especially this year," Lanza said. "It's more that we're together. You have to enjoy being together whenever they can."


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USA National Team to compete in World University Games in Russia
KAZAN, Russian Federation – Fresh from a fourth-place finish at the 2013 Emirates Airline USA Rugby Women's Collegiate DI National Championship, the Navy Women's Rugby team has been selected to represent the United States at the World University Games in Kazan, beginning Sunday, July 14.
The Summer Universiade, an international multi-sport event organized for university athletes by the International University Sports Federation, will include rugby into its Games Program for the first time this year. Kazan is following in Moscow's footsteps by hosting the Summer Universiade just weeks after the Russian capital hosted the 2013 IRB Rugby World Cup Sevens.
Coached by former Women's Eagles Sevens player and head coach Sue Parker, the U.S. representative team is in Pool B with Great Britain, Italy, Belgium, Brazil, and China. Women's Eagles Sevens players Sadie Anderson and Ryan Carlyle will join nine student-athletes in Russia. See the full rugby sevens schedule here.
In all, around 450 student-athletes will represent the U.S. in Kazan. Staged every two years with Summer and Winter editions, the Universiade is a two-week multi-sport and multi-cultural event, which provides a once-in-a-lifetime experience for student-athletes who are privileged to participate.
United States Roster | World University Games
Sadie Anderson – Scrumhalf, Flyhalf / Penn State University / Fort Collins, CO
Ryan Carlyle – Hooker, center / University of South Carolina / West Nyack, NY
Nicole Castro - Wing / US Naval Academy / Maopac, NY
Tayler Davidson - Prop / US Naval Academy / Arvada, CO
Karissa Kleinschmidt – Hooker, scrumhalf / US Naval Academy / New Richmond,WI
Phoebe Kotlikoff - Prop / US Naval Academy / Ithaca, NY
Kacey Liscomb - Center / US Naval Academy / Reston, VA
Erika Pedersen - Prop / US Naval Academy / Los Gatos, CA
Lauren Rhode - Flyhalf / Princeton University / Boston, MA
Riacca Slater - Wing, Scrum Half /US Naval Academy / Ipan, Guam
Katherine Smith - Prop / US Naval Academy / Medford, MA
Sierra Snapp - Wing / US Naval Academy / Sebastian, FL


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Tusslin: Mother Tries To Break Up A Fight Of A Female Who Gets The Piss Whooped Out Of Her (Literally)
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John: I am using a "budget" rotor from Channel Master for my current setup. Is that strong enough to support an elevation rotor or do I need to save up some $$$ and get an AZ/EL rotor ? It looks like Yaesu is the only option I can find. Are there others that I should look at ? Ron John Kopala wrote: > Ron, > > Been there, Done that. I am using a Directive Systems Looper antenna for > 1.2 GHz. With the setup I have, I chose a 6 foot long version with a 30 > degree beamwidth rather than the 12 foot long antenna. It works quite well > when AO-51 is put in L/U mode as was done several months back for channel B. > You can check out my satellite antenna setup on QRZ. > > I am using the IC-910 with the 1.2 GHz module. Works great. Figure about > half of your output will ever reach the antenna. I selected Belden 9913F7 > ultraflex cable which is ideal for my installation. Keep the runs as short > as possible. Probably better, if it works for you, would be LMR-400 or 600 > or hardline. > > For a given length CP Yagi, the gain of the antenna is going to increase as > the frequency increases (more elements, etc) and beamwidth of the antenna is > going to become more narrow. So pointing the antenna accurately becomes a > more significant factor. It's time to go out and buy the elevation rotor. > You'll find that it is worth every penny you put into it. A beamwidth of 30 > degrees on 1.2 GHz gives the half power points as 15 degrees either side of > the antenna position. You don't really want to be 15 degrees off. You want > to keep the satellite well within the main lobe of the antenna. At 1.2 GHz, > starting with 10 watts, figure half of that gets to the antenna. You don't > want to throw away half or all of what's left because the antenna isn't > pointed at the satellite. Elevation control will also reduce your power > requirements on all of your uplinks. > > Date: Sun, 11 May 2008 20:49:23 -0500 > From: Ronald Nutter <firstname.lastname@example.com> > Subject: [amsat-bb] Suggestions for Mode L antenna > To: email@example.com > Message-ID: <email@example.com> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > I am considering purchasing the 1.2 ghz module for my IC-910H. For my > satellite work, I have my antennas angled at about 20 degrees since I > dont have an az/el rotor. This setup worked reasonably well with Mode S > this weekend. What are my chances to be able to work Mode L with this > kind of setup ? Also, I would appreciate any suggestions for an antenna > that I could use. With only 10 watts, I am not expecting a great signal > but I would hope to have at least a readable signal. Also, would > appreciate any suggestions as to coax/feedline that I should look at > buying ? > > Thanks, > > Ron > KA4KYI > > _______________________________________________ > Sent via email@example.com. Opinions expressed are those of the author. > Not an AMSAT-NA member? Join now to support the amateur satellite program! > Subscription settings: http://amsat.org/mailman/listinfo/amsat-bb > _______________________________________________ Sent via email@example.com. Opinions expressed are those of the author. Not an AMSAT-NA member? Join now to support the amateur satellite program! Subscription settings: http://amsat.org/mailman/listinfo/amsat-bb
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text:
Dollar General Coupon
There is a new Dollar General Coupon for $5 off $25 that is good for today, 3/23 only. Don't forget that your total has to be $30 after manufacturer coupons are used.
Print: Dollar General Coupon
This coupon excludes the following: Gift Cards, Phone Cards, Prepaid Visa Cards, Prepaid Wireless Handsets, Lottery Tickets, Propane, Rug Doctor Rentals and Alcoholic Beverages.
Be sure to check out the Dollar General Match Ups for this week!
Coupons may reach their print limit quickly. If this coupon is no longer available, be sure to check the LRWC Coupon Database for other great coupons.


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Lead Pastor
Charlie Wilfong
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Bob Preusch
Director of Worship Arts | Director of Children's Ministries
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Primary Organist & Choir Director
Simon Pick
Interim Staff Accompanist
Geneva Stonecipher-Overbaugh
Bell Choir Director
Lynn Blosser
Communication Specialist
Eiric Shriner
Office Manager
Brent Miller
Financial Administrator
Rebecca Blackwelder
Facilities Manager
Steve Manning
Weekday Children's Director
Sigrid Schuld
Director of Out of School Program (Kids Connection)
Carissa Wooden
Available Positions
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ChristCare Small Group Ministry
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Last Saturday Free Lunch
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Prayer Blankets & Bandannas
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I Am the True Vine
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Delivered By
Rev. Charlie Wilfong
Delivered On
February 14, 2016 at 8:30
Central Passage
John 15:1-17
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Thursday, January 28, 2010
Henry Selick Podcast
The Museum of the Moving Image has posted a 76 minute audio interview with Henry Selick that was recorded on November 18 and 19 of last year. You can also download an mp3 of the interview at the link.
2 comments:
- animation course said...
Henry Selick's animation is very creative. I like him.
- February 01, 2010 3:00 AM
- jriggity said...
thanks for the link!
- February 04, 2010 9:41 PM
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I'm sure Stephen won't be getting carried away by this but I'm equally sure he will be very satisfied. His challenge now is to keep it going.
Tonight, he faces Ryan Day in the second round. Day scraped through 5-4 against Tony Drago last night in a nerve jangling encounter that had to be watched, in the Doctor Who tradition, from behind a sofa.
Drago is snooker's version of a high wire walker: you watch him full of dread thinking he'll fall off at any moment but also know there's half a chance he will actually make it to the other side.
I was disappointed for Tony because he did so well to come through four qualifying rounds and reach Newport and also there are few players who love the game as much as him.
At least he has given himself every chance of remaining on the tour for another season.
The other second round match tonight pits defending champion Ali Carter against Neil Robertson.
They met at the same stage of last year's World Championship where Robertson made a succession of steely clearances to win 13-8.
In the first round this afternoon, newly crowned Masters champion Mark Selby will be setting out on his bid to emulate his feat of two years ago and immediately win the Welsh Open.
Judd Trump could cause him a few difficulties but Selby is in the ascendancy and will be favourite to progress.
Ding Junhui wasn't sharp at Wembley but he's had a fortnight to get ready for Newport. Jamie Cope is a dangerous player but has not really kicked on since reaching two ranking finals in the 2006/07 season.
John Higgins won the Welsh Open title ten years ago. It's never been his favourite tournament but he'll be expected to come past Michael Judge.
Mark Williams's record breaking run of 48 consecutive opening round victories in ranking events was ended by Fergal O'Brien at the 2003 UK Championship.
O'Brien has won only one match all season – to qualify last week – and Williams was flying at Wembley so a home victory appears likely.
The quality of the play has not been matched by crowd turnout. Also, table two is such a tight set up that it reminds me of the old Steptoe and Son episode where they install a snooker table without any room to play, so have to cue through the windows.
Harold, you'll recall, is already out.
11 comments:
- The Snooker Oracle said...
It was great to see Hendry play so well last night. He has rarely followed a good performance with another for the last few seasons but there must be a real chance he can tonight - looking forward to it. I think this afternoon might come a little bit quickly for Mark Selby and first round opponents don't come any tougher than Mr Trump. Fresh from some blitzing performances in the Championship League I think he could beat Selby this afternoon if he gets off to a good start! At 2/1 it's a very generous price!
Keep up the good commentary Dave, I am enjoying the Eurosport coverage.
The Snooker Oracle
- 11:51 am
- jamie brannon said...
I thought the crowd looked better yesterday at least for Ronnie's game. In the past the event has coincided with half term so that may have hit it. I think the event was moved due to the Winter Olympics. Dave, it is often said how damaging it is for a player in the top 16 not to win his opener because of the ranking points, does a qualifier suffer as much? I ask mainly as I was thinking that although Drago lost last night, will it hamper him that much in his bid to stay on the main tour? As with two events left you would feel he may have done enough already.
- 2:14 pm
why are only the top 64 guaranteed a place on the tour next year? when was this decided?
- 2:30 pm
- Dave H said...
It's the top 64 plus the top eight on the one year list, as it has been for several seasons
- 4:35 pm
ranking points and provisional rankings are available on the world snooker website, so youll be able to see how exactly it affects big tone
- 4:38 pm
- jamie brannon said...
I know that, but you never seem to hear the commentator talk so much about how damaging it is for a qualifier to lose in the opening round. I think Drago has won ten games this year so on the one year list I would think he should be okay. Also I reckon he will be about provisional 55 after this event. The Racing Post tipped Mark Williams and with the form he is in then it could be a great selection.
- 5:00 pm
- Finn said...
Global snooker are updating the prov rankings each day after close of play at welsh open, think drago was mid fifties after last night
- 5:16 pm
most of the commentators who arent on the bbc are fairly useless IMHO anyway Jamie.
Dave is about your best bet outwith the bbc (not all on the bbc are great, but at least they done need to keep saying my apologies every few minutes)
- 5:23 pm
- Dave H said...
Commentary is pretty easy when you are sat in the arena and spoonfed information
It's not quite so easy when you're not
- 5:27 pm
- Andrew said...
Jamie - it's damaging for any player to lose his first match in an event, as then they only get half the ranking points. Qualifiers in the last 32 have already avoided this in qualifying; they're guaranteed to get 1400 points, whereas seeds who lose in the first round get 700.
- 7:50 pm
Dave H "It's not quite so easy when you're not"
It's got to be a whole lot easier than a 10 hour shift!
- 11:29 pm


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I need a service to be developed in angularjs for the manipulation of drawings and images. The idea is to build a service similar to canva, this is, have a screen where the user should choose a picture for the background, and over the same, he should drag another editable components like text, icon, imagens and so on, in a way tha he assemble a new image to be exported in the ending of the edition. This screen will be integrated in our angularjs environment so the support for the integration should make part of the service.
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With killer city views like this, it makes total sense to throw classic space planning rules right out those picturesque windows. And that is precisely what Mara Silber did. While designing this modern Gramercy apartment, she gave the NYC skyline top billing and floated furniture so the owners could take in all that beauty right from the comfort of bed. It's genius and is just the beginning of this space layered with neutrals, pops of color and fab art. Take the full tour captured by Sean Litchfield right here.
This fresh, playful home was truly the result of a lifelong dream. One of the clients, my architecture-trained oldest friend (dating back to preschool!), and I had long envisioned our first design collaboration. When he and his fiancee, another childhood friend turned fashion lawyer, moved into the prestigious Gramercy Starck building with unrivaled city views, we knew the interiors had to match the luxury of the architecture, while showcasing the couple's youthful energy.
The biggest challenge of this project was undoubtedly the bedroom, which also turned out to be my favorite thing about the space. With a wish-list that included a queen-size bed, reading lights, and ample dresser storage, we were forced to think outside the box. Knowing that I wanted to feature the floor-to-ceiling windows spotlighting the incredible cityscape, I presented a hotel-inspired, untraditional layout with the bed facing the windows and the dresser (which had the added challenge of needing a finished back!) doubling as a headboard. The proposed layout capitalized on the available square footage and simultaneously maximized the rare city views.
Functionally, the goal was to create a cozy, welcoming retreat that could easily lend itself to entertaining, which can be a challenge in a New York City one-bedroom apartment.
With an unusually spacious eat-in kitchen area, we selected a high-top dining table that seconds as a buffet table when moved against the wall, opening up the entryway to seamlessly flow into the rest of the apartment.
We strategically placed the bar cart at the end of the living room, drawing guests, who tend to naturally congregate in the kitchen, towards the views and outdoor patio.
This way, we made sure we were utilizing the entire surface area of the space. In the living room, we had their existing Ikea sofa to work with, which we updated with a new, gray slipcover. We layered in different textures with the rug and pillows, throwing in contrasting materials with the metal zig zag chair and leather lounge chair. The "Ha-Ha-Ha-Ha" artwork on the walls perfectly showcases their light-hearted spirit and makes for the perfect conversation starter.
Having open-minded clients be receptive to my suggestions as a designer is what really allowed us to create the wow-factor for the space. Thankfully, our long history was a contributing factor to their overwhelming trust in my expertise! My favorite pieces in the apartment are, without a doubt, the Yee Wong "Exploding Powder Movement" prints featured in the bedroom.
If I were to describe the couple's personalities in a print, these glitter bomb photos are it! They are happy, sparkly, beautiful, life-of-the-party people. Other great finds included quirky, modern touches like the Anna Wintour doll in the bookcase and the framed Gurney's Montauk postcards - a sentimental place to them.


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WQ403, Reviewed April 1997
The best method of handling residential sewage is through a properly designed and operated community or municipal treatment system. But many areas of Missouri have population densities so low that installation costs prohibit using community systems. In these areas, families must rely on individual waste treatment systems.
There are three generally recognized methods of handling wastes from a rural residence. They are the stabilization lagoon, the septic tank and the individual aerobic treatment plant.
This publication describes features and functions of the individual plant or package treatment system.
Individual package plants are a relatively new development in waste handling. Most units available today have been on the market less than 10 years. In spite of claims, the following general statements can be made about all individual package systems.
Figure 1Treatment in a package plant.
Figure 2Section of an aerobic chamber that uses an aerobic chamber to provide initial breakdown of solids. A stirring device provides the aeration.
All package treatment plants use the aerobic (with oxygen) digestion process to treat sewage. In this process, oxygen-using bacteria attack and break down the organic portions of the sewage into simpler inorganic compounds. Aerobic treatment is preferred because it is rapid and relatively odor free. It also provides greater solids reduction.
Septic tank systems rely on the anaerobic (without oxygen) breakdown process that is less efficient. It produces the characteristic septic odor.
Package plants maintain aerobic conditions by introducing air into the tank. This can be done in either of two ways. Some manufacturers use an external air compressor to bubble air through the sewage. Others draw air into the sewage by using either a pump or a stirring device that functions much the same as a high-speed food mixer or blender.
Treatment in the package plant is accomplished in three stages (Figure 1). In the first stage, raw sewage enters the system and larger particles are settled out or broken up mechanically to increase their surface area and make them more accessible to the aerobic bacteria.
Some systems make use of a separate anaerobic bacteria treatment chamber where anaerobic bacteria help break down the larger particles. Anaerobic treatment chambers require periodic pumping of sludge.
The second phase of the treatment consists of mechanical aeration. Oxygen-containing air is mixed and blended with mixtures of solids and liquid. During this period, aerobic bacteria reduce the sewage into simple compounds.
The final step is the settling or clarification chamber. Treated sewage from the aeration process is emptied into this chamber where the heavier solids in the sewage settle. These solids are returned to the aeration chamber for further processing. The clarified liquid from this chamber either flows or is pumped out of the treatment plant (Figure 2 and Figure 3).
Figure 3Section view of an aerobic treatment system. The system uses the agitation of the aerobic chamber to break up solids in the raw sewage. An air pump or compressor provides aeration.
Package treatment plants contain and process a material that is a potential health hazard. Care should be exercised in locating the plant so there is little danger of contaminating any public or private water supply. Plants should not be located within 10 feet of any building foundation, property line or pressurized water line. They should not be located within 50 feet of a well, water supply or stream. If possible, the treatment system should be located so that sewage can flow into it by gravity.
Units are sized based on expected loading, their ability to mix oxygen with sewage, and a designed retention time. Most manufacturers specify capacity in terms of the number of people or number of bedrooms served. If a garbage disposal unit is used in the house, increase capacity by 50 percent. The Health Department recommends a minimum of 150 gallons per bedroom or 500 gallons per house.
Effluent from the package treatment plant is a potential pollutant. It contains nearly all of the nutrient materials in the original raw sewage, bacteria, and some amount of untreated or partially treated sewage. If it is indiscriminately discharged into the waters of the state, as defined by Missouri statutes, you may be held in violation of the law. There should be no direct surface discharge from one's property.
The most satisfactory method of effluent disposal is controlled application to a soil/plant filter. The plant growth can use the nutrients and soil bacteria to complete the purification process. Effluent discharged into a well-sodded, level terrace is one way to accomplish this.
For information on the design and installation of a settling terrace, contact your local MU Extension center or the Natural Resources Conservation Service.
If terrace installation is not possible, effluent may be collected in a sump area and distributed through a sprinkler system. This system provides a limited amount of irrigation during dry weather.
A third method is the subsurface disposal field. Design, construct and operate this system like a septic tank disposal field.
All sewage treatment systems require some degree of management and maintenance. Package plants are no exception. Regularly check to make sure that all parts of the system are functioning in good repair. Use your owner's manual to guide your inspection.
Many package plants require periodic removal of accumulated undigested solids. Use your inspection and manufacturer's recommendations to determine pumpout intervals and the amount to be pumped.
CautionUse care in pumping out tanks during wet periods when soils are saturated. Partially empty tanks may float out of the ground unless precautions are taken to hold them down.
The National Sanitation Foundation (NSF) has a series of standards for construction and performance of individual aerobic treatment plants. It recommends that you consider only systems that meet or exceed these standards.
Some of the NSF standards are:
Order publications online at http://extension.missouri.edu/explore/shop/ or call toll-free 800-292-0969.


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There have been a few historical fiction books written about the Hole-in-the-Rock pioneers in which their language is portrayed as being simple and unrefined.
However, if one takes the time to read the journals and autobiographies of these people, one realizes nothing could be further from the truth.
Despite the fact they generally lacked opportunity for extensive formal education, their vocabulary is extensive and articulate, their written words precise. Certainly their writing would reflect their speech, even as it also reflected their values.
Similarly, the priorities were manifest by the early construction of primary grade schools. There is no doubt that the first settlers of San Juan County cared about providing a solid education for children.
No sooner had they laid out the plans for their new townships than they started construction on a combination church/school/community meeting place.
Historically, each settlement sought out gifted educators, their qualifications now evident in the strong leaders they produced over the years.
This commitment to education is also evidenced by the fact that the citizens of Grayson were willing to trade their birthright name in exchange for the new name of Blanding and a promised library. Though that decision remains controversial to this day, the community's desire to gain culture through book learning has never been questioned.
When the call to San Juan was issued by leaders of the LDS Church, their injunction to the families that answered the call included a strong directive to help educate their "Lamanite brethren".
The first settlers quickly realized that this would be a long term project.
1)- they had to get themselves established. 2)- they needed to gain the trust of the people. 3)- they had to offer a way of life that is to the native's advantage. 4)- they had to develop resources to help support their goals. 5)- they needed to transfer the responsibility for learning.
Five steps and five generations later, the educational opportunities on the Ute and Navajo reservations in San Juan are equal to those provided anywhere in the county.
More importantly, the Native American population has fully embraced available resources and generated their own services. Nowhere is this more evident than in the Education Center at White Mesa, funded by the Ute Tribe.
The San Juan Record will run a series of articles on libraries in the county, beginning with the newest and perhaps most unique of all: the library located in White Mesa.


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Style # 221103
Sexy off-shoulder design, beautiful embroidery and luxe lightweight fabric make this bebe dress a boho-glam summer essential. Try yours with a pair of wedge sandals and stacked bracelets.
- 100% polyester
- Center back to hem: 30" (76 cm)
- Polyester charmeuse lining
- Hand wash according to care label
- Imported
- Model is 5'9" and is wearing a US size S
Meagan Off Shoulder Dress is rated out of 5 by 4.
Rated 4 out of 5 by JUfashion from Beautiful dress It's a elegant yet versatile dress.The unique reason that I gave only 4 stars, it's because on the top,make you a little bit fat( at the shoulders),either way,putting up or straight.But I used with a leather jacket,and changed the look for completely.I loved the look,and have used more than one time with different jackets,and always get lots of compliments with this dress.
Date published: 2014-06-10
Rated 5 out of 5 by GlizNGlam from Great Summer Dress love this dress. BEBE COME BACK OUT WITH THIS DRESS. IT'S PERFECT FOR SUMMER
Date published: 2014-04-19
Rated 5 out of 5 by LYNNETTE from COUNTRY CONCERT CHIC I bought this dress to wear to a country concert; I want to look polished and chic but not look like I was trying to hard. I think this dress will be perfect. I really like the fact that it hides my arms (my least favorite feature) and shows off my collar bones (my favorite feature). Although the material is sheer, it is not see through and is lined very well. It's very flowy and does run big. I originally wear a medium and I ended up buying an extra small. With the right accessories, you can either dress it up or dress it down. For the concert, I am going to fishtail my hair and pair it with cowboy boots, a waist belt, and bracelets!
Date published: 2013-09-21
Rated 5 out of 5 by Deni from Pretty summer dress Dress looks better in person than online. Looks great on or off shoulder so is versatile. Embroidery detail seems well made. Polyester is quite good quality (soft not crunchy) and it has an underlining so not at all sheer. I wear between a M and a L in Bebe but the M was definitely big enough so I would recommend sizing down for a better fit as this style floats away from the body so be prepared that it may add some weight. The tie opening at the neckline is cut quite low which is not shown in the pics; however, I think that this makes this boho dress quite sexy and dressy not frumpy like some can be.
Date published: 2013-08-04


text: BOYS LIONS TOUCHDOWN TEE $27.50 BOYS LIONS TOUCHDOWN TEE $27.50 Choose Color: TRUE BLACK Choose Size: XS Size Guide X XXS XS S M L XL XXL +3 *There is not enough stock. The product has been added successfully. Share X Share Facebook Pinterest Twitter Details Rep your team in this washed garment that has the look and feel of a vintage sports tee SPECS Relaxed Fit 100% Cotton Slub Size 'M' Length: 22"


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Magic Square
by Paul Curry
A 7x7 square in the left part of the illustration
is divided into five pieces. Now if we rearrange the pieces in the way
as shown in the right part of the illustration, we will get the same
7x7 square but... with a small square hole in the center. How could
this happen?
Step Through:
You are
at the first trick


text:
Home-delivered meals to Springfield senior citizens may arrive a little hotter after the local American Red Cross chapter received a gift Friday as part of the Springfield Clinic�s yearlong 75th anniversary celebration.
The clinic donated 24 insulated food-delivery bags, known as ovens, to the Red Cross� Illinois Capital Area Chapter for a Meals on Wheels program that serves about 100 area seniors.
�These ovens were desperately needed,� said Jeffrey Regan, interim executive director of the chapter, headquartered at 1045 Outer Park Drive.
The reusable, flexible containers are made of plastic, and each holds up to 20 meals. The containers will replace delivery bags that are smaller and have been worn out through years of use, Regan said.
The chapter, which operates on a $1.3 million annual budget and devotes $167,000 of that to Meals on Wheels, hasn�t had extra money to replace the containers on its own, he said.
The chapter has operated the food-delivery program for 45 years. The program provides hot, nutritious lunchtime meals delivered by volunteers to low-income seniors, Regan said. Recipients of the food pay fees that range from $1.95 to $5.95 per day.
The Red Cross, which had requested to be considered for Springfield Clinic�s Mission: GIVE75 giveaway, was the first of what will be 12 monthly recipients of gifts this year, clinic marketing director Patty Kuhn said.
�This is about helping them accomplish their mission,� she said.
Meals on Wheels was among about 100 nominations for gifts to charitable organizations in the central Illinois communities where Springfield Clinic operates medical offices, Kuhn said.
The clinic has set aside about $1,000 per month in 2014 for gifts requested by the organizations themselves or suggested by people in the community who have nominated groups through an online form, she said.
The form is available at www.SpringfieldClinic.com/Give75.
Nominations for worthy organizations that already have been nominated but haven�t been selected yet don�t need to be resubmitted and will continue to be considered, Kuhn said.
Recipients will receive a donation to provide something on their �wish list� rather than a general financial donation, she said.
Springfield Clinic said in a news release that GIVE75 is open to any not-for-profit or charitable organization with a �proven track record of service, and that contributes to the health, wellness, fitness or overall quality of life to those in Springfield Clinic�s service region.� Recipients are chosen by a committee.
The clinic, with more than 2,000 employees, including 275 doctors, is one of the largest physician-owned, multispecialty medical practices in Illinois. The Give75 program is designed to give back to the clinic�s communities, clinic chief executive officer Randy Bryant said.
Bryant wouldn�t give details on the clinic�s latest revenues, but a clinic official said in 2012 that the clinic posts about $400 million in annual net revenues.
Contact Dean Olsen: 788-1543, firstname.lastname@example.com, twitter.com/DeanOlsenSJR
Correction: The original version of this story incorrectly stated that there is no charge for home-delivered meals from the Red Cross.


text:
Monika Weiss: Five Rivers Installation, drawing, performance, video and sound
September 6 December 16, 2005
Drawing on Syncope: The Performativity of Rapture in the Art of Monika Weiss / by James D. Campbell
trap shall be your shelter: the hidden desires and public appearances
of Monika Weiss / by Aneta Szylak
Drawing on Syncope: The Performativity of Rapture in the Art of Monika Weiss
romantic and clinical scenario has usually, in our society, been allotted
to woman: it is she who sinks down, dress spreading out like a flower,
fainting, before a public that hurries forward; arms reach out, carry
the unresisting body... People slap her, make her sniff salts. When she
comes to, her first words will be, "Where am I?" And because
she has come to, "come back," no one thinks to ask where she
has been. The real question would be, rather,"Where was I?"
But no, when one returns from syncope it is the real world that suddenly
looks strange."
- Catherine
Clément, Syncope: The Philosophy of Rapture (1)
New York-based artist Monika Weiss practices, in her chosen media of drawing,
performance, video, and installation, a restorative art of elision and
ecstasy central to which is her own body and by extension, the body image
of the observer. She draws on the syncope in order to ground her poetics
of rapture in the specificity of the proverbial stop-time of the body
and a corresponding lapse in ordinary consciousness. What may seem like
a careful management of temporality in her work is really an attempt to
step outside it. I mean, to step outside time. Suddenly, time falters.
In her
work, the tremulous private body - her body and, by implication, my body
- is best understood as a space "in between," a permeable membrane
held taut between two polarities in the personae of two Muses, Mnemosyne
and Lethe. She vanishes with alacrity into dark intervals and liminal
spaces, often with witnesses present. Infinity opens up.
Her concern
is with the osmosis and mirroring that result and she nurses interiority
while negotiating the myriad interstices in the porous wall that stands
between self and world. She constructs installations and enacts performances
that relate thematically to these spaces-in-between and invites us to
project ourselves into them so that we too, silently and alongside her,
can better appreciate the perilous gap between absence of self and fragile
self-presence, being straitjacketed by time and finding ourselves suddenly
on the brink of timelessness, caught between the quotidian and the ecstatic.
In all her work, she patiently draws on, draws in, draws out the syncope
- and moves forward.
In medical
discourse, 'syncope' (pronounced "sin-ko-pea") is the technical
term for fainting. But whether fainting, elision, interval or absence,
all relevant usages here, I use the term more specifically still as French
psychoanalytic and feminist philosopher Catherine Clément does
in her brilliant book Syncope: The Philosophy of Rapture, as that sudden
lapse in consciousness when rapture is possible and the world becomes
strange. Monika Weiss uses it in a strikingly similar way in her longstanding
pursuit in art of elision and grace.
seeks out syncope as unlikely paradigm and poetic metaphor in music, literature,
psychoanalysis, philosophy - and, courageously, in life. She finds it
in various physical mental, musical and more far-flung places: held breath,
cold sweats, cerebral eclipse, epileptic seizure, delayed beats in a syncopated
jazz rhythm, the backward dip in the Tango, orgasm and between urine and
feces in Left-hand path Tantric ecstasy, and in a host of related phenomenon,
she tabulates the sundry time-outs, disruptions, breaks in linearity and
involuntary secessions from the space-time continua wherein syncope gains
its foothold and human beings can achieve ecstasy.
In dilating
on syncope as a temporary absence of self and birthplace of rapture, as
Clément does, the phenomenon speaks eloquently to our embodiment
- and to the work of Monika Weiss. If it delineates absence, it also brackets
out and subverts the quotidian order of our lived reality, making its
own persuasive case for subversion of norms and felt transcendence. The
integers of absence, the strategic elisions and intervals into which subjectivity
can disappear at a moment's notice, constitute the underpinnings of her
project and, perhaps more importantly, its intrinsic ethics of overcoming
and avowal.
Clément argues that syncope has always been the enemy of Western
philosophy - arguing that philosophers despise syncope and everything
it represents - she specifies the reason for its suppression: hatred of
the uncertainty so endemic to human life. As she says, "The history
of our classical philosophy, as it is now taught, shows this: Western
thought has been busy filling this hole in life. For a long time, it has
worked desperately to include syncope in the realm of unfortunate accidents,
sources of disorder, unhealthy disturbances..." (2) It makes sense.
But syncope could not be kept in the box forever. Clément and Weiss
are more in the Lacanian tradition, they live on the edge, in the interval,
and theirs is really a strategic and reparative investigation of jouissance
- of rapture, that is - understood in terms of the feminine and the lived-body.
Weiss is a native of intervals. She identifies in her work the mostly
unthematized lapses, gaps, ruptures, cracks and holes wherein rapture
grows like a wild rose in the wasteland of the heart and pursues them
thematically and in terms of her own embodiment. By using her own body
and inserting it into syncope, employing it as primogenitary conduit between
presence and absence, as it were, and speaking directly to the body of
the observer in her performances and installations, she guarantees for
her work a rare core of authenticity.
the remarkable installation, Ennoia that was enacted at the Diapason Gallery
in New York in 2002. The word Ennoia derives from the Greek (in the writings
of Plato) and means "concept" and "a thought in mind."
Weiss, who was inspired by Gnostic texts, said "I think of Ennoia
as an edge of light, of consciousness, which collapsed into this world,
into body, into darkness." (3)
The artist
seemed to meld her own body to the contours of the water-filled sculpted
basin in which it was submersed as though it were a secondary skin; a
shell-like armature for her vulnerable body, providing protection. Like
an embryo in vitro, the font was interpretable as exoskeleton containing
a nourishing vat of amniotic fluid, replete with the waters of her life.
Throughout the six-hour duration of the installation, the artist immersed
herself in the water and periodically emerged from it. The basin resembled
an octagonal medieval baptismal font. The image of her body curled up
fetus-like within it was then projected on the proximate wall.
The "performance"
- as in all such works by Weiss - is really more enactment than performance
per se. There is no artifice whatsoever in the enactment. Weiss is not
a "performance artist" in the traditional sense. First of all,
her body embodies the syncope, and that body inhabits intervals that are
her own as she dramatically represents the self in action and gesture
but most importantly, she simply is. She achieves rapturous syncope in
this movement of removal, within disappearance, and voluntarily in absentia
said, "This exceptional moment makes the surrounding world and its
harsh laws disappear." (4) One such harsh and unyielding law is,
of course, that of the temporal. Weiss has said of this work: "Water
evokes in me a desire to immerse myself, to be away from the world and
to hide in (and not from) disappearance." (5) Hiding in disappearance
means inhabiting syncope, escaping from the constraints of linear time.
By entering "the blessed syncope of supreme moments," artists
and mystics escape the enervating constraints of these harsh laws and
become "free, with an unreal and extraordinary sense of emancipation."
(6) This fluid shifting of the body in and out of time - which occurs
frequently in her performances and usually at the height of syncope when
ecstasy is hatched - is one wherein Weiss temporarily loses "the
secured identity that constitutes (her) as a single member of the social
body" Weiss deliberately embraces and works with the syncope as a
way to unhinge herself from society and its timeline. She knows that,
within its ambit is a horizon of meaning for a carnal subject and the
prospect of rapture. (7) Weiss sees Ennoia as we do, as a poetic experiment
in liminality, an experience of syncope, catalepsy, and ecstasy.
is an analogy to be pursued between the structure of the ritual enactment
and the model of syncope found in music. Interestingly, Weiss was originally
trained as a musician. In conversation, Weiss said: "Syncope is to
me also an important way of breaking the melody into another realm, transgressing
the harmony and the rhythm in classical music." (8) In his Dictionary
of Music, Jean-Jacques Rousseau formulated it as: " Syncope: prolongation
on the strong (beat) of a sound begun on the weak (beat); wherefore, every
syncopated note is in counter time and every collection of syncopated
notes is a movement in counter time." (9) It is hard not to liken
this to Weiss's movements whether drawing with her body on the floor or
rising from and returning to the dark well.
queen of rhythm, syncope is also the mother of dissonance; it is the source,
in short, of a harmonious and productive discord. Attack and haven, collision;
a fragment of the beat disappears, and of this disappearance, rhythm is
born." (10)
of course, Rousseau's dismantling of syncope into different moments of
weak and strong beats is an unlikely forerunner of Lacan's "mirror
phase," and a telling reference where Weiss's work is concerned.
Why? Beyond the rhythms of movement, the dimension of sound in her installations
is just as significant in forcing the limits of the self. (11)
signature understanding of temporality bears a striking resemblance to
that of the French philosopher Maurice Merleau-Ponty: a sense of time
as an institution, a system of equivalences with infinite interstices.
(12) Time is not an absolute series of events. Perception is itself dialogical
rather than monological. The dialogue in question is one between the seer
and the seen. The body that surrenders itself into syncope resonates not
only with the flesh of the world that still encompasses it but with the
prospect of the atemporal as well. Syncope often means acceleration, but
witnessing Weiss's enjambement - as in metrics - is to perceive time as
stalled even as we are pulled inexorably into the future. She slows time
down in her performances - and then steps outside it. As an enactor, she
constitutes time in her own way, and ecstatically so. She installs herself
in counter time, and when a fragment of the beat disappears, so to speak,
her own magnetic rhythms are born.
In The
Visisble and Invisible, Merleau-Ponty spoke of the "strange adhesion"
of the seer and the visible. He said:
is vision, touch, when a certain visible, a certain tangible, turns back
upon the whole of the visible, the whole of the tangible, of which it
is a part, or when suddenly it finds itself surrounded by them, or when
between it and them, and through their commerce, is formed a Visibility,
a Tangible in itself, which belong properly neither to the body qua fact
nor to the world qua fact - as upon two mirrors facing one another where
two indefinite series of images set in one another arise which belong
really to neither of the two surfaces, since each is only the rejoinder
of the other, and which therefore form a couple, a couple more real then
either of them. (13)
invokes the narcissism of all vision, at least insofar as her viewers
are concerned, and in so doing, catches us up in her own network of intimate
relations, making us complicit in the making of meaning, implicating us
in a fluid, borderless, reciprocal perception of the intertwining of self
and world. In seeing into her work, we see ourselves there in her place.
We place ourselves, as it were, in her shoes. Our own bodies, caught like
flies in amber and held within the spectacle, in a reciprocal insertion
and intertwining of ourselves in the Other, always reminds us that Monika
Weiss's is a deeply empathic art.
White Chalice (Ennoia), which was installed at the Chelsea Art Museum
in New York in 2004, also shown at the artist's New York dealer Remy Toledo
Gallery in 2004 and reprised in the current exhibition at the Lehman College
Art Gallery. In this work, the image of the artist's curled-up figure
is projected into the surface of the water, now only a virtual reflection
of the presence of her body in the water. Weiss has said of this work:
"But if this earth is only the dispersion of the body, can we cross
the distance and conquer the absence? This is a separation, a sensitive
interval that brings back the presence." (14) This work also signals
the intertwining, and it is interactive, because we see ourselves mirrored
within it, and then, at a certain point, the figure seems to stare back
at us. This reversibility alerts us once again to the empathetic and truly
dialogical nature of her art.
Elytron, performed at the Chelsea Art Museum in March, 2003. For many
hours she immersed herself in an octagonal baptismal font filled with
black paint and water. She emerged from time to time and rolled or crawled
across the gallery floor that was covered with white paper. Naked throughout
this ritual, she used her own body to draw, wet with its own ink, as it
were, like a cephalod from the abyssmal depths of the ocean, and the subsequent
traceries incarnated the surface of her own soma as living voice.
As Carl
Jung would have said, Weiss had stepped down to the dark well and drank
deep of its restorative waters, returning to the lifeworld with self-knowledge
and new-found powers of endurance and testimony. Her performative work
is a means of transmitting timeless truths of interiority and interval,
elision and rapturous presence to her viewers. Her respect for the bodies
of those viewers extends to embracing them within her work, whether sharing
in creative labour, party to their mirroring there or insisting they remain
silent, intent witnesses in the face of that creation.
Weiss uses the surface of her own skin as drawing brush, as living elision,
fluid boundary, rapturous syncope. We never doubt the stakes, for her,
in so doing, and her radiant courage exerts its own magnetic pull upon
us and stakes its own claim on our attention and our emotions. The body
of the artist itself is protagonist here; and syncope its living, poignant
Koiman, an ambitious mixed media site-specific video-sound-object work
that was exhibited at Space 1181 in Atlanta, Georgia in 1998. Using a
wall-sized video-projection, an 800-pound cast-concrete baptismal font,
60 gallons of used motor oil, a mound of blue-painted earth and prerecorded
ambient train sounds, Weiss constructed a moving and interrogatory installation.
The oil continuously overflowed the rim of the vessel, and the river of
oil issued forth across the slanted gallery floor and led towards the
wall where a video projection showed two androgynous figures. One was
kneeling and suckling at the breast of the other, as though licking tarry,
coagulated life's blood dribbling from the nipple of a breast. The constant
overlaid soundtrack of trains being switched and shunted at a station
lent a haunting audio complement to the eerie tableaux that reminded us
of a painting by surrealist Paul Delvaux and once again signaled the necessary
role of sound in Weiss's work. In this powerfully synaesthetic work, in
which all the senses were implicated, Weiss once again demonstrated her
desire to breach all boundaries, dislocate the time sense and invoke the
(from the Greek "to put to sleep to coffin") was inspired by
the confessions of Saint Catherine of Sienna, who claimed to have drunk
sustaining blood from the open wound in the side of Christ. This work,
concerned with the body, vampirism, memory and the self is also about
ritual - and its intention is to effect a wholesale disruption of the
condition of being here in the lifeworld. Syncope entails such a momentous
ejection from the space-time continua. The ejection entails a loss of
ordinary consciousness. Unlike most artists, who must return to the Real
to use the knowledge and insight gained from a sortie in Outer Darkness,
Weiss enacts, often with her own body as vehicle and palette, the travails
and rituals necessary for the acquisition of self-knowledge and thus she
resolutely pushes her work forwards.
All Weiss's
work is predicated on the construction and, we might suggest, the consecration
and celebration (given her frequent use of the baptismal font as a model
for the vessels in which she seeks alchemical, crucible-like transformation)
of a wholly liminal ritual space, with the body somehow interpolated instrumentally
between biology and culture. So methodically and poetically are these
situations pieced together, as though from whole cloth, that their subtlest
adumbrations effortlessly implicate the observer, asking that we willingly
submit, and often over long periods of time, to her own idea and order
of timelessness, and, if we choose to do so, her own vision of syncope
somehow then becomes our own. Arguably, she is one of very few artists
now working who pursue syncope as an intrinsic philosophy underlying the
work: "a surprise, a delay of life, a violent anticipation, and a
slow return to what one calls the 'self'." (15)
The rapture
she feels so intensely may be accessible to us as well, if and when we
give ourselves over completely to the claim the work stakes upon us. The
subsequent understanding not only of her intention but the level of our
own engagement with that work convinces us not only of the analeptic nature
of the syncope but the very real possibilities her installations offer
for extracting ourselves from the progressive order of linear time - and
immersing ourselves in the spaces in between. In placing ourselves apart,
mute but never more optically and imaginatively alive, we commune with
her in syncope.
syncopating rhythms both disrupt and, paradoxically, prolong time. In
performance, her repetition and syncopation possesses a powerful magnetism
that means not turning away but attending to it over time, with intensity
and avowal. Her work has a radical disconnect built-in that holds us in
a trancelike, hypnotic state. Syncope is also a little death, but the
self needs to die in fractional ways in order that it might live. Weiss
wants to cross boundaries and subvert from within. Death is close, she
seems to say, but the affirmation of what it is to be alive is even closer.
also lives in the artist's magnificent drawings, which are the touchstone
of her art. Speaking of the many drawings she has executed over the last
few years, the intimacy and anguished charisma of which can reduce us
to tears in a heartbeat, she speaks of the legion of traces and syncopated
gestures left behind in those works. The charcoal marks always point to
the body, her body, our body, and they are living "intervals of time".
They have no stasis in them. When Clément asks, "Where is
the lost syllable, the beat eaten away by the rhythm? Where does the subject
go who later comes to, 'comes back?' Where am I in syncope?" (16)
Weiss would probably say "Inside my work, in the drawn mark. That
is where I live and think and bleed." For it is in the trace of soma,
the memory trace and the residue of the body's arc-like trajectory across
the numinous interval, the absence, the gap, and the remnants of all manner
of possible worlds long since extinguished, that being still resides.
understands the lived-body as passage, threshold, pure liminality, and
permeable membrane when she finds herself willfully waylaid in her own
work, retracing her own perilous trajectory from birth to where she is
now. "Where am I in syncope?" is a question she has asked herself
time and time again, and if the answer still eludes her, it is because
there is always another drawing to execute, another installation to conceive,
another performance to enact. Where does the self find itself in the folklore
of the moment, rife with memory traces, in that tense and unfathomable
interval between interiority and exteriority, between living and dying,
past and present?
The self
is segregated in its time-stream but also irremediably wed to a temporality
that is, by nature, inimical and the body is subject to its perennial
rites of attrition. Monika Weiss acts as witness to that attrition even
as she, in ritual and repetitive acts, escapes for a time the humbling
stream of real duration, and in stepping outside it, shows us all how
a self might inhabit a break in linearity and make it her own - a place
to be and think within, perhaps? Where is she in syncope? Certainly, outside
the comforting predictability of the mainstream, outside the stream of
a physical time which never stops. She is on the lip of the dark well.
On the precipice, where there is no safe harbor, and only hazard as fissures
open up all around in the fabric of certainty, and the self must bow irrevocably
earthwards to the darkness in its own nature.
has over the years executed an extensive corpus of drawings. She has said,
"I position the human body outside time or defined space." (17)
She is literally drawing a radius across the full breadth of syncope in
these works with her own aging body as sector, alembic and divining rod,
as though possessed by its own carnal geometry, tracing out the luminous
grid of the interval, the "moments in and out of time" across
the full array of the sensible of which she is so ineluctably a part.
In her
drawing she is just as aware of the reversibility of the seeing and the
visible, of the touching and the touched, as in all of her other work.
Her large-scale drawings in a continuing series of harrowing representations
of her own body in a curled-up or standing positions, shadows on the face
of the deep, invoke and provoke the reversibility which is integral to
her manner of working, whatever the medium, and are always predicated
on the medium of her own body as best conduit of expression and shifting
shadow between the visible and the invisible, the seer and the seen.
the ecstatic Milk Series (2001), exhibited at Galerie Samuel Lallouz in
Montréal in 2005 and in this exhibition at the Lehman College Art
Gallery, a series of small-scale drawings executed with pencil, crayon,
milk, cream and hair-dye. These drawings reference the concept of fluidity
that is so central to her work. As she says, "Fluids have no boundaries
and as such they connote the lack of boundaries between the self, the
body and the world." (18)
Skulenie (2003), a particularly haunting charcoal drawing on photographic
backdrop paper. And what haunts us? What haunts us is the memory of the
artist's presence impressed on the ground, the seductive traceries of
her touch and the raw physical labor and imaginative toil in the making.
The syncope haunts us even as it instructs us in its subversive anarchy,
in its refusal to yield to the time-binding oral culture. As Clément
said: "Syncope is resistance, rebellion, rejection of the world and
the dissolution of the subject... But we must go further to understand
why no creation is possible without the syncope of the subject. From then
on signs - clearly apparent - of a remarkable return of the past in the
present begin to change meaning and appearance." (19)
Weiss's remarkable attempt to bevel the rough edges of consciousness and
to make us more supple, more receptive and more sensitive to the hermeneutics
of her open work, to win freedom from time and from the hegemony and tyranny
of the sign, is always deeply moving, has powerful authenticity and is,
above all, that rarest of things, a genuine epiphany in the ever-darkening
and restless waters of contemporary art.
Catalogue essay published in conjunction with the exhibition "Monika Weiss: Five Rivers. Installation, drawing, performance, video and sound" at Lehman College Art Gallery, New York, September 6 - December 16, 2005.


text:
About the Project
In 2007, the CSU Center for Community Engagement (CCE) was awarded a three-year grant from the Surdna Foundation, The Next Stage: Boosting Service Learning to New Heights, to formalize and expand training for leaders in community engagement.
Acknowledging students as a fundamentally untapped resource,the CSU Center for Community Engagement placed significant effort on a new infusion of leadership development among community-minded students. While CSU campuses - Chico, Humboldt, Los Angeles, and Monterey Bay – already had strong student training programs, there were many others seeking an opportunity to create student-focused community engagement leadership programs.
Drawing on these successes, training materials and useful examples were gathered, adapted, and published as Advancing Community Engagement With Student Leader: A 'How-To' Manual from the California State University . Following its release, CCE announced competitive sub-grants to develop new opportunities for student leadership in the CSU. Four campuses – East Bay, Fresno, Fullerton and San José – were funded. They spent the spring 2010 academic term working in campus teams of student leaders and advisors to design and implement initiatives that had student leaders at the forefront, while also receiving training and technical support from the Chancellor's Office.
Since beginning these efforts, we have made significant progress toward our goals and are pleased to begin expanding opportunities to campuses and organizations beyond the CSU. Among the outcomes and potential benefits to new participants are:
- A collection of dynamic curricula for advancing community engagement with student leaders has been designed, refined and disseminated both in the CSU and nationally.
- The capacity of service-learning offices to engage more students in their communities has been significantly bolstered.
- Workshop and training participants consistently indicate that their leadership skills and knowledge have increased, their work has been reinvigorated, and they are thinking about student leadership and community engagement programs in new ways.
- Survey findings from the four funded campuses indicate that program advisors are now providing students with effective guidance and formal training opportunities in an atmosphere that gives students a genuine voice in the development of their programs.
The CSU Center for Community Engagement gratefully acknowledges the Surdna Foundation for its generous and visionary support of The Next Stage: Boosting Service Learning to New Heights, three-year grant initiative.


text:
Edgar Allan Poe
Edgar Allan Poe (19 January 1809 - 7 October 1849 / Boston)
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03 October 2006 17:15
Quotidien Durable .Comby 13 others
Le développement durable au quotidien Réflexions pour un quotidien plus responsable
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posted by Eugenia Loli on Fri 23rd Feb 2007 02:49 UTC, submitted by ronaldst
When a project with the size and scope of KDE gets to be as big as it is, sometimes changing a decision established almost a decade earlier is very difficult. KDE has relied on autotools to build most of the project since its inception, but for the last year, KDE 4 has been building with CMake, a newer build system that is rapidly becoming a heavyweight contender. Read on for more.