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Sep 042007
Authors: Aaron Hedge, J. David McSwane

Following a five-hour standoff with police, a local man was arrested Tuesday night on suspicion of assault and domestic violence after he allegedly threatened police officers with a knife and then reportedly slashed himself in an apparent suicide attempt.

Fort Collins father Tim Lybarger, 50, was treated at a local hospital for self-inflicted wounds and then booked at Larimer County Detention Center on suspicion of misdemeanor charges, authorities said.

Neighbors told the Collegian several children live at Lybarger’s home in the 1400 block of Shamrock Street – a popular, rental neighborhood for college students – but it was unclear how many of the minors were home at the time of the standoff.

“It was just bills all over the floor, knives, beer cans and some blood,” said 15-year-old Donald Lybarger, the suspect’s son.

The teen told the Collegian he arrived at the home during the standoff, entering a back door while police negotiated with his father at the front door. After seeing his father’s state, he left the residence and was taken by two neighbors to a fast food restaurant.

His father, the boy said, wasn’t himself. “He’s usually pretty mellow,” he added.

When officers first arrived in response to a report of domestic violence, they found a woman and another child outside the front of the house, Al Brown, a Fort Collins Police Services spokesman said.

There were no additional reports of injuries and authorities said children who live in the home had been placed with relatives and friends and were safe. No further details were released, but authorities confirmed that the standoff involved no hostages.

At about 1 p.m. Tuesday, officers approached the home’s front door and said they were threatened by Lybarger, who was barricaded inside and said he would cause harm to himself and the officers if they proceeded, Brown said.

Nearly two hours later, SWAT officers were called out and the surrounding streets were blocked off. Shortly after they arrived a loud noise, thought to be an explosion, was heard inside the home, Brown said.

The source of the explosion is still being investigated.

Authorities then made a reverse-911 call to residents in the area, informing them to stay in their homes while SWAT assessed the situation.

During the standoff, sharpshooters in camouflage could be seen walking through residents’ yards near the suspect’s home.

“(The sniper) came over the top of the fence and perched on the top ledger,” said Zach Belcher, a Front Range Community College student whose house was taken over by police as the command post.

At about 6 p.m., the elder Lybarger surrendered without incident. He was transported to Poudre Valley Hospital where he was treated for self-inflicted wounds.

After treatment, Lybarger was transported to the jail, where he was being held on suspicion of third-degree assault, domestic violence and child abuse – all misdemeanors.

“I feel so bad,” said Belcher, one of the neighbors who took the suspect’s son to dinner. “There’s no way to describe it (Lybarger’s home) but chaos.”

Neighbors who know the family said more than 12 children live at the residence.

Donald Lybarger, who said he turns 15 this weekend, is staying at a friend’s house for a few days. At the scene, he said he hoped he would still be able to celebrate his birthday on Saturday.

“I was going to go to the CSU game,” he said.

Staff writer Aaron Hedge and Editor in Chief J. David McSwane can be reached at

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Found in 1 Collection or Record:

Personal histories of Owen S. and Ora Rich

 Collection — Multiple Containers
Identifier: MSS 5784
Scope and Contents Contains two bound volumes. The first "A Lifetime of Romance and Adventure" contains the personal histories of Owen and Ora Rich. The second "Owen S. Rich: Teacher, Radio and Television Pioneer" contains letters of tribute to Dr. Rich upon his retirement.
Dates: 1922-2006

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Showing Collections: 1 - 2 of 2

Alfred M. Landon collection

Call Number: RH MS 3
Overview This collection of speeches, correspondence, pamphlets, clippings, audiovisual material, and miscellaneous memorabilia was collected by historian Donald R. McCoy as a result of his research for the biography Landon of Kansas.
Dates: 1927-1963, 1966, 1980, 1983

Alfred M. Landon oral interviews

Call Number: RH MS 819
Overview Alfred Mossman Landon, 1887-1987, a prominent Kansas Republican, served as Governor of Kansas from 1933-1937 and ran an unsuccessful campaign for the United States presidency in 1936. This collection includes audiotapes and transcripts of interviews with Governor Landon by Donald R. McCoy and Louis George Griffin from 1975-1976.
Dates: 1975 - 1976

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  • Names: Republican Party (U.S. : 1854- ) X
  • Subject: Kansas -- Politics and government X

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God of Thunder and Rock'n'Roll (archmage) wrote,
God of Thunder and Rock'n'Roll

Best quote I've heard directed at me in a long time: "Frank...your outgoing message makes me want to fuck something." - madeofmeat

Man, it's been a long, long weekend. More details tomorrow, suffice it to say that this weekend has been busy, dramatastic, and full of whatthefuckery. I'm tired.
Tags: a day in the life, random silly

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    Since J's mom had the night off last night, she took us out to dinner last night to celebrate the new job. We debated where to go and settled on…

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    Just ate myself stupid. Miss Kathryn made some killer meatloaf, onions and mushrooms sauteed in black truffle oil, garlic mashed potatoes and gravy,…

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Age related macular degeneration and visual disability

John B. Christoforidis, Nicola Tecce, Roberto dell'Omo, Rodolfo Mastropasqua, Marco Verolino, Ciro Costagliola

Research output: Contribution to journalArticlepeer-review

21 Scopus citations

Age-related macular degeneration (AMD) is the leading cause of central blindness or low vision among the elderly in industrialized countries. AMD is caused by a combination of genetic and environmental factors. Among modifiable environmental risk factors, cigarette smoking has been associated with both the dry and wet forms of AMD and may increase the likelihood of worsening pre-existing AMD. Despite advances, the treatment of AMD has limitations and affected patients are often referred for low vision rehabilitation to help them cope with their remaining eyesight. The characteristic visual impairment for both forms of AMD is loss of central vision (central scotoma). This loss results in severe difficulties with reading that may be only partly compensated by magnifying glasses or screen-projection devices. The loss of central vision associated with the disease has a profound impact on patient quality of life. With progressive central visual loss, patients lose their ability to perform the more complex activities of daily living. Common vision aids include low vision filters, magnifiers, telescopes and electronic aids. Low vision rehabilitation (LVR) is a new subspecialty emerging from the traditional fields of ophthalmology, optometry, occupational therapy, and sociology, with an ever-increasing impact on the usual concepts of research, education, and services for visually impaired patients. Relatively few ophthalmologists practise LVR and fewer still routinely use prismatic image relocation (IR) in AMD patients. IR is a method of stabilizing oculomotor functions with the purpose of promoting better function of preferred retinal loci (PRLs). The aim of vision rehabilitation therapy consists in the achievement of techniques designed to improve PRL usage. The use of PRLs to compensate for diseased foveae has offered hope to these patients in regaining some function. However, in a recently published meta-analysis, prism spectacles were found to be unlikely to be of substantial benefit in people with age-related macular degeneration. Prescription filters are one of the most beneficial visual aids for people with macular degeneration. In principle, one aims both at reducing short-wavelength light to reduce glare and at identifying light with specific wavelengths (colours) preferred by the patient for viewing. In both instances, such interventions result in apparent improved contrast sensitivity and better visual acuity. Although specific tests are performed to determine the best colour, tint, lens material, and type of frame for the patient's need, no scientific protocol has been developed so far to assist in prescribing tinted or selective transmission lenses. Magnifying optical lenses are available in a wide range of dioptric powers and are made from materials that correct for weight (plastic), thickness (high index), spherical aberrations (aspherical), and variable light intensities (photochromatic). These lenses can be used as loose lenses, mounted on optical frames, or used with a wide variety of attachments. As the dioptric power of plus lenses increases, the viewing distance of the target decreases, hence their usefulness mainly for tasks requiring near resolution acuity, like reading. Magnification can also be achieved with the use of telescopic devices that are built of two or more plus and (or) minus (minifying) optical lenses. Normal resolution acuity levels can be achieved with these devices for all viewing distances. Therefore, all telescopic devices are useful only for stationary patient tasks that do not require mobility and orientation. Electronic magnification has the great advantage over plus lenses of producing an acuity reserve enabling reading skills for almost all levels of visual acuity. The additional benefit provided is preservation of binocularity, even at high levels of visual disparity between the two eyes. Vision rehabilitation can help patients to maximize their remaining vision and adapt to activities of daily living. The support of the patient's social network is critical to patient's wellbeing as patients adjust to being partially sighted.

Original languageEnglish (US)
Pages (from-to)221-233
Number of pages13
JournalCurrent Drug Targets
Issue number2
StatePublished - Jul 2012

  • Age related macular degeneration
  • Epidemiology
  • Magnifying glasses
  • Prescription filters
  • Risk factors
  • Telescopes and electronic aids
  • Visual disability

ASJC Scopus subject areas

  • Molecular Medicine
  • Pharmacology
  • Drug Discovery
  • Clinical Biochemistry

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Authors Posts by Arizona RealEstateRama

Arizona RealEstateRama

Arizona RealEstateRama is an Internet based Real Estate News and Press Release distributor chanel of RealEstateRama for Arizona Real Estate publishing community.

RealEstateRama staff editor manage to selection and verify the real estate news for State of Arizona.

Tips for sealing the deal on troubled real estate

Termites, proximity to landfills, criminal activity and even the possibility of ghosts can spell doom for a real-estate sale. Those problems present their share of hazards for real-estate agents as well, said Craig Runyon, an instructor at the Brodsky School of Real Estate.

Commerce park in works for Safford

The city of Safford could see the beginning construction of one of the largest commerce parks ever built in the Gila Valley during the second quarter of 2008. Situated on 28 acres that is now in escrow, the park will include two, two-story institutional buildings with underground parking, five office complexes, a restaurant, daycare facility and a bank.

Group seeks ballot measure to limit property taxes

Property owners would see tax breaks while Arizona cities, school districts and other taxing entities would face limits on the amount of money they raised if a ballot measure filed Tuesday won voter approval next year.

Hobbs: Making some for-real profits through virtual real estate

Oh, what a difference a few years can make. Four years ago you could sell your house before you hung the for sale sign. Today, you better pack a lunch.

Arizona gives go-ahead to Zillow, the popular real estate Web site, is in the clear for offering its home-value estimates in Arizona. Earlier this week, Gov. Janet Napolitano signed into law Senate Bill 1291, with an amendment that allows Zillow to operate in the state.

Troubled homeowners are finding a new way to sell

A growing number of homeowners behind on their mortgage and facing foreclosure are finding a way to sell despite the glut of Valley homes for sale.

Local millionaires' on the rise

How much are you worth? As it turns out, global economic growth and stock-market rallies have been good for many Valley residents: A new report...

Sonora aims to reassure investors from Arizona

Sonora has become the first state in Mexico to enact a licensing requirement for real estate agents, which may include criminal-background checks in select...

Property for Sale: Houses for sale: Property24 is South Africa's largest property search portal and is the first place to start your property search! lists houses, flats, vacant land...


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Why I Joined the Waitlist for the Most Anticipated Facemask on the Market

First, I want to introduce myself.

My name is Dana and I am a Certified Aromatherapist, Doctoral Candidate in Integrative Nutrition and a Registered Dietitian. I consider myself somewhat of a health enthusiast.

Yet, I have personally struggled with finding a facemask that’s effective, comfortable, cute, and that doesn’t give me acne (this last part being the HARDEST to find). Added bonus if it’s good for the environment- I can’t stand seeing disposable facemasks littering the streets. Then, out of the blue a mentor of mine introduced me to Aromahaelo. The answer to ALL of my facemask problems, and probably all of yours too.

Now you might be saying “A waitlist for a facemask? Really?”

But honestly, yes. This facemask is going to change the game for facemasks.

Facemasks have become the new norm, and as much as some people may hate them, they help keep us safe and healthy. But what if your facemask had even more benefits than just helping to prevent the spread of disease? What if it could help you feel relaxed in a crowded room? Or energized when you’re feeling tired? Or even help you feel like you can breathe freely

Well, Aromahaelo can do just that! And that’s why I cannot wait to get my hands on this product.

Aromahaelo is a two-ply gaiter – hear me out before you start bashing gaiters. The CDC did not recommend the use of gaiters because they reported there is not enough research on whether they’re effective. BUT, they do recommend wearing a facemask that has two or more layers, fits snuggly against the face and that completely covers your mouth and nose – ALL of which Aromahaelo does. Oh, and the best part? Aromahaelo is made out of 100% natural materials, no plastic or polyester, that’s both antimicrobial and biodegradable!

Aromahaelo is CDC compliant and has the added benefit of combining aromatherapy with facemask protection. The aromatherapy pods act as your own personal diffuser with three different blends that you can switch out based on your mood or situation- now that’s what I’m talking about.

As a certified aromatherapist…

You know I’m ALL about those essential oils and Aromahaelo makes it easy to use them in a safe and effective way. Plus, you don’t have to go out and purchase a ton of different oils and learn how to dilute them properly. Their preblended pods are easy to use, all you have to do is stick them inside the aromahaelo and you’ll have instant access to therapeutic aromas wherever you are.

I never in a million years thought I would be associating facemasks with luxury, but seriously, how can you not be chill while breathing in the scents of chamomile and lavender, citrus, or a blend of eucalyptus and bay laurel? It’s basically a mobile spa experience, or quite possibly the easiest self-care routine ever.

We already live in a stressful time with everything going on in the world, why wear a facemask that makes your life harder? Your facemask shouldn’t add stress, it should remove it, and that’s why I joined the waitlist to buy an Aromahaelo. So what are you waiting for? Go check them out and see for yourself what all the hype is about!

-Dana Dragone

*Aromahaelo’s products have not been evaluated by the FDA and are not intended to diagnose, treat, cure or prevent any disease. Essential oils can be contraindicated for certain people. Consult your health care practitioner or a certified aromatherapist if you have questions about how to use them safely.


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Sunday with children

Dear guests,

We would like to inform you that every Sunday you can come with your children to our children corner. Miss Lucie will look after their fun with her interactive program.

This special event “Sunday with children” is starting already this Sunday, March 3rd from 12 to 5 p.m.

Be our guest and come on Sunday for lunch with your children!

Places can be booked by phone 222 713 222 or e-mail

We look forward to seeing you!

Aromi team


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Cattle Handling Content Contributors

Arrowquip works alongside a variety of experts, from University Professors and Cattle Handling Experts to Vets and Real Life Ranchers to bring you a variety of content that is relevant to daily life in a cattle operation. Below, you will find information about each of our contributors, their experience in the cattle industry, and contact information where you can reach out to them personally.


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Transfer News

Arsenal in direct contact with Portuguese defender’s agents over transfer

Arsenal are in direct contact with Nuno Tavares’ representatives according to reports.

Nuno Tavares.

Arsenal have made contact with the representatives of Benfica defender Nuno Tavares according to Fabrizio Romano who also says the player is open to joining Arsenal as his dream is to play in the Premier League.

The 21-year-old is primarily a left-back but can also play as a right-back and Benfica are asking for about €15 for the highly rated fullback.

Arsenal managed to secure the long-term future of Kieran Tierney last week but are expected to sign a backup left-back to provide competition for the Scotsman and fill in whenever he is injured.

Sead Kolasinac is set to be sold and replaced by someone much younger and Nuno Tavares fills the criteria. Tavares has gone on to make 41 appearances for the Portuguese giants.

Personal terms will not be an issue and it is up to Arsenal to make a convincing offer to Benfica.

A keen follower and fan of Arsenal since the mid-2000s with passion for the game. I aim to write honest and interesting articles about the club I love, and to share my opinions with as many other fans as possible.

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The notch —

How app developers and designers feel about the iPhone X—and the notch

iPhone app and game devs assess the iPhone X and share experiences with it.

The notch

At the top of the screen, app developers have to contend with the notch and the status bar. The status bar no longer changes height based on different background tasks, like location services or incoming calls. But it’s taller than the old one in any case. Apps can still hide the status bar and seize that top space, but they have to contend with the rounded corners and of course, the notch.

Most of the developers I spoke with said the notch didn't give them any trouble. "I think the notch encourages the newer iOS 11 styling, with the super tall nav bar and chunky titles," Basecamp designer Tara Mann told Ars. "The notch looks nicer with more negative space around it."

Avoiding the sensor housing also involved adhering to the Safe Area and following Apple's design advice. For apps that rely on Apple's Auto Layout standard practices, the previously mentioned extension of background material takes care of the problem even if navigation buttons are pinned to the edges. But games almost always have custom UIs, so if it's a problem for anyone, it's a problem for game developers and designers. That said, Cash said Alto's Adventure wasn't much affected.

Designing with the new sensor array in mind was simple. Alto's Adventure can render its world at any aspect ratio, and the sensor housing doesn't interfere with gameplay critical elements (such as Alto himself) or obstacles of immediate concern. Once we dialed in our overscan values so the UI could keep itself away from the edges, things were looking good.

By contrast, White said Agent A had to make some changes. In fact, the in-game UI had to be restructured. "In Agent A we use an inventory dock for when players collect items; this inventory was anchored to the edge of the screen along with a few other UI buttons," he explained. "To adhere to the new guidelines, we had to rethink our layouts a bit and ended up simplifying a lot of it in order to comply."

He said the team had been wanting to simplify the interface anyway, so they were glad to have this nudge.

In order to adhere to the new iPhone X guidelines, which include safe zones and margins around the edges for all UI, we needed to rethink our layouts which relied heavily on anchoring to edges. One key improvement was the implementation of a back gesture as opposed to a button. This was something we noticed was very popular in user testing due to its intuitive nature and allowed us to remove the button from the layout.

An added benefit of decluttering Agent A's game UI is that we’ve allowed the beautiful art to stand out without the distraction of intrusive UI buttons. The new iPhone X guidelines challenged us to rethink our UX and as a result has led to a better and more beautiful gaming experience.

Practical consequences aside, I asked every dev we spoke to what they thought of the fact that there's a vocal group of users and critics who mock the notch or even go so far as to call it bad design. Cash said that his studio doesn't share critics' concerns, instead they see deliberate design thinking behind Apple's choice. "Face ID needs a forward facing surface, but it conflicts with the goal of the screen being the entire surface of the device," he said. "Design is compromise, and I think this a fine one."

As a designer, Mann also framed it as a reasonable compromise:

The notch does not bother me at all. Of course the phone would be nicer without it, but its presence does not hinder my use of the X. Transitioning in and out of apps is the only time it is really highlighted, as screens pop out under it when you’re moving around the OS. I'd much rather have Face ID now than have to wait three years for notchless Face ID.

So despite some comment thread and social media angst, by and large the developers and designers Ars heard from all seemed unfazed by the notch.

Dealing with the aspect-ratio change

Apple doesn't want apps to have black bars in letterbox or pillarbox in apps except with certain video content where the aspect ratio obviously can't be changed. But how do apps designed for the iPhone X appear on the iPhone 8, and vice versa?

If developers stick to a very by-the-book use of Auto Layout and the Safe Area with no custom layout at all, apps can be easy to update. In many cases, background material is extended at the top and the bottom, based on the visual style already used there. This automatically puts any buttons that were at the bottom above that extension and clear of the home indicator. This image illustrates what I'm talking about.

When developers have used Apple's standard UI tools, background materials automatically extend to fill the screen.
Enlarge / When developers have used Apple's standard UI tools, background materials automatically extend to fill the screen.

There are some additional considerations if background graphics are used. Background graphics designed for iPhone 8 will be cropped on the left and right if they’re scaled to fill or on the top if they’re scaled to fit. Apple recommends including background graphics that match the iPhone X's display, though. In this case, the asset will either be cropped at the top and bottom on the iPhone 8, or, worse yet, pillarboxed. That would leave black bars on either side of the app in iPhone 8.

Obviously, that’s not preferable, especially given that the iPhone 8’s LCD display can’t make those bars completely black and flush with the device, and it’s smaller to boot. Apple thus recommends that designers compose images so critical UI elements and visuals only appear in the area that would survive a crop down to iPhone 8.

For Agent A, White and the rest of the team working on the game had to make some changes to accommodate the taller screen. The game is played in landscape mode, and a few of the scenes in the game didn't fill the iPhone X's whole screen as they were originally framed. "We adjusted about 10 of our scenes to stretch out and fill the space that the new resolution created," he said. Fortunately, "about 95 percent of Agent A is 3D with a lot of 3D disguised in a 2D style," so White said it was only a 30-minute jump that just involved scaling a few meshes.

Snowman accidentally broke Alto's Adventure on older devices in the transition, but the problem was more complicated than just putting UI elements in the wrong places. As Cash explained:

The root issue was an incorrect overscan value being calculated on 32-bit devices. Alto's Adventure uses Unity, so we have to bridge values from Objective-C to C# when using UIKit. The -[UIView safeAreaInsets] message returns a UIEdgeInsets structure. This structure is defined in UIKit as 4 `CGFloat`s. `CGFloat`s are `float` on 32-bit devices but `double` on 64-bit devices. The equivalent C# structure was always expecting `double`. Oops!

The team quickly fixed the issue in an update.

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Painter Info – AB648 – St. Catharines

You are invited to compete at Art Battle – St. Catharines on Tuesday, February 27th!

You must ACCEPT this invitation to participate. If you do not accept within 48 hours your spot may not be guaranteed.

Event Information

Art Battle – St. Catharines
11 Geneva St
Tuesday, February 27th

Doors open to public: 7:30PM

Local Organizer
The local organizer for this event is Sanjay Patel. If you need to get in contact with Art Battle on the day of the event Sanjay can be reached at [email protected]

Social Media
Invite all your friends to the Facebook event!
Instagram: @artbattle #artbattle #20minutepainting

Three round competition
Art Battle is Live Competitive Painting. 12 painters create the best work they can using only acrylic paint across three 20 minute rounds of public painting. 6 painters will compete in Round 1, another 6 in Round 2, the top two painters from each round will go into a 3rd and Final Round with a new canvas. The audience vote for the winners of each round, and the single winner of each event. The winner of each event will advance to the June 2018 City Finals!

Silent Auction
Works created at Art Battle will be silent auctioned with 50% of the proceeds going to the artists. Your local organizer will let you know the expected timeline and method of payment at the event. Works that do not sell remain the property of Art Battle.

What to bring
You should only bring your BRUSHES and any other non-marking, non-mechanical tools you would like to use. Art Battle will provide the following materials – canvas, paint, easels, water containers, palettes, mixing plates and shop towels for rags.

More questions?
More questions and answers are posted on

Let’s paint!
Art Battle International


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Art Battle 170 – Halifax

  Art Battle Canada returns to Halifax! Please join us for the opening event of the season on Saturday September 20th. 12 Local painters will compete for the title of Art Battle Champion, a $250 cash prize and spot in the Nova Scotia Finals at the end of the year. Last year’s winner, Jake Siebert (pictured above) represented the province … Read More

Art Battle 169 – Prince George

  Art Battle Canada returns to Prince George! Please join us at Groop Gallery on Friday September 19th for an exciting night of live competitive painting. Local artists will compete for the title of Art Battle Champion and spot in the BC Finals at the end of the year. Last year’s winner, Corey Hardeman represented Prince George at the provincial finals in … Read More

Art Battle 100 – Toronto

Join us for a very special night as we celebrate our 100th live competitive painting event with an All-Star event at The Great Hall in Toronto. We’re inviting the best Toronto painters from past events to help us celebrate this milestone occasion! It’s going to be a truly inspiring night, the talent and courage at the easels will be off … Read More

Omar “Oms” Hopkinson

Omar Hopkinson is one of Ottawa’s most celebrated live painters. Known as ‘Oms’ (pronounced ‘Oh-mmmms’) to those close to him, he is originally from Toronto and has been classically trained at OCAD and Toronto School of Art. Oms has been a been a live performing artist for the past 15 years, doing shows in Toronto, Montréal, New York City, New Jersey and … Read More

Tongson Chen

  By Morgan Booth Tongson Chen is a 23 year old painter living and working in Toronto. Tong’s current practice explores the use of salvaged materials from the streets of Toronto and mixed media to create a commentary on his city’s landscape. His multi-layered pieces evoke a sense of nostalgia and familiarity while at the same time urging the viewer … Read More

Kate Taylor

 By Morgan Booth Kate Taylor is a painter and photographer working in Toronto. Inspired by florals and landscapes, Kate translates the world around her using paint, resin and palette knives into highly textural works swirling with movement and colour. Kate is in two abstract artist collectives ColourShift, and SolidColour, and has shown in over 27 different exhibitions in the last … Read More

Ingrid Singing Grass

By Morgan Booth   Ingrid Singing Grass is a painter working and living in Halifax. Ingrid uses painting as a source of catharsis and also as an expression of joy. Her emotional connectivity to each piece is shown in the bold and intuitive use of colour in her work.  We had Ingrid paint as  a competitor in the first ever … Read More

Yared Nigussu

By Morgan Booth Yared Nigussu is an internationally renowned painter working out of Vancouver.  The saturated use of colour and free-flowing movement in his work keeps the eye darting from one brush stroke to the next. With a wide range of subject matter from portraits to landscapes, the vibrant expression and drama in each piece is undeniable. Yared holds the … Read More

Kyrra Kosar

By Morgan Booth Kyrra Kosar is a 21 year old painter and make-up artist working in Vancouver known for her use of delicate detail, and ability to capture the radiance of light. As an experienced Art Battle painter, Kyrra’s innovative use of washes combined with the poetic imagination of her work translate remarkably well from the studio into live painting. We … Read More


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Resin Art Pieces - Art & Scents Afrique

Resin Art Pieces

A resin collection of coasters, keyrings and goddesses made from epoxy resin.The decor we all need in our homes. All handmade with love.  Beautiful design with flowers, metallic and clear tinted foils. Perfect addition to your home decor and perfect gift.

Choose your desired goddess, coaster or keychain. Then choose the colour and design you want. Finally, enjoy your very own custom made resin art piece.

Every piece will be unique to you. We ensure no two will ever be the same and as a result, this makes the perfect gift or stocking filler for Christmas!

Features REAL pressed flowers cast in high quality, crystal clear resin. Comes with a design ready to add to your home decor collections, etc!

Every art peiece will come with its own little gift box.

**Please be aware that because every keychain will be different, colours may vary slightly due to the natural colour differences in flowers.**

Add a message with your order if you would like any specific colour variation! I’m always more than happy to assist achieving the perfect art piece for you!

Free Beauty Blenders & 2 Mini Marble Brushes With All Makeup Orders

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           Business Owner
           Female Body Pillar Candles

Beautiful pillar candles with amazing scents! The fragrance oils are really bomb! Loved all my purchases!

Moses Nyako

Train Guard
Spectre Retro1 Sunglasses

These are my go to sunglasses! Love it! I wear them most days as seen in the picture!

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Less isn’t more Essay

Theatres aim to strike the delicate balance between downsizing & creative risk-taking.

More and more these days, art imitates business. The grimmest financial picture in memory has sent America’s nonprofit professional theatres scurrying to the profit-seeking community for means of survival. Mounting deficits and dwindling resources force theatres to cut costs in every conceivable way. Productions are fewer, smaller and safer. Budget gaps drive theatre professionals to other lines of work. While well-heeled theatre companies dig into their pockets, smaller companies scrape by, hoping that an economic upturn will improve their prospects. Just like hundreds of strapped companies in every industry, theatres have embraced downsizing.

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Clearly, downsizing has merit. When income shrinks, budgets have to shrink also or the venture eventually will fail, whether it produces widgets or new plays. But theatres that succumb to the profit sector’s passion for downsizing should be wary of pitfalls. In the for-profit world, downsizing is supposed to eliminate ventures where the outcome cannot be predicted with a high degree of certainty. Research and development often go first. Marginal units and projects go next. Businesses routinely survive crunches by becoming low-cost suppliers of goods and services. Cost savings go to investors, who measure success by return on investment.

Return on investment cannot be measured, however, when the payback is aesthetic. A theatre that slashes its equivalent of research and development in the name of tighter management sacrifices its soul, not to mention future audiences. Vibrant theatres court uncertainty. They do not banish it because times are tough.

“When you downsize so much, the biology of the institution gets compromised,” warns Zelda Fichandler, who has been at the vanguard of nonprofit theatre since she launched Washington, D.C.’s Arena Stage in 1950 on $800 per week. The budget today exceeds $9 million per year. “I don’t think theatre will improve because you strip it down to its core.” Fichandler fears a loss of experimentation and creative dialogue in a downsized climate. “Theatre must be some kind of journey where every village does not have a perfect dinner,” she declares. The toll is already profound. No one today could dream of producing a show like Arena’s 1967 smash, The Great White Hope, a production that required 60 actors, 232 costumes and 11 sets.

The trend poses a risk that nonprofit theatres will lose touch with writers whose plays fill wide tableaus. So far, however, the appetite for these plays has not vanished. In Chicago, the Steppenwolf Theatre Company recently restaged last season’s hit, The Song of Jacob Zulu, by Tug Yourgrau, with 25 actors in the cast, then transferred the production to Broadway last month. The Lamb’s Theatre in New York City has agreed to produce Arthur Giron’s new play about the young Wright brothers, which will require more than 10 actors and some very imaginative staging to recreate man’s first powered flight. Robert Schenkkan’s Kentucky Cycle, an epic drama that runs six hours and calls for 19 performers, received its world premiere at the Intiman Theatre in Seattle, a subsequent run at the Mark Taper Forum in Los Angeles and the 1992 Pulitzer Prize for Drama. The acclaim dramatizes the argument for taking risks that are inconsonant with downsizing. “The Intiman took an enormous gamble on the Kentucky Cycle,” Schenkkan says. “|Artistic director~ Liz Huddle did the rest of the season on a unit set. But the recognition that it brought the Intiman cannot be bought. It put them on the map in a significant way.” Large and small nonprofit theatres have approached Schenkkan for the rights to mount new productions, but thus far the show’s scale has kept it on their back burners. The chance of being first to produce next year’s Pulitzer Prize winner does not alter the fact that strained finances clamp down on options.

Sadly, theatres must impose restraints just when they have matured as institutions. “We probably have the most thoughtful and experienced group of people who set artistic policy than at any time,” says Jon Jory, producing director at Actors Theatre of Louisville. “It is ironic that at the very time when we have finally prepared this cadre of experienced artistic directors, financial restraints are most severe. When people are expansive aesthetically, they have to be conservative financially.”

Even Actors Theatre, with a recent $9.5-million capital fund drive under its belt and no deficit, is downsizing. “Name an aspect of the budget and we’ve taken 10 to 15 percent out of it,” says Jory, who sees no turnaround on the horizon. “We are saying no for the first time since the early days,” Jory concedes. “It used to be a resident set designer was $1,700 over budget and we didn’t discuss it. Now it requires a full-fledged meeting.” Jory no longer casts shows in New York or Los Angeles. Rather than conduct expensive searches on either coast, he relies on several hundred actors he has worked with before–even if that pool does not include the perfect actor for a particular role. Meantime, the theatre has scaled back advertising and marketing activity. But these were easy cuts. If subscriptions continue to erode at the same pace, one thousand or so a year, the next round may go much deeper. “We are flat-out going to have to think about popularizing our seasons,” he declares. Shows with track records may suit audiences comfortable with realism and naturalism, but Jory frets that they are out of sync with the best young directors, who tend to share an inbred disdain for realism and naturalism.

READ:  Polyethene Essay

Economics affect repertoire whether or not artistic directors make conscious decisions to limit seasons to proven plays with fewer than three characters. But in theatres whose managers keep sight of essential differences between ventures that seek profits and ventures that try to shape an aesthetic vision, downsizing has not foreclosed on artistic development. Amid devastation, new life springs eternal.

At Actors Theatre, reduced circumstances did not slice funds earmarked for a company of actors that will develop plays from scratch. Under director Tina Landau, the company is exploring ways to dramatize aspects of Sigmund Freud’s life and work, but in the end something altogether different might emerge. The venture will cost somewhere between $150,000 and $200,000, Jory estimates. Foundations will provide about half of the tab, and the theatre’s operating budget will foot the rest.

San Diego’s Old Globe Theatre slashed $250,000 in 1992 to ensure a balanced budget of around $8.2 million. Six staff positions have been eliminated, including the person in charge of play development. That will cut in half the number of plays that the Old Globe will look at. Unsolicited manuscripts will not be considered at all. Staff salaries have not increased in more than two years, and managing director Tom Hall says that micromanagement of costs has become a way of life–especially in the wake of California’s $18-billion budget deficit, which has meant cutbacks in state arts support. Meantime, ticket sales are down and corporate giving is off by more than 12 percent. Individual contributions have remained steady, but only by doubling solicitations.

Nevertheless, the Old Globe has eked out larger paychecks for performers and other artists. “We have made a conscious choice not to alter the growth of the artistic program,” Hall declares. “We froze all except what was happening on stage.” In fact, the 1992-1993 season was the largest in four years, in terms of production size. The theatre has kept a lid on artistic costs, in part, by sharing productions like Lanford Wilson’s Redwood Curtain, which started at the Seattle Rep and traveled to the Philadelphia Drama Guild before coming to San Diego. “That is a good example of how theatres are combining resources so that audiences get the best possible work on stage,” Hall says, noting a tangible benefit for writers and performers who get extended exposure.

Last fall, the Empty Space Theatre in Seattle almost shut down after 22 seasons. “We were prepared to accept a ruling of the community that the Empty Space had served its time,” says Melissa Hines, the theatre’s managing director. Then a foundation stepped in and offered to close one-third of the expected $90,000 operating gap if the Empty Space could raise the rest from other sources. Another challenge grant has helped extinguish $130,000 of debt. Actors Equity chipped in $500, a largely symbolic contribution that emboldened Hines and artistic director Kurt Beattie to renew the theatre’s commitment to new plays, especially ones by writers in the northwestern U.S. In March, the theatre opened the first production in a new space, Lanie Robertson’s Lady Day at Emerson’s Bar and Grill, a play that Hines concedes has a distinct advantage in that it requires only limited technical preparation.

Apart from a pragmatic choice for the first show in a new space, Hines insists that the Empty Space will not compromise its determination to deliver theatre on par with the 1991 production of Virtus by Greg Lockridge. The Empty Space spent several seasons nurturing Virtus, which explored a plethora of male issues in a nontraditional performance format. In the same creative vein, The Empty Space is continuing to support an ensemble project that entails longer commitments to artists and puts creative control in their hands. It is impossible to plan in advance for rehearsal room epiphanies that boost costs along with production values. “You can’t say a discovery is too expensive because of plans made months ago,” Hines says. “You have to let the process rule. It is the enemy of efficiency but not the enemy of art.”

A nettlesome economic climate did not prevent the New York Theatre Workshop from taking a bold step in 1992 by acquiring a space of its own. “The choice to get smaller was unacceptable,” says artistic director Jim Nicola, even in the face of sharp budget cuts. “We could have made the choice to strip down,” agrees managing director Nancy Kassak Diekmann, “but it would not have been the kind of theatre we want to be running.” The decision to plunk down $750,000 for a new space was made with due diligence and encouragement from board chairman Stephen Graham. The purpose was clear. “We did not want real estate to dictate artistic choices,” Diekmann explains. After spending $90,000 for renovations, NYTW is rededicating the former Truck and Warehouse Theatre this month with two plays by Caryl Churchill in repertory, Owners and Trap. The productions call for a company of eight actors, too many for the former space to accommodate. “We couldn’t have done this at Perry Street,” Diekmann says. “The size of the stage would have prohibited it.” The former lease also imposed calendar restrictions that would have made it impossible to perform the plays in repertory.

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Hope is alive at two theatre groups in Philadelphia. “We have spent very little time going ‘Woe is me,'” says Dan Schay, executive director of the Philadelphia Drama Guild. Instead, a growing deficit sounded a wake-up call to the board. Together with a board member acting as a de facto financial vice president, Schay initiated a thorough organizational assessment. Meanwhile, a discrete fund drive raised more than $100,000. “We did not want to get to the point where we had to cry wolf,” Schay explains. “We wanted to talk quietly about the existence of wolves.” Some funds have come out of artistic projects, but overall Schay says the impact is negligible. Still, the theatre postponed a production of Brecht’s Galileo that required 20 actors to portray 55 characters. “Something as complex as Galileo should not just fill a slot, it’s an event,” says Schay, who is attempting to raise support for the project. Meanwhile, the Drama Guild replaced Galileo with Nora, Ingmar Bergman’s version of A Doll’s House. Across town, the Philadelphia Festival Theatre for New Plays recently won kudos for a production of Chekhov’s The Seagull, translated by the theatre’s artistic director, Carol Rocamora. The payoff for a production with 12 characters and four sets was an extraordinary invitation to restage it for the 1994 International Chekhov Festival in Moscow. “We are lucky to have funding sources that believe in us,” Rocamora says.

In its 19th season, the Illusion Theatre in Minneapolis has been attracting larger audiences to its productions, but not enough to offset erosion to other sources of income. As a result, the theatre’s budget has shrunk slightly in each of the past two years. “We are thinking much longer and harder about when we are ready to commit to a production,” says artistic director Michael Robins. In 1993 the theatre retreated from a tradition of producing at least one epic play each season. None of the casts numbered more than three actors. But the pipeline holds at least two larger plays that are candidates for production in 1994, under the auspices of the Fresh Ink Series. One, a play by Martha Boesing, is taken from Meridel LeSeur’s stories about life in Minnesota during the Great Depression. The saga centers on The Annunciation, a story about a pregnant woman who wants to have her child although hopelessness surrounds her–a theme not entirely foreign to the nonprofit theatre itself these days. There will be nine actors and live music. “We want to go with the |original~ idea rather than make the idea for three people,” Robins says. Another play in the Fresh Ink Series, Ping Chong’s epic Deshima, originated in Holland and had a U.S. production at La Mama ETC. It tells the story of the Dutch colonization of Asia in a visual collage with lots of slides, fairly elaborate technical requirements and a large Asian-American cast.

StageWest, a Lort C theatre in Springfield, Mass., may be more typical of many nonprofit theatres. Funding sources have dried up left and right, says artistic director Eric Hill. The budget has fallen from $2.2 million to $1.3 million since 1989. “We have lived for four years with the sword of Damocles over our heads,” Hill says. To make up for funding shortfalls, the current season offered audiences Tennessee Williams’s Cat on a Hot Tin Roof, Love Letters by A.R. Gurney, Other People’s Money by Jerry Sterner and Shirley Valentine by Willy Russell, in contrast with the 1990-1991 season that featured Visions of an Ancient Dreamer, adapted from Euripides by Eric Hill; Sweet ‘N Hot in Harlem, conceived by Robert Elliot Cohen with music by Harold Arlen; and Night Must Fall by Emlyn Williams.

The company continues to develop new projects on its 99-seat second stage. Like Visions of an Ancient Dreamer, some receive main stage productions. Last season’s Hamlet, performed by a cast of interns, traveled to the main stage and then on to Japan’s annual Toga Festival at the invitation of Tadashi Suzuki. Currently, the troupe is developing What You Will, a multimedia version of Shakespeare’s Twelfth Night adapted by Hill for a cabaret format.

The adversity-builds-character school will maintain that financial restraints force an institution to focus on its true mission. Besides, as playwright A.R. Gurney notes, the theatre has always operated under limitations of some kind. In earlier eras they were cultural and religious. Our limitations are financial.

How theatres defy modern limitations will eventually inspire nostalgic recollections. The theatre has rarely been a very rich place to work, and creativity has no price tag. As long as there is willingness to take risks, brilliant ideas should not be any scarcer just because the chips are down. It just seems harder to give them shape that will attract an audience. But this is nothing new. “Heroics are part of the fabric of the theatre,” Zelda Fichandler notes. “The structure of drama itself consists of people trying to get around obstacles.”

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Less isn't more Essay
Theatres aim to strike the delicate balance between downsizing & creative risk-taking. More and more these days, art imitates business. The grimmest financial picture in memory has sent America's nonprofit professional theatres scurrying to the profit-seeking community for means of survival. Mounting deficits and dwindling resources force theatres to cut costs in every conceivable way. Productions are fewer, smaller and saf
2017-10-31 13:58:26
Less isn't more Essay
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Two days in Jerusalem

It’s just insane being in a place with so much history. I had no idea what to expect when we booked our trip to Israel and Jordan (stay tuned for more posts on Tel Aviv and Jordan), but Jerusalem was obviously a must-see.

Quick, shout out to the Post Hostel for being perfectly located near the old city, the tram and a ton of nice restaurants and bars. We had a nice private room that was clean and not as small as I had expected. Also, free breakfast (including yummy Shakshuka). I recommend it if you are looking for a great location but would rather spend your money on food and touristing than on your hotel room.

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First things first, we headed to the King David museum. We’d heard it was a “don’t miss” but didn’t expect it to be the literal perfect spot for a 360 view of all of Jerusalem. So seriously, aside from the great museum content – which gives a fantastic overview of the incredibly long and rich history of this city, the view from the top is worth it alone.

I’ll be honest, I was already impressed just walking towards the old city with it’s fortress walls.

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But all the good stuff was through the (baddass) entrance of the museum.

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We didn’t go any closer to temple mount and it’s incredibly beautiful mosque as it was Friday and with recent tensions in the area, it was recommended to avoid the area on prayer day. Nevertheless, we got a perfect view of it from the top of the museum with the Mount of Olives in the background.

Inside the museum itself, was a fantastic introduction to the history of Jerusalem, including beautiful art (and pretty tile work).

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Sigh. It was amazing. But onward we went, with only one full day to see all that we could, we quickly popped into the old city to visit the Church of the Holy Sepulchre, where Jesus is said to have been buried and resurrected.

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I didn’t take nearly enough pictures, but suffice to say, it was quite impressive.

Next up, the wailing wall:

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It’s divided into two sides. The above picture is a shot from the women’s side – you can see, over the barrier the men’s side.

At this stage in the day, we were exhausted from the heat so we decided to head to the Holocaust Museum. As it was Thursday, we lucked out – it’s the one day of the week that it’s open ’til 8 pm. I didn’t take any pictures, it just didn’t feel right. It was without a doubt one of the most profound experiences I had ever had – heartbreaking and infuriating all at once. The way the layout of the space led you through the history of the barbarism that happened fed into the incredibly moving experience. We ended our tour just as the sun was setting off a large balcony. I was moved beyond words and urge everyone to take the time to visit.

I found some pictures of the museum online which illustrate how strikingly and hauntingly beautiful it truly is (via Architizer).

Pfew okay. This is a long post, but there is just so much to see and do. I wish we had had more time, but we had quite an incredible experience nevertheless.

As a side note: we didn’t focus too much on finding great restaurants while we were there, but did stumble upon a little gem just around the corner from our hotel. It was a South American restaurant called La Boca, just steps away from the busy Yafo pedestrian street. We were exhausted and thought to just find a place super nearby to eat something quick, but lucked out! It’s a shared plates place (for the most part) and we had some yummy stuff. Don’t worry, we also had our fill of Israeli and Jordanian cuisine during our trip, but it’s still nice to switch it up.

La Boca: Queen Shlomziyon St 8, Jerusalem

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text:
6th Sunday after The Epiphany

February 16, 2014

Amongst all the rules, where’s the good news?

[Jesus said] “You have heard that it was said to those of old, ‘You shall not murder; and whoever murders will be liable to judgment.’ But I say to you that everyone who is angry with his brother will be liable to judgment; whoever insults his brother will be liable to the council; and whoever says, ‘You fool!’ will be liable to the hell of fire. So if you are offering your gift at the altar and there remember that your brother has something against you, leave your gift there before the altar and go. First be reconciled to your brother, and then come and offer your gift. Come to terms quickly with your accuser while you are going with him to court, lest your accuser hand you over to the judge, and the judge to the guard, and you be put in prison. Truly, I say to you, you will never get out until you have paid the last penny.

“You have heard that it was said, ‘You shall not commit adultery.’ But I say to you that everyone who looks at a woman with lustful intent has already committed adultery with her in his heart. If your right eye causes you to sin, tear it out and throw it away. For it is better that you lose one of your members than that your whole body be thrown into hell. And if your right hand causes you to sin, cut it off and throw it away. For it is better that you lose one of your members than that your whole body go into hell.

“It was also said, ‘Whoever divorces his wife, let him give her a certificate of divorce.’ But I say to you that everyone who divorces his wife, except on the ground of sexual immorality, makes her commit adultery, and whoever marries a divorced woman commits adultery.

“Again you have heard that it was said to those of old, ‘You shall not swear falsely, but shall perform to the Lord what you have sworn.’ But I say to you, do not take an oath at all, either by heaven, for it is the throne of God, or by the earth, for it is his footstool, or by Jerusalem, for it is the city of the great King. And do not take an oath by your head, for you cannot make one hair white or black. Let what you say be simply ‘Yes’ or ‘No’; anything more than this comes from evil. (Matthew 5:21-37 ESV)

Our Gospel for today doesn’t at first glance live up to its name. From the Sermon on the Mount, what we hear more often than not is Law. Do this. Don’t do that. Be careful about the other thing. In fact in these last Sundays after The Epiphany – before we, like Jesus, turn our heads towards Jerusalem as we journey through Lent, we hear Jesus on the mount teaching his disciples and eavesdroppers. In the last verse from last Sunday’s Gospel, Jesus says: ‘For I tell you, unless your righteousness exceeds that of the scribes and Pharisees, you will never enter the kingdom of heaven’ (Matthew 5:20 ESV).

This week we hear Jesus explain about this better righteousness, the righteousness that is to exceed that of the scribes and Pharisees … you’ve heard it said … about murder, about adultery, about oaths and testimonies … yes, there are lots of things we’ve heard and still hear – contexts, boundaries, consequences, it’s part of growing up and learning right from wrong, rules ad more rules … and then Jesus says, ‘But I say to you …’ and he makes things harder!

Where the rules and laws previously talked about behaviour – the things we do – Jesus talks more about what’s going on inside of us that leads to our behaviour. The law rewards or punishes behaviour, not the thoughts and attitudes behind them. Jesus, however speaks to the inside of us – our choices before they are visible as behaviour.

‘Don’t murder’ is obvious but Jesus targets inside – don’t be angry so that you are sinning and therefore watch your words and attitudes as well as your hands so that you don’t regard your brother as a fool – that is, one who says that there is no God – and cut him off from you. Anger is our response when we’re not in control and is an expression of our desire to be God – to judge – to punish. Hence when we’re angry it is easy to blame the other person and forget that this is our
behavioural choice and, very often because it involves sin and selfishness, we become blind to our part in whatever is happening – hence the more scandalous expectation from Jesus that if we’re angry we need to seek reconciliation, we need to take the first step. How often have you heard an angry person say something like, ‘He/she/they caused this mess; they made me angry; they have to make the first move’?

‘Don’t commit adultery’ is also obvious but Jesus targets inside – how you look at a person – men at women – and by implication, women at men – and when we see them as objects, as things you can use (if you had a chance) then adultery has begun. And what sort of advice is bodily mutilation in response to this? It is not to be taken literally because the sinful desire can still exist without those body parts – and that’s the point! Jesus is firstly speaking to our insides – our inner self / being / identity – the one we so often mask with deeds and hypocrisy and struggles. And then Jesus returns to the practical, the obvious – that lust ruins relationships and again he doesn’t go laissez faire about divorce but instead promotes marriage and faithfulness and staying together.

‘Don’t go on about your words adding oaths and witnesses and promises and guarantees – especially bringing God into it.’ Jesus isn’t actually forbidding oaths as much as saying that for his disciples they are unnecessary when you tell the truth – plainly, simply, constantly. To bring God into your speech, as your personal guarantor, makes him your lackey or servant and you the Boss and that is simply a dangerous – but very human – situation.

Again, it doesn’t take too many thoughts, words, or deeds to reveal what is going on inside – our desire for control, our self centredness, our rebellion towards God.

By showing a better righteousness, Jesus, it seems, has condemned us; has lifted the bar too high; and has made it impossible to follow him like this. This flies in the face of what is often viewed as the main reason for religion – and especially Christianity – that it is useful to us. Much of Christianity has the implicit – and at times, not so implicit – atmosphere that when you do the right thing by God, follow Jesus, then your life is good and prosperous. ‘The blessings will come’ we are promised. If problems come then try harder and God will reward your effort. Many testimonies of Christians seem to follow the ‘formula’ of God rescuing and helping people or their victory over this or that problem or sin with God’s help and now life is much better. So people conquer sins, get through problems and move on to better things and life with God is a steady improve.

What is missed often – and this can trip Christians up big time – when tragedies strike, when temptations spring up, when we find we’re still falling into sins, and suffering doesn’t abate, when doubts and despair whirl inside of us and we wonder just what’s the point of living or of Jesus when the mess just doesn’t improve – is that we live in the tension of being sinners in this world and being Christians through faith – faith alone – faith which trusts God’s Word over us and to us – especially when it doesn’t square with our experience or our wants.

The danger for people who know the true God – and you can see this with the people of the Old Testament – and if you’re honest – within yourself at times – is that we remain the centre of our lives and that God – even the God who has rescued us (and thank you for that!) slowly becomes not our Lord whom we should follow but our ‘get out of goal card’, our genii, our butler (Alfred to our Batman). While we live in sinful flesh, in this world that rejects God, and in the ‘gun sights’ of the Devil and his hordes, we face the struggles that come our way as we all slowly slide to works righteousness.

That’s why the Sermon on the Mount is so challenging – not because it sets a new ethic – which it does – but because it gnaws and unsettles us by-passing our behaviours and looking within and getting us to look within too.

Jesus doesn’t relax the 5th, 6th, and 8th Commandments – try a bit because you’ll be forgiven anyway – but intensifies them – you must live to a better righteousness – so he doesn’t set us up to fail but reveals that in and of ourselves we will never live this better righteousness.
So why bother? Why did Jesus gives us these teachings?

So that we would live according to them. He expects this. But not as ethics we master (and become smug about) but as sinners who are always struggling. So why bother?

Because in these teachings that reveal the depths of human sin, we come to see the mystery of the teacher. We so often wonder about Jesus – what was he like – how did he feel – for men, how could he look at a woman and not sin at some point? – and Jesus’ humanity remains mysterious to us. It is only confirmed at his death – so he can die – he did die – we think. But who else is Jesus?

Well, he’s the one whose anger is not his selfish desire for control but the righteous anger that flares when God is rejected. His anger is not for his own sake but to help and care for those with whom he is angry. We find that so hard because sin is so entwined with our anger. And then Jesus shows us – sinners – how to do it – and he comes to us – who have rebelled against him, humanity nailed him to a cross and yet he still forgave – and still forgives sinners today. He forgives you.
He looks at us – not as prey – he honours marriage – elevates it and doesn’t look at women or men as objects for him to use. His dealings with people were always from the perspective of what was best for them. He wasn’t people’s ‘yes man’ for he could challenge and rebuke where necessary because he wanted what was best for people. He sought to serve them – even as those around him wanted him to serve them. ‘Stay and keep feeding us’ said the crowd. ‘You can’t go the way of the cross because that would mean I’d have to too’ said Peter. But Jesus remained focused on seeing us as we really are and responding to us as he thought best and thus was someone people couldn’t control. And it is still the same today – as he comes to you – and serves through Word and Sacrament – leading you how to live your life this week; dealing with things you might not want to; facing your sins squarely that you’d prefer to dodge; finding more opportunities to serve those around you.

Just as Jesus fulfilled the Law, the Prophets and the Psalms so he also fulfils his own sermon. He speaks truth. He is Truth. No oaths – just himself speaking. And his heartfelt message – his message from the heart – begins ‘I love you’. The Law is in service of the Gospel, not the other way round.

And that is why we keep listening today – every Sunday – to all the Bible – and struggling with it – and seeking to live by it – not as laws to make us smug or despairing – but because it draws us closer to Jesus and, with eyes fixed on him, we live in the world.

Bible References

  • Matthew 5:21 - 37


text:
How Long Will A 9mm Barrel Last?

What is best barrel length for 9mm?

If you shoot subsonics suppressed a 4.5″ barrel gets close to the 1050fps upper limit and is nice and compact with the added length of the suppressor.

Otherwise the velocity gain starts to flatten out at 8-10″ which is still handy and light.

10-12″ is about optimal for most uses in my opinion..

How long will a Glock barrel last?

Most cop guns have heavy holster wear, but I’d venture to guess most have less than 5,000 rounds. I have 30,000+ through my G17 and another 10,000 through my G34 (stopped shooting the 17 when I got the 34).

How many rounds does it take to wear out a barrel?

A cheaper barrel might last 2500-3000 rounds where a higher end barrel might go 4000+ rounds before crapping out, which often correlates to the original cost of the barrel.

Is a carbon fiber barrel worth it?

Carbon fiber barrels are worth the money. Especially if your end use is a run and gun type competition or hunting the back country and high degree of precision and accuracy are needed minus the weight.

How many rounds will a handgun last?

Most barrels will last 30–50,000 rounds or more before accuracy begins to suffer. A steel frame will last virtually indefinitely. A quality alloy frame should last easily beyond 100,000 rounds, I’d say a good polymer frame like a Glock should last even longer than that.

How many rounds is too much for a gun?

So, in general, feel free to put as many rounds a month as your budget can handle. It would be more ideal to practice at a regular interval than to simply put 10,000 rounds sequentially through a pistol during a heavy day of use. Almost any handgun is designed to withstand the wear and tear of firing rounds.

What distance should I Zero 9mm?

Seems like a 10 yard zero is the most optimal distance for zeroing a sight for a 9mm. 10 yard “zero?” The proper distance to “zero” any pistol is 25 yards for combat; 50 yards if you are shooting bullseye.

How much does a 9mm drop at 100 yards?

While the 1.8 in drop of the 9mm bullet at 50 yards may not sound bad, it all goes downhill from there. In fact at the 100 yard mark the bullet will have dropped -12.0311 in (over a foot).

How long does a pistol barrel last?

Any quality pistol barrel should easily last tens of thousands of rounds without any noticeable affects. Military sidearms have been known to last tens of thousands of rounds and I’ve known competition shooters who will put 100k rounds through a pistol in just a few years.

When should I replace my pistol barrel?

The Barrel After about 50,000 rounds, the rifling will be worn down and that causes a dip in performance. If you’re not shooting past 25 yards, you may never notice the decrease in accuracy, but it’s still a good idea to replace the barrel to extend the overall lifespan of the gun.

How long can a gun go without cleaning?

You should ALWAYS clean your gun within a few days of shooting it. You don’t need to clean in 5 minutes after you fire but generally within one week will be fine.

What is the effective range of a 9mm pistol?

about 100 m”The effective range of the 9mm is about 100 m although the bullet does travel and is lethal at longer ranges.” If your talking about a 9mm rifles but we’re talking about a pistols. 100 m is a little far for the average GI to shoot with a pistol making 100 m the Maximum Effective Range.

What caliber has the longest barrel life?

222 Remington size you could expect an accurate barrel life of 3000-4000 rounds. And varmint-type accuracy should be quite a bit longer than this. For medium-size cartridges, such as the . 308 Winchester, 7×57 and even the 25-06, 2000-3000 rounds of accurate life is reasonable.

Do heavy barrels last longer?

Re: Does a heavy barrel last longer than a sporter barrel Basically No . just because the external profile is thicker than another barrel will not change what is going on inside the bore to any great degree , where the wear takes place. Less heating up might give some extra life but it would be hard to measure.

Are heavy barrels more accurate?

There is no real difference in the accurcy of the barrels. A heavy barrel makes for a heavier gun. Most people find than they hold a heavier gun more steady, especially when shooting off a bench. As barrels heat up they move around and become less accurate.


text:
International relations

Coronavirus gives China an edge as it expands sway in the Pacific

Island nations such as Samoa and Tonga need loans to pay for stimulus

APIA, Samoa -- As the coronavirus sweeps the globe, the remoteness of Pacific island states has been both a gift and a curse.

Of the 18 countries the virus is yet to reach, the majority are islands in the Pacific. But the very same isolation that has provided a barrier to the disease is also likely to intensify the effects of global economic contagion.

In an note to clients last month, ANZ forecast crushing blows to economies reliant on tourism and remittances as global travel grinds to a halt for the foreseeable future. The bank's remedy included stimulus measures of between 8% and 60% of nominal gross domestic product for nations including Fiji, Vanuatu, the Cook Islands, Samoa and Tonga.

For Samoa alone, a 20% stimulus package would amount to $160 million.

As non-players in international capital markets, those countries will have to look externally for loans for stimulus financing -- and that gives China a prime opportunity to expand its influence in the region through so-called "debt diplomacy."

The remote island specks of the "blue Pacific" have intermittently found themselves at the center of the great game of diplomatic contests between world powers.

From the colonial era to World War II, access to deep water ports was highly prized in a region close to Australia and Indonesia.

Now China seeks to crowd out rivals such as the U.S. In 2017 alone, Beijing announced $4 billion in aid to the region, putting it on track to overtake Australia as the preeminent donor.

Foreign policy hawks in the U.S. and Australia believe China is seeking to establish a second international military foothold to match its construction of a naval outpost in Djibouti, near the Arabian Sea, in 2016.

And now that cash infusions are desperately needed by Pacific economies, the balance of power could shift even further.

Government debts to China already make up a sizable portion of many nations' total external borrowing. According to the latest government financial statements available, loans from China make up 62% of Tonga's of total foreign borrowing; for Vanuatu its is 43%, and for Samoa 39%.

Many of these debts were brokered in times of crisis, such as when there was rioting in the streets of Tonga's capital, Nuku'alofa, in 2006. Vanuatu's external debts doubled in the three years following 2015's Cyclone Pam, according to a 2019 International Monetary Fund study.

American military leaders say recent spending has eroded the U.S.'s previous strategic edge in a region that includes a handful of its territories but where the Americans now fear a contest for air and naval superiority looms.

And China analysts now expect a further shift wrought by the coronavirus.

"China seems likely to emerge from the pandemic [as] a more attractive partner for Pacific Island states," says Dr. Hugh White, professor emeritus of strategic studies at the Australian National University. "That enhances the advantages China has already enjoyed in the contest for influence among these small but strategically important countries."

Nothing has been subtle about diplomacy in the region, on either side of the contest.

Australia, New Zealand and Canada all seek to counter China by announcing more diplomatic efforts and policy white papers with similar titles -- "the Pacific Reset," "the Pacific Step Up" and "The Pacific Uplift."

But there are fears Beijing's large foreign exchange reserves could trounce the West's diplomacy as those nations are more preoccupied by domestic concerns.

The Chinese push for influence reached perhaps its most fervent stage in September when two of the last Pacific states to recognize Taiwan severed ties within a week: Kiribati and the Solomon Islands.

Peter Kenilorea Jr., a member of parliament and head of the Solomon Islands' foreign ministry, oversaw a parliamentary inquiry into the issue of diplomatic recognition.

He told the Nikkei Asian Review that small Pacific states could be manipulated if they do enter into debt finance deals, and claims that the lobbying preceding the two nations' switch to Beijing included cash payments to opposition lawmakers of up to $600,000.

"Our institutions aren't up to scratch," he said. "These are areas that could be exploited by a powerful partner."

The switch of allegiance led to a flurry of activity. Two days after the Solomon Islands made the move, the SAM Group, a Chinese state-owned technology conglomerate, signed a deal to lease the nation's Tulagi island. But a public outcry led the government to scrap the deal.

Leaked correspondence from within the Solomons' finance ministry a month later showed it in discussions with a mysterious Chinese financier Terry Wong, offering a loan composed of contributions from a consortium of undisclosed donors to the value of $100 billion at an 0.05% interest rate. Reached for comment by Nikkei last week Mr. Wong said he was indisposed and did not answer further calls.

For a country with an annual GDP of about $1.3 billion, the idea of such a large loan appeared fanciful.

Harry Kuma, the Solomons' finance minister, confirmed negotiations with Wong took place, but declined to say if they produced any agreements.

"Issues such as these were not ready or not in the form to be consumed and well understood by the public," he told Nikkei in an emailed statement after declining a telephone interview.

Requests for comment from the Chinese Ministry of Foreign Affairs and several of its embassies in the region have not been answered. Kuma decries claims of cash payments to lawmakers as "baseless."

Whether countries favor China or other donors is likely to be a function of how much value they place on political expediency, according to Biman Prassad, an opposition lawmaker in Fiji.

"Borrowers and governments, especially those who display dictatorial tendencies and have a reason to avoid transparency, are always going to favor China," he told Nikkei by phone.

Samoan Prime Minister Tuilaepa Lupesoliai Sailele Malielegaoi meets Chinese President Xi Jinping at The Great Hall Of The People in Beijing, on Sept. 18, 2018.    © Reuters

U.S. Defense Secretary Mark Esper has characterized Chinese assistance as straight up sovereignty-for-cash transactions and a steppingstone to coercion.

But China accuses America of a preoccupation with Cold War thinking.

"China is fulfilling its responsibility as the largest developing country in the world," Wang Dong, the Executive Director of Peking University's Institute for Global Cooperation and Understanding, told Nikkei. "In the process of providing aid to Pacific island countries, China sticks to a number of important principles: equality, mutual benefit, openness, sustainability, and most importantly, without any political strings attached."

On the recipients' side, some leaders privately admit to playing Australia and China against each other to maximize aid receipts.

But others have found themselves tangled up in repayment obligations.

In a region where, with few exceptions, governing coalitions are weak and prone to collapse, prudent financial management is not easily achieved.

Gary Juffa, an opposition lawmaker and provincial governor in Papua New Guinea, said as offers are certain to come, Pacific states have to become stronger negotiators.

"Countries need to learn to set parameters about what China can and cannot do," he told Nikkei.

Australia and its allies are hoping that multilateral institutions will prioritize Pacific economies that might otherwise be overlooked. Last month it lobbied for a regional assistance package at a Group of 20 meeting.

"I don't think the risk of the alternative is appreciated fully by other countries," an Australian official said.

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text:
A health worker prepares the Covid-19 Sinovac vaccine at Aceh Hospital in Indonesia on January 15, 2021. Photo: Khalis Surry / Anadolu Agency

JAKARTA – “My fellow Indonesians, at 9:42 this morning I took the major step as an Indonesian of receiving the coronavirus vaccine and freeing myself from the pandemic,” President Joko Widodo wrote on his Facebook page on December 13 as the Christmas-New Year Covid-19 infection rate set new records across the country.

With a reassuring “Safe and Halal” sign as a backdrop, the 59-year-old president launched the first round of inoculations of the Chinese Sinovac vaccine, whose efficacy rate is 65.3%, according to third phase trials conducted in Bandung, south of Jakarta.

But none of the volunteers were over 59, the most vulnerable age group, and there is concern about a similar trial conducted by Brazil’s Butantan Institute which recorded an efficacy rate of only 50.4%, barely above the World Health Organization’s (WHO) threshold to establish and maintain herd immunity.

Although Sinovac recently received emergency approval from the Food and Drug Monitoring Agency (BPOM) and the Indonesian Ulema Council (MUI), the Widodo government will clearly have to do more to earn public trust as it prepares for one of the world’s biggest inoculation programs.

All vaccines must receive halal certification from the MUI to ensure they are permissible under Islamic law, an important step in the Muslim-majority nation, where it could become a serious impediment if not addressed.

Two years ago the council refused to sign off on a measles vaccine, declaring it to be haram because it was suspected of containing a pork-derived gelatin stabilizer used in some cases to prevent degradation during storage and transport.

An Indonesian medical worker shows China’s Sinovac Biotech Covid-19 vaccine at the public health center in Jakarta, on January 15, 2021. Photo: Aditya Irawan/NurPhoto via AFP

A Saiful Mujani Research & Consulting survey last month found that only 37% of respondents were willing to take what might be the life-saving jab, with 40% uncertain and 17% saying they would refuse it, mostly because of concerns over safety and effectiveness.

Health experts say even with a smooth rollout through hospitals and 10,000 first-level health clinics, it will be at least 15 months before the program reaches the percentage required for herd immunity among Indonesia’s 270 million-strong population.

The government estimates it will need 427 million doses, factoring in a wastage of 15%, to vaccinate a targeted 181.5 million citizens, with Widodo saying he wants that done by mid-2022.

Some experts fear it may take three to four years, but with newly-appointed Health Minister Budi Sadikian, a proven manager, now at the helm there is optimism that the government now has the life-saving task in hand.

Although only a drop in the bucket, the three million doses of Sinovac already available will initially go to healthcare workers, business people, community leaders, civil servants and members of the police and armed forces.

The government has signed deals for a further 125 million doses of Sinovac, which is expected to be available to inoculate another 65 million Indonesians, and 50 million vials each of the AstraZeneca (Britain) and Novavax (US) vaccines.

But negotiations with Pfizer have reached a stalemate over the US drug company’s insistence on a government-to-business contract for 50 million doses, along with the specialized cold storage facilities to store the vaccine at the required -70 degrees Celsius.

Honesti Basyir, president director of state-owned Bio Farma, Indonesia’s only vaccine manufacturer, says Pfizer wants to be immune of lawsuits resulting from any short or long-term side effects that may emerge during the rollout of the vaccine.

Honesti Basyir takes questions from the press. Image: Facebook

Indonesia has still to complete a “cold chain” across the archipelago to handle the distribution of the vaccine, with Covid-19 Task Force spokesman Wiku Adisasmito indicating that it will be confined mainly to large urban centers.

Jakarta is also seeking 108 million free doses from GAVI, an alliance led by the WHO, the Bill & Melinda Gates Foundation, UNICEF and the World Bank which was created two decades ago to improve vaccination access for the world’s children.

Already considered to be unstated, Indonesia’s daily infection rate has doubled from 8,000 to as much as 14,000-plus in the past two weeks, a direct result of intra-provincial travel during the Christmas-New Year holiday break.

That has boosted total infections over the 900,000 mark, with the death toll verging on 26,000, or 250-300 a day.

Officials say isolation and intensive care units are at 80% capacity as the government implements a stricter set of health protocols in Java and on the tourist island of Bali to contain the latest surge, the worst since the crisis began.

East Java leads with 6,779 deaths, followed by Central Java with 4,375, Jakarta on 3,673 and West Java with 1,294 – Indonesia’s four most populous provinces that contribute to about 60% of the national total.

The lowest number of deaths have been recorded in West Kalimantan (28) and in West Sulawesi (57), the scene of last week’s 6.2 earthquake which killed more than 50 people and collapsed hundreds of buildings.

This picture shows tombstones at a burial site for victims of the Covid-19 coronavirus in Jakarta on September 11, 2020. Photo: AFP/Bay Ismoyo

In Asia, a region that appears to have escaped the full brunt of the pandemic, Indonesia has the highest number of deaths per million at 5.52%, according to Statista. But its data shows that is still far less than countries in Europe and most other parts of the world.

Foreign nationals have been banned from entering Indonesia until January 28 to prevent the entry of the more infectious Covid-19 strains discovered in Britain, South Africa and Brazil. Domestic tourists can only travel internally after undergoing a swab anti-gen test and obtaining a digital health card.

“The greatest challenge (to the vaccination program) is our geographic landscape,” says Wiku, a health policy and infectious disease expert. “To address that we are working closely with the military and the police to ensure there is smooth distribution.”

But he also warned that much also depends on the availability of supply, an issue amplified by Health Minister Sadikan this week when he said the government may allow for private vaccination schemes after the completion of the first phase of the program to help fill any gap.

Officials say they will not force the vaccine on people, but will wait before imposing sanctions, which include a 100 million rupiah fines for those who don’t comply with quarantine restrictions or hinder the implementation of a vaccination program.

“The people are not ready because they don’t understand,” Wiku told foreign correspondents. “We need more consistent public education. It’s very difficult to explain to people in rural areas, but with the right cultural approach we can convince them.”


WARC-Identified-Payload-Type: application/xhtml+xml

text:
Ask Your Question

How to move right/left footnotes demarcation line [closed]

asked 2012-09-26 10:12:59 +0200

maththias gravatar image

updated 2021-06-03 16:58:37 +0200

Alex Kemp gravatar image

Hi! I want to move manually, as the topic object says, the footnotes demarcation line without moving also the footnotes content. Is it possible?

(Libreoffice 3.6.1)

EDIT: I'm searching the possibility that the microsoft word "draft-mode" offers: I think it isn't possible without resolving this feature request: https://issues.apache.org/ooo/show_bug.cgi?id=4914 - https://issues.apache.org/ooo/show_bug.cgi?id=3959 - https://issues.apache.org/ooo/show_bug.cgi?id=89311

Source: http://wiki.openoffice.org/wiki/Writer_Views

edit retag flag offensive reopen merge delete

Closed for the following reason the question is answered, right answer was accepted by Alex Kemp
close date 2015-10-18 02:52:41.621512

Hi @maththias, Do you know if there are corresponding LO bugs filed for those OOo bugs?

qubit gravatar imagequbit ( 2013-01-31 07:08:05 +0200 )edit

1 Answer

Sort by » oldest newest most voted

answered 2012-09-26 13:04:09 +0200

manj_k gravatar image

updated 2012-09-26 13:11:42 +0200

Menu: Format → Styles and Formatting (F11) → Page Styles
Context menu: Modify → Footnote tab → Separator line → Position (Left, Centered, Right)

See also → Writer · Footnote

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Asked: 2012-09-26 10:12:59 +0200

Seen: 5,561 times

Last updated: Sep 30 '12


text:
Unstick my tortillas
August 18, 2005 5:18 PM   Subscribe

How do I stop my tortillas from sticking together? I keep them in the freezer since I only use them occasionally. When I thaw them out, they are sometimes glued together and impossible to separate without making holes in them. Is this preventable? Is there a way to unstick them? If I can't freeze them, how long will tortillas keep in the fridge?
posted by Could it be, El Guapo ... to Food & Drink (13 answers total)
put plastic wrap between the tortillas before you freeze them.
posted by signal at 5:19 PM on August 18, 2005

Plastic wrap sounds like a lot of buggering around, IMO.

The tortillas we purchase come in a heavy-duty ziploc pouch. We toss them immediately into the freezer when we get home from shopping, and they are placed as flat as possible. When we use them, we have them out of the freezer for however long it takes to peel them carefully apart and warm them in the frypan. Then we fire them back into the fridge.

They seldom stick so badly as to tear. They do sometimes stick enough that they need a minute in the pan to warm them up to the point where they'll peel apart.

The trick, IMO, is that they need to be kept from becoming moist. That means freezing them quick, and not leaving them out when you're using them.

posted by five fresh fish at 5:35 PM on August 18, 2005

Best answer: How long does it take you to use them? I find the only thing that keeps them from doing this is to keep them at room temperature. They last much longer than you'd think. And I've tried a wide variety of brands. I keep them around for two or three weeks and have never seen a speck of mold and have never noticed any changes in taste.
posted by miniape at 5:50 PM on August 18, 2005

Use waxed paper between each one - take them out of the bag, tear several pieces of waxed paper, re-stack, rebag in a freezer bag, and don't set anything on top of them. Also if you use a microwave to unthaw them, they are much more likely to stick - use a pan or just sit them out for a while.

But I keep flour tortilla in the baggie, in the veggie/fruit compartment of my fridge and they last at least a weeks.
posted by LadyBonita at 6:04 PM on August 18, 2005

I have exactly the same problem, and I put some greaseproof paper between them once I've opened the packet.

We'd use two from a pack of 6 or 10 a week, so they've got to go in the freezer.

I don't have enough time to let them defrost when I get home from work, and I cant microwave them all together, that doesn't work, so I have to use paper.

There's one brand in my supermarket that puts bits of paper between the tortillas, but unfortunately they're only an intermittent supplier.
posted by wilful at 6:07 PM on August 18, 2005

I keep mine in the freezer as well, I like to have them around, but only go through a package a month.

I put a piece of parchment paper between every two tortillas, because I almost always eat them in pairs, and putting the two stuck together ones on the frying pan causes them to unstick.

I avoid wax paper, I find it tends to leave bits of wax on frozen stuff. I'm not big on eating candles.
posted by Marky at 6:25 PM on August 18, 2005

Unless you either a) put some kind of paper between them (I dunno what you'd call it...when I worked at a pizza joint, all our dough had paper between each piece of dough and there was no problem after being frozen. I know it wasn't wax paper) or b) warm up the entire stack (microwave works) and then refreeze them (once again, the place I worked at had a tortilla station...if they were frozen, we ran into your problem so we just nuked em' till they were a little bit warm and problem solved).
posted by jmd82 at 6:38 PM on August 18, 2005

Thirding (fourthing? I lost track) the wax paper. This is what wax paper is for!
posted by mendel at 6:42 PM on August 18, 2005

Wax Paper.
posted by dobbs at 6:48 PM on August 18, 2005

I keep corn tortillas in the freezer. The trick to not having these stick is to separate them with a knife blade immediately after removing them from the freezer. Just slide the blade into a crevice between the top and the second tortilla, give a slight twist, and pop! Off they come one by one. This must be done before they start to thaw, or they do stick. So separate first, thaw after.

I've never tried it with flour tortillas. They're gummier in general, so I'm not sure my strategy will work. WOrth a try, though.
posted by Miko at 7:15 PM on August 18, 2005

Best answer: I think sometimes the tortillas are stuck together when you buy them. Freezing doesn't seem to have an effect on that. I pick through the packages at the store to find ones that don't seem to be stuck together. You can tell by bending the package around whether they're sticky. Also, drier, thinner brands of tortillas stick less than the fluffy, thicker ones.
posted by donnagirl at 7:25 PM on August 18, 2005

It may also help to store them vertically when they're frozen, rather than horizontally. I don't generally have any problem with them sticking, and I don't stick anything between them.
posted by NYCnosh at 8:57 PM on August 18, 2005

Best answer: Just leave 'em at room temperature. Unless a stray mold spore gets in, they'll keep for weeks.
posted by ikkyu2 at 11:16 PM on August 18, 2005

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