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Examining the Rich Tomb of a Mysterious Celtic Princess
(Read the article on one page)
Celtic princesses are almost mythical in today's modern culture. They are often considered as women with mystical talents and hidden stories. A grave discovered beside the Danube River brings much information about a woman who was perhaps a real Celtic princess.
A large burial which contained the skeleton of a Celtic noblewoman was discovered in 2009 beside the Danube River near Heuneburg, in the south of Germany. It is the oldest known wealthy grave of a Celtic woman. The grave was quite well preserved by the water-sodden soil of the region. The burial chamber of the tomb was wooden, the oak of the floor was intact, and it was possible to put an exact date on it. The oak trees used in the tomb were felled 2,620 years ago. With this discovery, one can determine that the woman buried in the tomb died in 609 BC.
Course of the Danube, marked in red. ( Public Domain )
The Treasure of the Celtic Princess
The tomb was never looted, so all the treasures which ancient people gave to the noble lady were still there when it was opened. The tomb was lifted by heavy cranes in December 2010 and transported to a tented laboratory near Stuttgart, Germany. It weighs 80 tons, so the process was challenging. The research by archaeologists associated with the Stuttgart Regional Council provided better results than they had expected. The tomb was full of amber jewelry, gold, bronze, and more.
Artifact from the grave of the Celtic princess near Heuneburg. ( benedante.blogspot)
The burial of the woman contained one more surprise – an unidentified child. It is difficult to say anything about the baby, but perhaps it was a child related to the woman, quite possibly she was its mother. It has been suggested that they died together, so it is likely that their death was caused by an accident, attack, or disease. Apart from the treasure and child, pieces of cloth, food, and other organic matter were found.
- 2,500-year-old Celtic tomb with richly adorned body may belong to a Prince or Princess
- The Strange Story of Daisy of Pless and Her Long Sought After Necklace
- Moments from the Life and Reign of Queen Victoria of Great Britain
Piece of jewelry found at the site. ( benedante.blogspot)
Who Was the Woman in the Tomb?
Interpreting the discovery is very difficult because there are no written sources, diaries, or chronicles about this period in the history of the Celts near the Danube River. The archaeologists examined every centimeter of the tomb with brushes, tweezers, and scrapers. Along with the aforementioned human remains and the treasures, animal and plant remains were also found. The analysis of these can provide information about burial rituals. It is known that the Celts used the plants which were grown nearby, so in some parts of Europe, the rituals looked a little bit different.
It is known that the woman died between the ages of 30 and 40. She was an elite person and her tomb was a cache of ornate treasures. The tomb is one of the greatest discoveries connected with a female Celtic burial. The gold necklaces set with pearls and the amber jewelry have also provided a better understanding about the art of the Celts from the period of the 7 th century BC.
It must be noted that although researchers call her "the princess," in fact there is nothing really known about her life and role in society. The only sure thing is that she was a very important individual. As long as there is no concrete answer to the question of who the woman and child were, they have been called the princess and prince of the Celts.
Lasers and scanners used during research allowed archaeologists to create a 3D computer simulation which presents the way the burial chamber looked on the day of the funeral. The tomb was found very close to the excavation site in Heuneburg, which for centuries was believed to be a Celtic settlement. The discovered grave confirmed that the area of Heuneburg was one of the earliest centers of Celtic art and culture.
Reconstructed Celtic Heuneburg in 600 BC. ( CC BY-SA 4.0 )
A Luxurious Life for the Celts
People often believe that the heartland of the Celts is Western Europe – Wales, Scotland, Ireland, Brittany in France, etc. However, discoveries such as the one made near the Danube River suggest that Central Europe was very important for the Celts too. Some researchers believe that Celtic art and culture could even have had its origins in south-western Germany, eastern France, and Switzerland - not in the North.


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A month or so ago, I replaced the springs on a 2007 Camry 3.5 SE. While the strut was out, the weight of the hub/brake assembly on the front driver's side caused it to lean out, away from the motor, pulling the axle with it. The axle did not pull out from the transmission housing (as far as I can tell), but the inner boot of the CV joint did stretch out (accordion style). The inner boot did not tear or come loose. Simply pushing the hub/brake assembly back wouldn't allow whatever parts within the inner boot-end of the axle to mesh. I had to spin the axle slightly to get the parts within the inner end of the axle to marry in order for everything to go back in place as it was. Everything seemed fine, but upon replacing my brakes, I see a thin ring of thick lube on all the surfaces around the CV joint, where it has "spun" out (centrifugal force) from the inner most edge of the inner boot. The boot has no tears or damage that I can see, and it still looks to be correctly in place. Running my fingers along the inner edge of the boot, it feels like the inner boot may have some flanges along the inner surface of its larger (motor/transmission side) end that perhaps fit over the metal portion of the assembly that keep it from pulling apart, but I'm not positive, never having seen this assembly taken apart. I've included a pic with red arrows pointing at part of the "ring of lube"? What happened inside the CV boot while it was stretched out, to cause this? Can I removed the metal strap and pull the boot towards the hub/brake assembly to inspect whatever is under it without removing the axle/CV joint?
have the same problem?
Wednesday, June 13th, 2012 AT 10:01 PM

subset: commoncrawl


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Assessment of dermal exposure to pesticide residues during re-entry
Belsey, N. A., Cordery, S. F., Bunge, A. L. and Guy, R. H., 2011. Assessment of dermal exposure to pesticide residues during re-entry. Environmental Science & Technology, 45 (10), pp. 4609-4615.
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Currently, the determination of health risks to pesticide applicators from dermal exposure to these chemicals is assessed using either a concentrate of the compound or a relevant aqueous dilution. Neither of these conditions reflects a normal exposure of an individual when re-entering an area after pesticide application, that is, contact with dried residue of the diluted product on foliage. Methodology has therefore been developed to determine a relevant estimate of this potential dermal re-entry exposure from pesticide residues. Potential delivery platforms have been characterized for the transfer of pesticide residue to skin. Spin coating has been used to deposit uniform pesticide layers on to each platform. Five pesticides have been chosen to encompass a wide range of physicochemical properties: atrazine, 2,4-dichlorophenoxyacetic acid (2,4-D), chlorpyrifos, monocrotophos, and acetochlor. In vitro (Franz diffusion cell) experiments have been performed to monitor the transfer of these pesticides from the delivery platforms onto and through excised porcine skin. Parallel experiments were also conducted with aqueous pesticide dilutions for comparison, and a final in vivo measurement using ibuprofen (as a model compound) complemented the in vitro data. The results demonstrate that transfer of chemical residue onto and subsequently through the skin is dependent on the physical attributes of the residue formed. Thus, assessing dermal exposure to pesticides based on skin contact with either the chemical concentrate or a relevant aqueous dilution may incorrectly estimate the risk for re-entry scenarios.
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|Belsey, N. A., Cordery, S. F., Bunge, A. L. and Guy, R. H.
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|Faculty of Science > Pharmacy & Pharmacology
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|Revised_Pesticide_Manuscript_310311.pdf: This document is the Accepted Manuscript version of a Published Work that appears in final form in Environmental Science & Technology, copyright © American Chemical Society after peer review and technical editing by the publisher. To access the final edited and published work see http://dx.doi.org/10.1021/es200172q
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Scholarships Available for 2013 Dominican Republic Mission Team Trip
The Wallingford Rotary Club is again offering three $500 scholarships for Wallingford teenagers to be part of the 2013 Wallingford Dominican Republic Mission Team. To be eligible, students must between 15 - 19 years old by July 1, 2013, and their primary residence must be Wallingford, Connecticut, or a full-time student in Wallingford. The deadline for submitting the application is December 5, 2012, and this summer's mission trip to the Dominican Republic is set for Friday, June 28 to Sunday, July 7, 2013.
Those interested in applying should download the application form below.
Questions? Please contact the DR Mission Team at 203-626-2239 or firstname.lastname@example.com.


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As a parent, you're doing the best you can! But raising a family today can be overwhelming and even disheartening. Fresh insights and practical tools are needed to change the momentum in struggling families.
Connected Families honors the uniqueness of your family and its challenges by teaching a principled approach to parenting that fits all ages and stages. Your Connected Families parent coach will walk alongside you to help turn frustration, anger and despair into patterns of calmness, wisdom and joy.
This may be the best investment you'll ever make in your family!
Step 1: Fill out the coaching inquiry form below.
Step 2: Connect with Chad Hayenga, parent coach and coaching coordinator, to decide which coach is the best match for your family.
Step 3: Complete the registration process.
Step 4: Meet with your coach and begin to experience lasting change in your family.
Questions you might have
What are the qualifications and training of Connected Families coaches?
Connected Families employees who work with parents are Certified Life Coaches. Each coach has an additional expertise to help clients, i.e. experience with at-risk teens, marriage and family therapy degree, occupational therapy background, expertise in adoption issues, training in solution focused methods, etc. Through our years of varied experiences, we've developed comprehensive resources that will enhance your coaching sessions.
Most importantly, we've all struggled in our parenting and bring grace, understanding and encouragement into our coaching.
Who is coaching for?
- Parents who want to get on the "same page," and are in need of a plan.
- Parents who are starting to see troubling behaviors in their kids and don't know what to do.
- Parents who are discouraged by the endless cycle of misbehavior-punish-misbehavior-punish, and can feel their kids hearts turning away from them.
- Parents who see their child developing a negative self-identity in response to struggling with misbehavior.
Why parent coaching? And why now?
It is tough to undo negative patterns in families, so it's important to consider: Where might our challenges take us in the next few years without help? What complexities might be added as our children develop? What would I want my relationship with my struggling child to be like in a few years?
No matter how difficult things have gotten, when parents take strong steps to learn new insights and strategies, it communicates powerful messages to kids:
- Grace is real; it's never too late to learn and grow in an area.
- It's ok not to have all the answers and to ask for help.
- You're worth the effort to change my lifelong habits!
What format and focus will the sessions have?
Sessions are usually 60 minutes. Our extensive professional experience enables us to mentor you with fresh perspectives and ideas. Parents will work with their coach to create a plan of helpful action points that address parents' concerns.
Are you faith-based?
While we are a Christian organization, we can flexibly accommodate any faith background.
Who is included – will I bring my children?
Either one or both parents (or another caregiver) meet together with their coach for sessions. This can best be accomplished without children present so parents can share concerns freely.
Where does the coaching take place?
We coach parents from around the world via Skype.
Twin-Cities based clients often prefer to come to our office (566 Bavaria Lane, Chaska, MN 55318).
Conference calls are a possibility if desired.
How soon can I expect changes, and how long will the coaching last?
Healthy change in relationships depends on many variables, and is subject to the invested involvement from parents. It takes time for parents and children to build new skills and habits, but if a parent puts in the work, change will happen from the start, awkward as it may be for both parent and child. We do strongly suggest approximately four sessions of coaching at intervals of 2-3 weeks. To completely achieve their goals, many parents choose to continue on a less frequent, or as-needed basis after these initial sessions.
What are the fees and how does payment work?
All coaching options can be purchased through our website (links below). Reduced rates are available based upon need.
$480 – A four session package.
$120 – A one hour session for returning clients.
$175 – A single 75-minute session. Perfect for those who want to check us out without committing to four sessions.
What additional resources do you provide?
All coaching clients receive access to the Connected Families private coaching page, which includes bonus videos, articles and valuable additional resources to help understand kids and guide them wisely.
You will receive a copy of our book, Discipline That Connects With Your Child's Heart, on which much of the parent coaching is based.
We also provide access to our coaching workbook, which is yours to use throughout your coaching experience as an in-session guide, offering between session homework for your consideration. It is also helpful to refer back to when your coaching sessions are complete.
How long will I have to complete my sessions?
You will have up to six months to finish your four session package. Coaching sessions build on each other, and there is a momentum that takes place when parents begin doing things differently. We want you to be as successful as possible, and that means meeting regularly. There are no refunds for sessions that aren't completed, but a receipt for a tax deductible donation can be issued at the end of the year of purchase. Extensions may be given for extenuating circumstances.
How do I get started?
Fill out the interest form below. We look forward to connecting with you to help you become the parent you desire to be! Please let us know if you have any questions.
Interest Form
If you'd like to connect with us to either start the process or learn more, fill out this form. If you experience problems with this form, email us at firstname.lastname@example.com.
Life change from past coaching clients
Private Page for Coaching Clients
This password protected page is where current coaching clients can find a welcome video, instructions for how to get started, and downloadable resources for coaching sessions. Access page here


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Each sheet is printed double sided with this design featuring anchors on one side and whales printed on the reverse. Resulting in a beautiful surprise when your package is opened by the lucky receiver of your gift!
Offset printed here in Australia, our designs have been printed on heavyweight environmentally responsible 100% recycled paper. Each sheet has been satin sealed for a beautiful print finish to protect the paper.
Each sheet measures 700x490mm and comes rolled inside of a protective mailer tube.
73 Elizabeth Street Tighes HIll NSW 2297
02 4962 2992
Open: 6 days 10am - 4pm
Closed: Sundays
73a Elizabeth Street Tighes HIll NSW 2297


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PixelJunk™ Shooter Ultimate is a twin-stick shooter packed full of explosive action, tense exploration and elemental puzzle solving.
Saving scientists and uncovering the mysteries of an ill-fated research trip requires you to study and manipulate your environment! Blast through rock, grapple huge blocks of ice, detonate explosive gas or unleash torrents of water, lava, magnetic oil and even corrosive stomach acid onto unsuspecting enemies! All powered by an advanced dynamic fluid simulation.
Key Features:
Enjoy all of PixelJunk™ Shooter and Shooter 2 in a seamless campaign stretching across 150 levels.
Carry across your progress from PixelJunk™ Shooter and jump straight in where you left off.
Brand new UI, enhanced environmental lighting, reimagined VFX and vivid fluids.
Fly the campaign solo or with a friend in local co-op.
Take on the world in the chaotic Online Battle mode.
Prove you've got what it takes and rise to the top of the Global Rankings.
Play in both the "Classic" Shooter art style and the brand new "Ultimate" style.
Capture your most epic moments with the new Photo Mode.
Also available in Japanese Interface
Pixeljunk Shooter is a twin-stick shooter/puzzle game with some neat liquid physics. I found it very reminiscent of indie puzzle platformers but unique in that it is a twin stick shooter with some tricky levels and fun boss fights at the end of each of the three chapters. The original Pixeljunk Shooter was very short and there wasn't much to do beyond finding secrets. Pixeljunk Shooter Ultimate not only rectifies the original's issues but improves the entire game! Ultimate is twice as long, significantly better looking and harder. The new stages also pick up in both story and difficulty where the first game left off and continues to add new and interesting gimmicks with each set of levels. I highly recommend it to anyone who thought the original was lacking because Pixeljunk Shooter Ultimate is better in every way possible.
Simply rate this game out of 5 stars and submit
Want to share your opinion of this game with the community? Add a review now.
All of our reviews are moderated and may not appear on the site straight away.
Thank you for your patience whilst we complete this process.


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Police reports for 03-07-13
Published 3:12 pm, Wednesday, March 6, 2013
A 27-year-old Hart man was arrested at 10:45 a.m. Tuesday in the 700 block of Utica for public intoxication. He was held at the Hale County jail on a $200 bond.
(Anyone with information on crime in Plainview and Hale County may contact the Crime Stoppers Hotline at 293-8477 or 293-TIPS or by texting "PLVCS" plus your message to 274637.)
To comment:


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Whole Foods reaches out to Jamaica Plain
In an open letter to residents, Laura Derba, president of the North Atlantic region for Whole Foods, said the company has hired several of the 45 former Hi-Lo employees and will give priority interviews to others at its other stores. It also plans to hold public job screenings after renovations are completed and the store is opened.
"Please know that our intentions are to be productive and positive members of the JP community and to provide you with high-quality food and exceptional customer service at great value,'' Derba wrote. "We understand that we will only be able to prove our commitment to you with our actions. "
The letter, e-mailed to the Globe by Whole Foods, was the first detailed response from the supermarket chain since news broke last month that it would lease the space long occupied by Hi-Lo.
The news set off a firestorm in Jamaica Plain, touching off heated dialogues in the press and community that cut across economic, class, and cultural lines.
Some residents hailed the entrance of an upscale market while others lamented the loss of Hi-Lo, a Latin market that occupied the space for 47 years.
State Representative Jeffrey Sanchez said the letter from Whole Foods is consistent with what company officials have been saying since the news broke, but it did not allay concerns.
"I look forward to seeing the details going forward, because there are still questions about a Whole Foods in a diverse community,'' said Sanchez, who represents Jamaica Plain.
In the weeks since the January announcement, public officials have also expressed frustration by what they call a lack of communication and outreach from Knapp Foods Inc., which owns Hi-Lo, about the fate of its displaced employees.
In her letter, Derba said that Whole Foods had intended to communicate with city and neighborhood officials before its announcement, but then news leaked about the deal.
"We were enormously disappointed that you were not informed in a more respectful and organized manner,'' Derba wrote to Jamaica Plain residents, promising to hold community meetings to address their questions.
She said Whole Foods officials intend to hire 100 employees, a majority of them full-time.
She also wrote that the grocer will provide affordable, high-quality food, including Latin products. As is its practice, the store will donate 5 percents of its earnings to neighborhood organizations.
"Being a community partner is a responsibility we take very seriously,'' she wrote.
"We are eager to show our support and commitment to the wonderful organizations that make up the fabric of the JP neighborhood.''
Meghan Irons can be reached at firstname.lastname@example.com.


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Last edited by Bloodhunter; 2012-04-13 at 08:15 AM.
Tomoko Eternal Life, Kilik Eternal Sun, Eira Frozen Hearted, Ashara Emberlight,
Vuug The Deceiver, Grash Gravebuilder, Asgaut Divine Soul, Lera Dreamstealer
Yeah, much love for that warrior set. I liked warrior sets in general in that game, though. Kurzick was another nice one, as were gladiator/platemail/templar 15k from proph.Ah yes, I meant the Warrior set. I'm using one combined with Obsidian on mine. Looks great.
GW1 had Chakrams, wouldn't be surprised if GW2 has them.
And those Chakrams TOTALLY don't count. D:
It's not the same when they're a focus as oppose to an actual weapon.
Given the fact that as of now there are no Battle axes in the game i will be maintained cool as long as i get something similar to this
EDIT:The size of it must be similar ratio regardless of what race wields the weapon!
That looks like something out of the Monster Hunter series.
-Chakrams looks dahm cool, I see them added in an expansion... along with spears and more weapons.
Was there any Legendary items in GW1? Or similiar...? If yes then I see some rework and revamp...
I like IRL lore added items as well, from either the Nordic myth, or any other...
Last edited by Bearcrest; 2012-04-13 at 04:16 PM.
I'll break this curse, if there is such thing as peace, then I will seize it! I will never give up!
aaaaaaaaaaaaaaaand of course for giggles:
Last edited by Creatinebrah; 2012-04-27 at 02:52 AM.


text: A photo in some editions of the Business section of the Aug. 23 Tribune was incorrectly identified as being of AT&T Information Systems Chairman Robert E. Allen. The photo was actually of William M. Batten, retired chairman and chief executive of the New York Stock Exchange. Both the photo and the incorrect identification were supplied by United Press International.


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Review by zebra001
December, 03 2011
Pros: Microwave works fine
Cons: Very difficult to clean. Glass front cannot be removed.
Review by drareo68
November, 16 2010
Pros: Microwave and oven in one
Cons: ExpensiveBad Tech supportHandle and glass door breaks by itself
Review by synapse123
January, 02 2009
Pros: I found that cooking a whole chicken in it came out flavorful and juicy.
Cons: Cleaning the inside of it is nearly impossible. I've tried different cleansers.
Review by zeusozapo
September, 11 2008
Pros: Muti-functional oven very versatile, looks incredible.
Cons: No con's
Review by jhealy610
January, 28 2008
Pros: Looks good with single oven
Cons: forget that stainless sparkle, it's gone after the first use .
Review by nursesonya
December, 27 2006
Pros: Versatile; useful for a second oven.
Cons: Megabucks expensive; impossible to clean well.


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Teenage Liverpool striking sensation Toni Gomes was praised for his "superb attitude" as he celebrated another hat-trick at the Kirkby Academy.
The 17-year-old crashed in another three goals in the young Reds' 5-0 rout of Sunderland on Tuesday.
It saw Liverpool U18s finish the first part of the league season in third place on 43 points and securing a place in the top play-off group which will decide the Premier League champion.
U18s manager Neil Critchley has been delighted with Portuguese youth international Gomes, particularly how he has dealt with some recent setbacks.
Critchley told the ECHO: "Toni's just a great example for all the boys. Recently he hasn't started in some of the Youth Cup games. He'd have been disappointed but his reaction to that is he's never any different. He's always the same humble, hard-working boy.
"He doesn't get affected by disappointments. he just shows great endeavour, great enthusiasm and he's relentless in his work. You wouldn't want to be playing against him in that form.
"I think 5-0 flattered us I have to be honest. At half-time we were 4-0 up and it could have been 4-4 or 5-5. We were just very clinical in our finishing.
"Some of the goals we scored were outstanding moves, outstanding goals. We scored early and then, especially out of possession, we weren't quite at it in terms of how we wanted to defend.
"I was a bit disappointed at half-time, even at 4-0 up, it sounds ridiculous.
"Toni's finishing was outstanding today, and getting that goal straight after half-time to go five up, the game is then over. It became a little bit of an exercise to manage the game which we did really well second half.
"They've played quite a lot of games recently and I think that showed. They've got some good players, they're a difficult team to play against, usually well organised and hard to beat, and as I say the only difference in the game really was we took our chances and they didn't."
One of the other interesting aspects of the game was the first half appearance of Reds captain Trent Alexander-Arnold at centre back, a departure from his normal right full-back or midfield.
I think we should have been even higher
An injury to Corey Whelan has created an issue of who starts alongside Conor Materson at centre half and Critchley revealed it was an option he wanted to have a look at ahead of the Youth Cup quarter final against Arsenal at the Emirates on March 4.
He said: "Trent's played at centre-back a lot in his rise through the age groups. It's not a new position to him though he's probably not played there for a while.
"Obviously with Corey being out we wanted to have a look at something different and also Kane Lewis has been doing very well at right back so we wanted to give him an opportunity. Trent being the captain, he just moves in one."
It's been a generally excellent season for the U18s so far with the potential for even more to come but Critchley thinks his team could have done even better.
"That scoreline was probably coming in some of our other games this season, we've just not taken our chances, so in that sense it's not a surprise.
"As a coach you're always greedy and always wanting more and if I'm honest I look on the defeats this season and think we should have won that game or we could have been better in that game.
"Third place - I think we should have been even higher. At Liverpool at whatever age group you've got to be pushing the boys higher all the time to achieve their potential because the goal they're aiming for is a very difficult one to reach. We can't rest on our laurels and must do better all the time."
However the Premier League play-offs - which get underway against Blackburn at Kirkby at 11am on Saturday - and the Youth Cup give a real focus to the last couple of months of the season.
"It's brilliant, it's exciting. we're exactly where we want to be, in the quarter finals of the Youth Cup, a fantastic night to look forward to there in a wonderful stadium against a top team and we're in the play-offs at the top end of the table to fight for the number one spot in the country.
"It's where we want to be and we're going to get that opportunity so we're going to find out a lot about the group in the next few weeks."
Critchley also revealed that a back injury would keep midfielder Harvey Whyte out for the next few weeks but that former Barcelona academy player Bobby Adekanye was approaching a return to training after three months out with an ankle injury sustained away at Middlesbrough last November.


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|[orion-dev] trusted plugins
Hi all, Not too long ago, Simon and I had been discussing the possibility of having trusted plugins. My understanding is that these are plugins installed in the same domain as the orion server install and have more privileges than regular plugins. Has there been any more movement on this? Are there any open bugzillas? thanks, Andrew


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Against Trauma
Documentary and Modern Times on the Lower East Side
Sara Blair
IN THE UNITED STATES, no body of documentary photography has been as iconic as that produced from roughly 1936 to 1940 under the auspices of the Farm Security Administration. The FSA's photographic wing, its Historical Section, undertook to create a record of the devastation that the Great Depression had wrought on ordinary Americans; in offering up an archive of the national trauma, it aimed to convince a national public of the fitness of the New Deal to redress it. In this sense, profound loss was more than just the subject of the Historical Section's unprecedented project: it was its informing ethos. When the archive's mastermind, Roy Emerson Stryker, sent the gifted photographers on his payroll into the field to create "a pictorial encyclopedia" of Depression-era America, his last instructions were: "Keep your eyes open for a rag doll and a corn tester." But by the mid-1930s, this mental map of the United States as a confederation of small merchants and agrarian landholders under threat-"the farms and the little towns and the highways between"-was already anachronistic.
Between 1880 and 1924, the so-called golden age of immigration had created some twenty million new U.S. citizens, preponderantly urban, and the Great Migration of the 1910s and '20s had brought millions of African Americans from the sharecropping South to the industrial Midwest and North. In light of these epochal changes, the project of documenting the ur-realities of rural labor, folkways, and lives was inevitably charged with "nostalgic" feeling-a self-confessed "long[ing] for a time when the world was safer and more peaceful." The "proud land" whose rehabilitation the FSA archive was created to document was increasingly not a matter of land, in Stryker's sense, but of urban and industrial workplaces and dwellings: not the farm but the factory, not the plantation but the tenement, not the lonely byway but the crowded city street.
Of the great wave of New Deal-era documentary photographers, a striking number were individuals shaped by these emerging realities. They were men and women for whom Stryker's defining subject matter and underlying vision of America were decidedly foreign. Themselves not quite American-"sort of foreign born," in the idiom of one of their number-they were recent immigrants or the children of immigrants, overwhelmingly Jewish by origin and culture, and citizens all of that capital of the twentieth century, New York. Intimately familiar with the cultures of the street corner, shop floor, and tenement, they took up the camera not to document a vanishing America but to turn the lens on what they knew-the coalescing lifeworlds of urban work, community, street culture, and struggles to assimilate and survive. Nor did they mourn the memory of a lost American innocence, some "safer, more peaceful" past. Whatever their social status or origins, they owed their own presence in the New World to a succession of definitively modern traumas: pogroms in Eastern Europe, the Soviet revolution, the hard fall of the Ottoman and Austro-Hungarian empires, bloody Stalinist purges, the swift rise of the Third Reich. This shared history attuned them to trauma as the de facto subject of New Deal-shaped documentary, but it also disposed them to resist its assignment to their own experience. Against their framing as victims, history's left behind and dispossessed, they understood themselves as quintessentially modern subjects, attuned to the psychic and temporal dislocations that constituted all social experience in an era of economic stagnation and rapid change.
Some of these photographers, including Arthur Rothstein, Edwin and Louise Rosskam, and Esther Bubley, worked for Stryker en route to careers at emerging journals and media organizations. Others, like Aaron Siskind, Morris Engel, Helen Levitt, and Lisette Model, developed their interests outside the context of the FSA and state-sponsored photography. Whatever their trajectories, many of the most thoughtful documentarians of the New Deal era began or conducted their work in response to a specific site that offered itself up for meditation on the problem of trauma and modern times: Manhattan's Lower East Side. Bounded, more or less, by the East River, Broadway, Canal Street, and 14th Street, the Lower East Side was one of the oldest neighborhoods in New York City, America's original ghetto. Immigrant and working class in character, it had been home to successive waves of Irish, Western and Eastern European, and Asian immigrants, including a high proportion of Eastern European Jews, and its precincts included the sweatshops and garment districts of their fabled labor as well as that legendary street of broken dreams, the Bowery. At least since the mid-nineteenth century, the very name Lower East Side had been synonymous with urban poverty and ethnic and racial alterity, and it remained, for uptown New Yorkers (not to mention middle Americans), a world apart, its dwellers seen as dubiously fit for the challenges of American modernity. (In the mid-1920s, when Roy Stryker was a young economics instructor at Columbia University and wanted to expose his well-to-do students to the unchanging facts of poverty and "the slums," the site for his reality missions was none other than the Lower East Side.)
Given this history, dwellers of the downtown streets and tenements were doubly marked by trauma. Victims of poverty and ignorance, they also appeared out of step with the march of progress. In that sense, they were ideal photographic subjects: already "frozen in time," inhabitants of a time that had "becom[e] another place-The Past." Yet the history and experience in the historic ghetto of these Americans in the making bespoke a reorganization of U.S. social institutions and a heterogeneity that was irreversibly transforming the texture of everyday modern life. Their bustling sidewalks, their dingy sweatshops, their crowded theaters and cafΘs-all were crucibles for new forms of communication, labor, political activity, media, and entertainment that became emblematic of America's modernity even as they shaped it. Both an agency of modern times and an emblem of arrested time, the Lower East Side embodied a condition of strikingly mixed temporality. Worlds away from the sharecropping South and the Dust Bowl West, it was a resonant place to document urgent experiences of American loss and social transformation.
It was also a productive place for meditation on the nature and effects of documentary imaging. To what degree did images of the ravaging effects of the Depression put its subjects beyond the reach of mobility and change, consign them, in the freeze-frame of the photograph, to a superseded order of historical being? Attuned to a legacy of images of the ghetto and its citizens as benighted, atavistic, or unfit for modernity, photographers who experimented with ways of seeing on the Lower East Side made this question central to their practice. In response to the vibrant social life of New York's downtown, they aimed to accomplish something other than the recording of trauma, dispossession, and loss-or even expression of the inevitable failure of such an aim. They sought to remake the photograph itself as a space of experience in which historical being, the urgent problem of belonging in America and to its ever-evolving modernity, could be explored. While the imaging practices of the FSA involved photographic raids on targeted sites of loss and rehabilitation, these photographers' practices were predicated on their shared experiences with their subjects-not least an uncertain or incomplete sense of belonging to interwar America. They wielded the documentary camera not as a power imposed from beyond or above but as an agency activated within vital social relations in service of a social view from below. Their images take on something other than the attempt, as FSA photographer Gordon Parks put it, to "expose the evils of poverty" and bring into view "the people who suffered most under it." At their best, they exploit the temporal structure of photography itself, its agency for arresting time, to address the problem of finding a place in modern times, and they feature the dwellers of New York's iconic downtown as exemplary subjects of that aim. Beyond the project of the Historical Section or the work of exposing social ills, in excess of what we might call the trauma of trauma, these images are interested in what it means to belong to a turbulent history in the making.
To focus on the photographers who made photographic capital of the Lower East Side is inevitably to rethink the aspirations and the afterlives of documentary imaging of the so-called documentary decade. The relevant bodies of work vary widely in aesthetics and reception; their makers shared an animating context and a heightened interest in temporal identity rather than any institutional affiliation. To read their engagements with the social space that was their stage, laboratory, and point of departure requires attention to the social histories of mobility, labor, citizenship, and dwelling that made that space challenging and iconic, and in turn informed the uses of photography as art. What follows, then, is both an argument about the unfolding history of documentary photography in the United States and an attempt to write that history differently, beyond familiar institutional contexts and the familiar art-historical model of the singular, timeless artist. Returning the documentary camera to its embeddedness in a social space marked by temporal multiplicity, we open a new view of its understandings of modern temporality and modern times.
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This Very Moment ~ teaching thinking dancing has been out in the world for one year!
The book has found its way around the globe. (Some cartons of the first printing remain in my garage. Who knows how they will come out?) It's an eccentric book about dancing and teaching and thinking ~ part memoir, stories that shaped the teaching practices, and part manual, classroom explorations I evolved over the years for movement and dance improvisation and composition. It is spiral bound so you can lay it flat on the studio floor. My great hope is that it will support classrooms of creative beings with possibilities for open/structures and playful confidence.
In this year I retired from teaching at Naropa University and I've rested deeply. I rest into soft time and listen for messages. Once again, as an septuagenarian, I train this body mind. Taking class remains powerful for sanity. Some of the classes I'm taking are restorative yoga, gyrotonics, and Buddhist studies. Now spring has come so I'm in the backyard, planting seeds and, two days ago, new peony plants.
You can buy a copy here or at Contact Quarterly Editions and I'll have some in the back of my car!


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Time for a New Adventure
It has been an absolute pleasure to practice Oral Surgery for more than 41 years. But, now it is time for me to retire. To every friend, colleague, partner, and patient, I thank you. It has been an honor to work with all of you in building an elite practice which will continue to flourish.
My final day at OMA will be Friday, June 30, 2017. I have great pride and confidence in my partners and staff to provide a seamless transition and compassionate care to our patients, and to develop a relationship that will exceed all expectations.
One of the best decisions I ever made was joining OMA, and I will cherish the legacy that not only I, but others before me, have created. In closing, I want to thank our very committed OMA staff, whom I have come to think of as family. Thank you for allowing me to become part of this team and allowing me to earn your trust. None of this would have been possible without my wife, Patty, who believed in me and encouraged me to do what I love. I look forward to time with her, my children, my grandson, and enjoying new adventures.


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Are you presently in a financial need and bind of extra revenue? While cash advances are very the buzz, have you figured out which loan will be in your best interest? Look at the following information so that you can become knowledgeable and make a better decision about taking out a cash advance.
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Hello GSM Geeks, does somebody know, how to use the above GSM card with internet surfing and SMS the same time? Both does work seperately now... :-D I have encountered that I have at my provider e-Plus now 780 Free-SMS... Hmmm, maybe someone should code a proxy, which then can handel HTTP- requests per SMS... ;-) OK, it would be enough if "apt-get" can handel it... ;-) ROTFL -- OOo as SMS-Multipart! Thanks, Greetings and nice Day/Evening Michelle Konzack Systemadministrator 24V Electronic Engineer Tamay Dogan Network Debian GNU/Linux Consultant -- Linux-User #280138 with the Linux Counter, http://counter.li.org/ ##################### Debian GNU/Linux Consultant ##################### Michelle Konzack Apt. 917 ICQ #328449886 +49/177/9351947 50, rue de Soultz MSN LinuxMichi +33/6/61925193 67100 Strasbourg/France IRC #Debian (irc.icq.com)
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Blues Solos For Guitar
By Keith Wyatt
To play the media you will need to update yourFlash plugin.
Reh Prolicks. Instructional and Blues. Instructional book (softcover) and examples CD. With guitar tablature, standard guitar notation and chord names. 96 pages. Published by Hal Leonard (HL.695451).
Item Number: HL.695451
ISBN 0634013955. 9x12 inches. REH Prolicks Series by Keith Wyatt.
Learn lead guitar in the styles of Albert Collins, Eric Clapton, Albert King, B.B. King, Freddie King, Stevie Ray Vaughan and T-Bone Walker! This unique book/CD pack examines the solo concepts of each of these masters. The CD features full demos and rhythm-only tracks, and the book includes phrase-by-phrase performance notes and tips on bending strings, vibrato, tone, note selection and much more. Includes notes and tablature. A must for any blues guitarist!


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Be honest... Is being a SAHM a luxury ?
I feel it is. If there ever came a time my husband couldn't support our current lifestyle as well as our savings I would happily return to work.
For me, not when they were younger. I went back to work for a very brief period of time when my son was a toddler, and oh, man, was that nice! I got to go to the bathroom when I wanted to, by myself. I didn't even mind the traffic on the way home because I got time to myself! But once the kids got older, then, yes, for me it became something of a luxury. I found a way to work at home, not making much, but still here after school. I still volunteer at school, as well. There's a lot to be said about being at home when there are preteens and teenagers at home, but it's about time for me to get back out there and try to make better money now.
And it is completely, 100% worth it!!!! Every sacrifice, every penny pinched, husband working long hours, it is worth it to be able to stay home with my children.
For some it may be a luxury. For myself and many moms that I know, it is not.
Quoting NeverTooMany:
For me it is. I get to stay in my home, comfortably, and do what I enjoy. Caring for my kids, cooking, baking, cleaning ( yes I enjoy cleaning)... doing my crafts, volunteering where I want etc. My husband has blessed me with this opportunity to be the parent and mother that i want to be.
Yes and No.
For many SAHMs, it actually is hard work. They take on more than just "keeping kids alive" and tackle home projects, meal planning, shopping solo, errands, and chores as well. Often if she was working before there are sacrifices made on the way down to one income. Perhaps not getting her dream car, or buying more clothes on sale or at thrift stores since the kids will stain them up anyways and giving up an extensive fashionable wardrobe. (Though IMO all SAHPs should invest in at least a handful of outfits that make them feel classy or fashionable! You're a SAHP, but you're not dead or boring.)
Having the option to drop one income is a luxury many families don't have. And even with it being hard work, if house maintenance and being with your children all day are things you love then it doesn't feel so much like hard work. You gotta love what you do!


text: Bart Frank wrote: > > Does anyone have a mouse kappa and preferably a mouse IgG2a expression vector > that contain the constant regions and allow subcloning of Vk or Vh exons for > expression of full-length antibodies? > > Thanks, > Bart Frank I don't know if this will help but there is a group at univ. of miami under b blomberg that does mouse ig recomb and etc she may be able to help. she's in the micro and immuno dept. markH


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December 1, 2004
Two Excerpts From The Prodigal
IIn autumn, on the train to Pennsylvania,
he placed his book face-down on the sunlit seat
and it began to move. Metre established,
carried on calm parallels, he preferred to read
the paragraphs, the gliding blocks of stanzas
framed by the widening windows
Italian light on the factories, October's
motley in Jersey, wild fans of trees, the blue
metallic Hudson, and in the turning aureate afternoon,
dusk on rose brickwork as if it were Siena.
Nothing. Nobody at the small railroad station.
The willows fan open. Here we hung our harps,
as the river slid past to elegiac banjos
and the barge crawled along an ochre canal
past the white spires of autumnal towns
and racketing freight trains all long whoop and echo.
Stations, bridges and tunnels enter their language
and the scribble of brown twigs on a blank sky.
And now the cars began to fill with pilgrims,
while the book slept. With others in the car,
he felt as if he had become a tunnel
through which they entered the idea of America-
familiar mantling through the tunnel's skin.
It was still unfamiliar, the staidness of trains.
And the thoughtful, the separate, gliding in cars
on arrowing rails serenely, each gripped face intent
on the puzzle of distance, as stations pass
without waving, and sad, approaching cities
announced by the prologue of ramshackle yards
and toothless tunnels, and the foliage rusting
across an old aqueduct, loomed and then dwindled
into their name. There were no stations
or receding platforms in the maps of childhood
nor blizzards of dogwood, no piercing steeples
from buttressed cathedrals, nor statues whose base
held dolphins, blunt browed, repeating themselves.
Look at that man looking from the stalled window-
he contains many absences. He has ridden
over infinite bridges, some with roofs below,
many where the afternoon glittered like mica
on the empty river. There was no time
to fall in love with Florence, to completely understand
Wilmington or the rusty stanchions
that flashed past with their cables
or how the screaming gulls knew
the names of all the women he had lost.
There was sweet meditation on a train
even of certain griefs, a gliding time
on the levelled surface of elegiac earth
more than the immortal motion of a blue bay
next to the stone sails of graves, his growing loss.
Echoing railway stations drew him to fiction,
their web of schedules, incoherent announcements,
the terror of missing his train, and because trains
(their casual accuracy, the joy in their gliding power)
had, there were no trains on the islands
of his young manhood, a child's delight in motion,
their lines and paragraphs and smoky arches
of unread famous novels that stayed the same
for yet another fall with its bright counties,
he knew, through the gliding window, the woods would lift
in lament for all the leaves of the unread books,
Anna Karenina, or the long wail of smoke
across Alpine meadows, of soldiers leaning
out of war-crowded cars, a separate joy
more rooted in landscapes than the flare of battles.
In the middle of the nineteenth century,
somewhere between Balzac and Lautramont,
a little farther on than Baudelaire Station
where bead-eyed Verlaine sat, my train broke down,
and has been stuck there since. When I got off
I found that I had missed the Twentieth Century.
I studied those small things which besieged the station,
the comical belligerence of dragonflies
and the perpetual astonishment of owls.
It was another country whose time had passed,
with pastoral willows and a belief in drawing.
I saw where Courbet lived; I saw the big quarry
and the lemon light of Jean-Baptiste Camille Corot.
The noise of roaring parliaments a noise
that sounded like the ocean, whorled in my ear-shell,
was far, and the one sibilance was of the poplars
who once bowed to Hobbema. My joy was stuck.
The small station was empty in the afternoon,
as it had been on the trip to Philadelphia.
I sipped the long delight of a past time
where ambition was too'late. My craft was stuck.
My deep delight lay in being dated
like the archaic engine. Peace was immense.
But Time passed differently than it did on water.
There is a continent outside my window,
in the Hudson's patient narrative. There's some calm.
But traffic hurtles up the West Side Highway,
and in fall, the embankment blazes, but
even in spring sunlight I have rarely sought
the glittering consolation of the river,
its far-fetched history, the tongues of unknown trees
talk to an old man sitting on a bench.
Along the smouldering autumnal sidewalks,
the secretive coffee-shops, bright flower stalls,
wandering the Village in search of another subject
other than yourself, it is yourself you meet.
An old man remembering white-headed mountains.
And subtly the sense insinuates itself
that frequent exile turns into treachery,
missing the seasons at the table of July
on lower Seventh Avenue when young women glide
like Nereids in their lissome summer dresses
all those Susannas for a single elder!
In spring the leaves sing round a tireless statue
who will not sit although invited to.
From a fresh- to a salt-water muse. Home to the Hudson.
The bells on a bright Sunday from my bed,
the squares of sunlight on the buildings opposite
the river slate, the sky cloudless, enamelled.
Then Sunday brings its summary of the world,
with the serene Hudson and its criss-crossing ferries,
great clouds and a red barge.
Gaze, graze on the numerous greys
of the river, its spectral traffic
and the ghostly bridges, the bouquet of lamps
along the embankment your name fades into fog.
Clouds, the sag of old towels, sodden in grey windows,
the far shore scumbled by the fog,
ducks bob on the grey river like decoys,
not ducks but the submerged pieces of an old pier,
lights fade from the water, "Such, such were the joys,"
muffled remorse in the December air.
Grass, bleached to straw on the precipice of Les Cayes,
running in the blue and green wind of the Trade,
a small church hidden in a grove past Soufrire
hot dasheen and purpling pomme arac,
and heavy cattle in a pasture, and the repetition
of patois prayers by the shallows of Troumasse
and there are still her eyes waiting for the small lights
that bring them to life, in which are reflected
the gold glints of labels in the Folies-Bergre bar
and the rust and orange of an April Glory cedar
the leaves falling like curses from the gommier maudit
a gull plucking fish from the shallows,
in the distance, the hump of a hazed mountain
the ochreing meadows and the continuous cresting
of combers coming in, leaves spinning in the breeze
and the spray steadily spuming, the jets of bougainvillea
all these must mould her cheekbones and a mouth
that says, "I come from Mon Repos," from Saltibus
from the curve of the road entering Canaries
and from the white nights of an insomniac Atlantic
that toss on the reefs of Praslin, that made me.
O blessed pivot that makes me a palm!
A silent exclamation at the cliff's edge
around whom the horizon silently spins!
What thuds against the hull butting with such force?
Angels are gliding underneath the keel.
Time, that gnaws at bronze lions and dolphins
that shrivels fountains, had,exhausted him;
a cupola in Milan exhaled him like incense,
Abruzzi devoured him, Firenze spat him out,
Rome chewed his arm and flung it over her shoulder
for the rats in the catacombs; Rome took his empty eyes
from the sockets of the Colosseum. Italy ate him.
Its bats at vespers navigated her columns
with an ancient elation, a hand in San Marco's font
aspersed him with foul canal water, then bells
tossed their heads like bulls, and their joy
rattled the campaniles, as innumerable pigeons
settled on the square of his forehead, his kidneys
were served in a modest hotel in Pescara,
a fish mimicked his skeleton in salty Amalfi
until after a while there was nothing left of him
except this: a name cut on a wall that soon
from the grime of indifference became indecipherable.
We were headed steadily into the open sea.
Immeasurable and unplummetable fathoms
too deep for sounding or for any anchor
the waves quick running, crests, we were between
the pale blue phantoms of Martinique and Saint Vincent
on the iron rim of the ringing horizon,
the farther we went out, the white bow drumming,
plunging and shearing spray, the wider my fear
the whiter my spume-shot cowardice, as the peaks,
receded, rooted on their separating world,
diminishing in the idea of home, but still the prow
pressed stubbornly through the gulfs and the helmsman
kept nodding in their direction through the glass
between the front deck and the wheel, their direction
meaning what we could not see but he knew was there
from talking on the radio to the other boat
that lay ahead of us towards which we plunged
and droned, a white slip Of another smaller cruiser,
convinced by his smiling that we would breach them soon,
"Dolphins," the steersman said. "You will see them playing,"
but this was widening into mania, there were only
the crests that looked to their leaping, no fins,
no arching backs, no sudden frieze, no school today,
but the young captain kept on smiling, I had never
seen such belief in legend, and then, a fin-hint!
not a crest, and then splaying open under the keel
and racing with the bow, the legend broke water
and was reborn, her screams of joy
and my heart drumming harder, .and the pale blue islands
were no longer phantom outlines, and the elate spray
slapped our faces with joy, andeverything came
back as it was between the other islets, but
those with our own names, sometimes a fin
shot up, sometimes a back arched and re-entered
the racily running waves under which they glanced;
I saw their wet brown bodies gunning seaward
more brown than golden despite the name "dorado,"
but I guess in the wet light their skins shone
too raw, too quiet to be miraculous V.
too strange to quiet my fear, the skittering fish
from the first line of the open page, held
and held until the school was lost, the prodigal's home
was the horizon while my own peaks
loomed so inconsolably again, the roads, the roofs
of Soufrire in the wet sunlight. I watched them come.
I had gaped in anticipation of an emblem
carved at a fountain's pediment from another sea
and when the dolphins showed up and I saw them
they arched the way thoughts rise from memory.
They shot out of the glacial swell like skiers
hurtling themselves out of that Alpine surf
with its own crests and plungings, spuming slopes
from which the dolphins seraphically soared
to the harps of ringing wires and humming ropes ,
to which my heart clung and those finished hopes
that I would see you again, my twin, "my dolphin."
And yet elation drove the dolphins'course
as if both from and to you, their joy was ours.
And had there been a prophecy that said: "Wait!
On a day of great delight you will see dolphins."
Or, in the ashes and embers of a wrecked sunset
the same voice, falling as quietly as a flag, said,
before the constellations arranged their chaos,
"Those drifting cinders are angels, see how they soar,"
I would not have believed in them, being too old
and skeptical from the fury of one life's
determined benedictions, but they are here.
Angels and dolphins. The second, first.
And always certainly, steadily, on the bright rim
of the world, getting no nearer or nearer, the more
the bow's wedge shuddered towards it, prodigal,
that line of light that shines from the other shore.
Excerpted from The Prodigal, by Derek Walcott, to be published in October by Farrar, Straus and Giroux, LLC. Copyright 2004 by Derek Walcott. All rights reserved.
DEREK WALCOTT was born in St. Lucia in 1930. His Collected Poems: 1948-1984 was published in 1986, and his subsequent works include Omeros (1990), The Bounty (1997), and Tiepolo's Hound (2000). He received the Nobel Prize in Literature in 1992.
Copyright World Poetry, Incorporated Nov/Dec 2004


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Located in Haywood County, Cataloochee is a remote area that has become a year-round destination since elk were reintroduced there in 2001. Volunteers will educate visitors about the area's natural and cultural resources and inform them about park regulations. When elk are present, volunteers will focus on traffic management and educating visitors about elk.
Volunteers are in particular demand for Saturday and Sunday afternoons, and evenings on Monday, Wednesday and Thursday. They typically work at least one four-hour shift per week May through mid-November, traveling by ATV, bicycle or foot.


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Hotel Recidencial Cibeles
Avenida Ecuador, Panama City, Panama
Check Panama City Hotel Deals
Hotel Recidencial Cibeles Panama City Reviews
1 reviews
Affordable hostel Jul 01, 2011
This hostel is located about a 15 minute walk from Casco Viejo. In terms of location, I think there might be better hostels but I was looking for a private double and this hostel offered the cheapest rate. Roma's restaurant is nearby (open 24 hours) and I didnt see any other restaurant nearby. There is a pharmacy (24 hours) about a 2 minute walk from the hostel and a travel agency right next door to the hostel.
I don't think I will stay here again and the reason for that is the location. There really isnt much to do around here and everything is a long walk or a bus ride away.
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We have leaked information about the upcoming Google Nexus 3 device appearance. The most interesting fact is that Samsung will be making this particular handset. As we got to know, it will be featuring a Samsung AMOLED HD display and the production will start in late 2011.
Those facts were given by a guy, who is managing Samsung Mobile's Twitter account in Romania.
Knowing that the last Nexus device was also made by Samsung, seems that it's becoming a tradition.
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OFFICIAL NEWS RELEASE from Rockingham County Sheriff's Office Sgt. Kevin Suthard, Public Information Officer RockinghamSheriff.com
Health and Human Services, ADTS and Sheriff Warn of Possible Medicaid Scam
Date of Release: Friday, October 20, 2017
[Reidsville, NC]- Rockingham County Health and Human Services Director Felissa Ferrell has notified the Rockingham County Sheriff's Department of a possible Medicaid scam in the Reidsville area.
The Division of Social Services and Aging, Disability and Transit Services (ADTS) received several calls yesterday from individuals reporting that two men had approached them asking them specific information about a Medicaid Program.
The Medicaid Program in question is CAP-DA (Community Alternatives Program for Disabled Adults). This program primarily serves individuals with more chronic health conditions.
Apparently, they are claiming to be "investigating" if the PCS/aides of the program are doing the work, the time sheets, etc. Ms. Ferrell has confirmed with the NC DHHS/DMA that no such investigation exists and that these individuals claims are fraudulent.
Anyone who is approached by any individuals asking questions about the CAP-DA Medicaid Program should NOT GIVE ANY INFORMATION and CALL 9-1-1 IMMEDIATELY.
Sheriff Page wants to remind citizens that it is always a good rule of thumb not to disclose any information to ANYONE without first checking their credentials. Then, get phone numbers and verify their information. If they are legitimate, they will have credentials to prove it and will provide them upon request.
The individuals approached yesterday were in the City limits of Reidsville. Media inquires and questions about this release should be forwarded to Mandy Edwards at 336-342-1394 with the Rockingham County Department of Social Services. For CAP/DA concerns/questions, contact Julia Gentry at ADTS 349-2343.
Sheriff Warns Rockingham County Residents about New Telephone Scam
Date of Release: Monday, April 03, 2017
[Reidsville, N.C.]— The Rockingham County Sheriff's Office has received word of phone scammers calling people in the Rockingham County area stating they are a Deputy with the Rockingham County Sheriff's Office and that they are calling because the recipient of the call has failed to appear for jury duty. The scammer then states that he will have to arrest the recipient unless they pay the scammer money. The scammer requests payment of the money in the form of gift cards or prepaid debit cards.
The caller IDs are showing as 336 area codes, though we suspect they may be numbers that are generated by the scammer to add the air of legitimacy to their call. These numbers are fake and are NOT associated with the Rockingham County Sheriff's Office.
NO DEPUTY FROM THE ROCKINGHAM COUNTY SHERIFF'S OFFICE, OR ANY OTHER LEGITIMATE LAW ENFORCEMENT AGENCY, WILL EVER CALL ANYONE AND DEMAND TO BE PAID MONEY TO AVOID ARREST. If you are the recipient of one of these calls, inform the scammer you know the call is a scam and hang up the phone immediately!
Sheriff Page is asking the public to contact their local law enforcement agency and report if they receive one of these call. If you are in question about whether you have missed or been summoned to jury duty, contact the Rockingham County Clerk of Court's Office at 336-634-6000 to inquire.
Again, no one from any Rockingham County law enforcement agency will EVER call and demand money in exchange to avoid being arrested for any sort of court summons or criminal process. If you receive a call to that affect, IT IS A SCAM!
Rockingham County Crime Stoppers 336-349-9683
Pays up to $1000 Cash for tips on crimes. All Callers remain anonymous.
For Immediate Release: 4/30/2015
The Rockingham County Sheriff's Department has been alerted of a scam occurring in Rockingham County. Scammers are calling potential victims identifying themselves as an employee of the Department of Social Services. The scammer is stating the victim owes money, and if they do not pay the funds, they will be arrested. The Rockingham County Division of Social Services number is being displayed on the caller ID, however, this is not the Social Services calling and the number they are requesting the individual to call to make the necessary payment is an 855 number. Many of these calls appear to be Robo calls and are being initiated outside of the United States.
Social Service workers will not request you to pay anything over the phone.
If you have any concerns, please contact Social Services at 336-342-1394.
Learn more about the "Grandparent Scam" and how it may affect the elderly citizens of Rockingham County. Click here to read the official release from the NCEA, the National Center on Elder Abuse.
The Rockingham County Division of Social Services provides a wide array of Economic Services, Children's Services and Services for Adults.
Felissa H. Ferrell
Health & Human Services Director
Director of Social Services
Debbie McGuire
Assistant Director of Social Services
Governmental Complex
411 NC Hwy 65
PO Box 61
Wentworth, NC 27375
Phone: (336) 342-1394
Hours: 8:00 AM - 5:00 PM
Monday - Friday
(336) 342-3537
(336) 342-1394 ext.7168


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Importing from a tapeless video camera
Chances are, if you've bought a video camera in the last few years, it doesn't record to tape; it records to some form of tapeless media. In most consumer and prosumer cameras, this is typically an SD card, but could also be an internal drive, other various solid-state memory cards, or the thankfully short-lived trend of recordable mini DVDs. In the professional world, examples include Compact Flash, P2 cards (usually found in Panasonic models), SxS cards (many Sony and JVC models, Arri Alexa), or some other form of internal flash storage.
How to do it...
- Plug your camera in to your Mac's USB port, or if you're using a higher-end setup with a capture box, plug the box into likely your FireWire or Thunderbolt box. If your camera uses an SD card as its storage medium, you can also simply stick the SD card into your Mac's card reader or external reader. If you are plugging the camera directly in, turn it on, and set it to the device's playback mode. If FCPX is running, it should automatically launch the Import from Camera window. If it does not, click on the Import from Camera icon in the left of the toolbar. You will see thumbnails of all of your camera's clips. You can easily scrub through them simply by passing your mouse over each one.
- You can import clips one at a time by selecting a range and then clicking on Import Selected… or you can simply highlight them all and click on Import All… . To select a range, simply move your mouse over a clip until you find the point where you want to start and hit I on your keyboard. Then scrub ahead until you reach where you want the clip to end and hit O.
- Whether you chose to select one, a few, or all your clips, once you click on the Import button you will arrive at the Import options screen. Choose what event you want your clips to live in, choose if you want to transcode the clips, and select any analyses you want FCPX to perform on the clips as it imports them. Click on Import. FCPX begins the import process. You can close the window and begin editing immediately!
How it works...
The reason you can edit so quickly, even if you're importing a massive amount of footage, is thanks to some clever programming on Apple's part. While it might take a few minutes or even longer to import all the media off of your camera or memory card, FCPX will access the media directly on the original storage device, until it has finished its import process, and then switch over to the newly imported versions.
There's more...
Creating a camera archive
Creating a camera archive is the simplest and best way to make a backup of your raw footage. Tapeless cameras often store their media in really weird-looking ways with complex folder structures. In many cases, FCPX needs that exact folder structure in order to easily import the media.
A camera archive essentially takes a snapshot or image of your camera's currently stored media and saves it to one simple file that you can access in FCPX over and over again. This of course also frees you to delete the contents of the memory card or media drive and reuse it for another shoot.
In the Camera Import window, make sure your camera is selected in the left column and click on the Create Archive button in the bottom left corner. The resulting window will let you name the archive and pick a destination drive. Obviously, store your archive on an external drive if it's for backup purposes. If you were to keep it on the same drive as your FCPX system and the drive fails, you'd lose your backup as well!
The process creates a proprietary disk image with the original file structure of the memory card. FCPX needs the original file structure (not just the video files) in order to properly capture from the card. By default, it stores the archive in a folder called Final Cut Camera Archives on whatever drive you selected.
Later when you need to reimport from a camera archive, simply open the Camera Import window again, and if you don't see your needed archive under Camera Archives on the left, click on Open Archive… and find it in the resulting window.
To import all or not to import all
If you've got the time, there's nothing to stop you from looking at each and every clip one at a time in the Import from Camera window, selecting a range, and then importing that one clip. However, that's going to take you a while as you'll have to deal with the settings window every time you click on the Import button. If you've got the storage space (and most of us do today), just import everything and worry about weeding out the trash later.
But what about XYZ format?
There are two web pages you should bookmark to keep up to date.
One is www.apple.com/finalcutpro/specs/. This web page lists most of the formats FCPX can work with. Expect this list to grow with future versions.
The second site is help.apple.com/finalcutpro/cameras/en/index.html. This web site lets you search camera models for compatibility with FCPX.
Just because a format isn't listed on Apple's specs page, doesn't mean it's impossible to work with. Many camera manufacturers release plugins which enhance a program's capabilities. One great example is Canon (www.canon.com), who released a plugin for FCPX allowing users to import MXF files from a wide variety of their cameras.
Importing MTS, M2TS, and M2T files
If you've ever browsed the file structure of a memory card pulled from an AVCHD camera, you'll have seen a somewhat complex system of files and folders and almost nothing resembling a normal video file. Deep inside you're likely to find files with the extension .mts, .m2ts, or .m2t (on some HDV cameras). By themselves, these files are sitting ducks, unable to be read by most basic video playback software or imported directly by FCPX. But somehow, once you open up the Import from Camera window in FCPX, FCPX is able to translate all that apparent gobbledygook from the memory card into movie files. FCPX needs that gobbledygook to import the footage. But what if someone has given you a hard drive full of nothing but these standalone files? You'll need to convert or rewrap (explained in the following section) the clips before heading in to FCPX.
Getting ready
There are a number of programs out there that can tackle this task, but a highly recommended one is ClipWrap (http://www.divergentmedia.com/clipwrap). There is a trial, but you'll probably want to go ahead and buy the full version.
How to do it...
- Open ClipWrap. Drag-and-drop your video files (ending in .mts, .m2ts, or .m2t) into the main interface.
- Set a destination for your new files under Movie Destination.
- Click on the drop-down menu titled Output Format. You can choose to convert the files to a number of formats including ProRes 422 (the same format that is created when you select the Create optimized media option in FCPX). A faster, space-saving option, however, is to leave the default setting, Rewrap (don't alter video samples):
- Click on Convert. When the process is done, you will have new video files that end in .mov and can be directly imported into FCPX via File | Import | Files.
How it works...
In the previous exercise, we chose not to transcode/convert the video files into another format. What we did was take the video and audio stream out of one container (.mts, .m2ts, or .m2t) and put it into another (QuickTime, seen as .mov). It may sound crazy at first, but we basically took the birthday present (the video and audio) out of an ugly gift box that FCPX won't even open and put it into a prettier one that FCPX likes.
There's more...
Other alternatives
ClipWrap is far from the only solution out there, but it is definitely one of the best. The appendix of this book covers the basics of Compressor, Apple's compression software which can't convert raw AVCHD files in most cases, but can convert just about any file that QuickTime can play. The software company, iSkySoft, (www.iskysoft.com) makes a large number of video conversion tools for a reasonable price. If you're looking for a fully featured video encoding software package, look no further than Telestream Episode (www.telestream. net) or Sorenson Squeeze (www.sorensonmedia.com). These two applications are expensive, but can take just about any video file format out there and transcode it to almost anything else, with a wide variety of customizable settings.
Rewrapping or transcoding
As mentioned in step 3 in the previous section, we could have chosen to transcode to ProRes 422 instead of rewrapping. This is a totally fine option, just know the differences: transcoding, takes much longer, it takes up much more file space, but on the plus side, it is Final Cut Pro X's favorite format (because it's native to FCPX, made by Apple for Apple) and you may save time in the actual editing process by working with a faster more efficient codec once inside FCPX. If you chose to rewrap, you still have the option to transcode when you import into FCPX.
Appending, inserting, and overwriting clips to a storyline
The safest and simplest way to add a clip to a project is to append it. No matter where your playhead is currently located in a project, appending a clip from your browser will always throw it to the end of the project, ensuring you don't accidentally overwrite a clip or split a clip into two.
In other scenarios, however, we may realize we need to go back to an earlier stage in a project and stick a new clip in the middle somewhere. Maybe we want to add some short filler clip between two interview sound bites. We can accomplish this by inserting. If we don't mind being a bit more destructive, we can also overwrite, which plows over anything in its path.
Getting ready
Simply have an open, empty project ready to add some test clips to.
How to do it...
- Select a clip or range of a clip in your Event Browser.
- Click on the Append button in the toolbar, or press E on your keyboard. The clip is added to the timeline, as shown in the following screenshot:
- Move your playhead back to the beginning of the project. There are multiple ways to accomplish this. You can do it in any of the following ways:
- Drag the playhead back to the beginning of the timeline
- Hover your cursor over the timeline to make it the active pane of the interface, then hit the up arrow to move to the previous edit point
- Hit Command + 2 to make the timeline active, then hit the up arrow
- Hit Command + 2 followed by the Home key (or fn + left arrow) to move to the start of a project
- Select another clip from your Event Browser and again hit E on your keyboard. Even though your playhead was before the first clip, it still added the second clip after the first, as shown in the following screenshot:
- Position your playhead between the two clips. Try a different method than the one you used in step 3 to move the playhead.
- Select a clip from your browser and then click on the Insert button in the toolbar or hit W on your keyboard:
- Select Edit | Undo or hit Command + Z. The timeline resets to right before the place where we inserted the clip and your playhead should return to right between the two original clips.
- Select Edit | Overwrite or hit D on your keyboard. The new clip has been overwritten into the storyline. Depending on the length of the clip you have chosen to overwrite, it has overwritten either some or all of the clip that followed. In the following example, the clip we used in the overwrite edit (Clip 3) was shorter than the clip we overwrote (Clip 2), so part of Clip 2 was overwritten.
The clip will place itself between the two original clips and "push" (better known as rippling) the second clip further down the storyline. No media is lost, but your project is now longer.
How it works...
Appending a clip always takes your selected clip and adds it to the end of your project timeline. Your playhead or skimmer location is totally irrelevant.
Inserting a clip will place a clip exactly where the playhead (or skimmer, if it appears in the timeline) is located. Be careful—if you accidentally place your playhead or skimmer in the middle of a clip and then insert a new clip, it will split the original clip into two! There may be rare scenarios where you want to do this, but more often than not, you want to avoid this by making sure your playhead is between two clips.
When you overwrite a clip, it plows over anything in its path. Depending on the length of the clip, you will overwrite some or all of the media at the playhead's location!
There's more...
Editing in secondary storylines
You can use all of these editing commands to add clips to secondary storylines as well. Simply click on the black banner above the connected storyline, place your playhead at the required location (if inserting or overwriting), and hit the appropriate keyboard shortcut. As long as the entire connected storyline is properly selected, it will edit the clip to the end of it rather than the primary storyline.
Editing only video or only audio
If you know that you only want to edit the audio or video from a clip into your timeline, but not both, you can do this with one setting change. Click on the triangle in the toolbar attached to the Append, Connect, and Insert buttons. There you will see the option to select All, Audio Only, or Video Only. Select one of the latter two and FCPX will only edit that element of a clip into your timeline.
Make sure your playhead is precisely between two clips
As we have described previously, when you insert a clip, you usually want to have your playhead or skimmer between two clips. To be more precise, in order to properly insert or overwrite, you want to be parked on the first frame of the incoming clip. This will prevent any flash frames, or single-frame clips from being created.
How do you know you're in the right spot, however? Here are a couple tips—first, zoom in closer to your timeline if necessary (Command + =). If you're too far zoomed out, it can be hard to drag your playhead to the right spot. Next, make sure Snapping is turned on. Hover over the button in the upper-right corner of your timeline and make sure it is illuminated blue. If not, click on it:
Start dragging your playhead toward an edit point between clips and it should "snap" into place when it gets close. Finally, you can verify that your playhead is at the appropriate location by looking for the on-screen indicator in the viewer shaped like the letter "L", which lets you know you have parked your playhead on the first frame of the incoming clip.
Working with (and without) the Magnetic Timeline
One of the biggest paradigm shifts in all of FCPX is the Magnetic Timeline. In most other video editing software, if you drag a clip around in the timeline, you have to be careful where and how you drop it, because it will likely overwrite or insert itself, potentially damaging your timeline or messing with the timing of your project. So Apple said, "No more!" Aiming to make your basic edits as nondestructive as possible, Apple created the Magnetic Timeline, allowing editors to swap clips to and fro in their timeline all day long without any chance of overwriting clips or messing with timing.
Getting ready
Append at least five clips into a test project. Also, ensure that the Select tool is active. Either press A on your keyboard or select it from the tool palette in the toolbar:
How to do it...
- Click-and-drag the second clip in your project to the right, between your fourth and fifth clips. Don't let go yet. Notice a few things as follows:
- The space where the second clip was has disappeared
- The third and fourth clips have rippled to the left to fill that void
- A hollow blue box has appeared between the fourth and fifth clip indicating where the second clip will be placed if you let go
- Let go. The second clip has been placed between the fourth and fifth clips. Nothing has been overwritten and the timing of your project is unchanged, as shown in the following screenshot:
- Click on Edit | Undo or hit Command + Z on your keyboard. The clips should jump back to their original order.
- Go back to your tool palette and select the Position tool, or hit P on your keyboard:
- Go back to the second clip in your timeline, and click-and-drag it to the right again. Don't let go yet! Take a note of the differences as follows:
- A gap has been left behind where the second clip was
- The third clip did not ripple back to the left to fill any gap
- It looks as if the second clip is covering part of the third and fourth clips; in fact, it is, as shown in the following screenshot:
- Let go of the mouse. A gap is left behind where the second clip was and the second clip has overwritten part of both the third and fourth clips (depending on exactly where you have dropped the clip, it may only overwrite part of just one clip or the other).
If you are a longtime video editor, this behavior might throw you off a bit. Perhaps it's just a muscle memory, but you might prefer your editing software to not automatically rearrange when you drag clips around. Luckily, Apple thought of this and gave us a workflow more akin to FCP7. It's called the Position Tool (nicknamed by many editors as the Final Cut Pro 7 Tool).
There's more...
When to use the Position tool
If you're new to video editing, the Magnetic Timeline might seem great for editing, and it is, most of the time. However, there's a reason that the Position tool exists. If you're not careful, the Magnetic Timeline can mess up the sync and timing of your project. Perhaps halfway through your project, you have a song where you've cut a series of clips to the beat. If you moved one clip out to an earlier portion of your project before the song starts, it could throw the whole pacing of the edit off! You might want to turn on the Position tool (that is turn the Magnetic Timeline off) to prevent this sort of issue.
Deleting clips and the Magnetic Timeline
When you delete clips using the Magnetic Timeline, all clips following the deleted clip ripple back to fill the gap. This may seem great at first, but be careful! Depending on the complexity of your sequence, this can push certain elements you may have carefully lined up out of sync, such as narration or clips cut in beat with music. To delete a clip, but leave behind a gap clip, highlight the clip you want to remove and hit Shift + Delete (also known as the "big" Delete key on full external keyboards—you can simply hit the small Delete key on full-size keyboards). This ensures nothing is accidentally moved out of sync later in your project.
Creating connected clips
Rearranging clips is a fact of life for an editor. As we've seen, the Magnetic Timeline can take a lot of the pain out of the process. But, what if your clips have b-roll and cutaways? Making sure these shots moved along with clips you were trying to rearrange used to take a lot of focus, but no longer. In their quest to reinvent the way you edit, Apple came up with the idea of Connected Clips, a feature that automatically tethers clips outside of the primary storyline to clips inside.
Getting ready
Have a project with a few clips laid down in the timeline.
How to do it...
- Place your playhead anywhere over the first clip in the timeline, as shown in the following screenshot:
- Up in your Event Browser, find the clip you want to use as b-roll or a cutaway and select a range or the entire clip.
- Click on the Connect the selected clip to the primary storyline button in the toolbar or hit Q on your keyboard:
- The clip appears above the clip in the primary storyline. Notice the tiny handle attaching the two clips, as shown in the following screenshot:
- Click and hold on the clip in the primary storyline, drag it all the way to the end, and let go. Notice that the connected clip came along for the ride, as shown in the following screenshot:
There's more...
Repositioning connected clips
You don't always get the placement of your connected clips right at the first time. Luckily, they can be adjusted very easily. Simply click on the clip and drag it to left or right. Independent connected clips aren't bound by the same rules as clips in the primary timeline.


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10-04-2012 #31Tidusnake666 Guest
"PS Minis (Free) - Jewel K. Easter Island & Urbanix / Urbanix (PSP Minis) PKG" - is actually a PKG files.
What about installing them on 4.20 DEX and then transferring to Vita?
*EDIT* DEX won't install these PKGs, maybe we need to repack them
10-04-2012 #32Renold Guest
What about people stuck on 3.55cfw without the transferring option?
Is there a way to pass this pkg into the Vita and install it from there?
10-04-2012 #33ConsoleDev Guest
DEX cannot handle these pkgs because they are Retail signed.
PKG Decrypter can extract the files from the pkg and you can try to repack and resign that but surely PSVita don't recognise it.
PS: TNMenu can play ISO/CSO directly from the NPEZ00176/NPUZ00077 folder (you don't need to move them to the ms0:/ISO folder)
10-04-2012 #34StanSmith Guest
10-04-2012 #35Tidusnake666 Guest
yeah, yeah I thought of that variant, but had to run to work.
Unfortunately, I don't have a vita nearby, is someone here with DEX console and Vita and willing to cooperate with me (help in testing)?
10-04-2012 #36StanSmith Guest
I would help but my DEX console is in the shop getting a progskeet installed. It's supposed to be so hard its only half way done and its taken 5 weeks already...
Anyway, I got original 4.21 and CFW3.55 and a Vita 1.81 with TN-CEF working and FTP up and running. If that'll help.
10-04-2012 #37Tidusnake666 Guest
One of the ideas was to have a custom 3.55 DEX FW with ability to install retail PKGs, install games, upgrade o 4.21 DEX FW and transfer games to Vita. I've encountered the problem though, after installing PKGs on 3.55 DEX then launching them, I was prompted to renew licenses (Duh!)
So, I may try to repackage with "DRMType=Free" package.conf file, but I wonder.
Has anyone tried PS3<-> Vita transfers?
I've read posts, saying that you can't transfer games between consoles without signing in PSN
10-04-2012 #38wyldstallyn Guest
Not only that, but if the game is no longer available on the PSN, you cant do a transfer.
10-04-2012 #39Renold Guest
Oh. Well. That's the end then, because it's useless to have a 1.81 Vita with everything ready, just waiting to transfer the game WHEN there will be a CEX cfw 4.21 or higher. $ony seems to have thought about everything this time.
In the end what we need it's a Vita cfw where you just put the required files into a directory, launch them and everything installs without the need of an up-to-date ps3 to transfer files or signing into psn.
Maybe one day will get it, who knows. For now...
10-04-2012 #40Administrator
- Join Date
- Apr 2005
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- 25,306
Total_Noob announces CEF 6.60 TN-B for Later this week
Here is a brief update for those following: Total_Noob announces CEF 6.60 TN-B for "Later this week"
To quote: In a very short statement on PSPKing.de, famous PSP/Vita Hacker Total_Noob announced he will be releasing an update to his recently published eCFW – emulator Custom FirmWare, a new term to design a PSP Custom firmware running within the PSP emulator on the PS Vita – later this week.
Total_Noob said the new release, named CEF 6.60 TN-B, will have bug fixes, improvements, as well as potential new features. The developer is asking the community to provide a comprehensive list of bugs if possible (rather than individual reports) so that he can start working on fixing as much as he can. We do have a thread where you guys can discuss bugs, but if one member of our community could compile this thread into a "clean" list, that would probably be super helpful for him.
Stay tuned, as more stuff keeps coming almost every hour for this exploit.


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Monday 2nd April, 2012
9:00am to 5:30pm
Groovy is a dynamic programming language targetting the JVM that explicitly seeks to be symbiotic with Java. Thus, the question is not one of Java or Groovy, but one of which bits of an application should be written in Groovy and which in Java. This one-day workshop is aimed at people who have some familiarity with Java and little or no experience of Groovy, but who wish to start on the road to being expert in Groovy programming. If though you have some knowledge of Groovy and just wish to improve, you will not get bored. Experience of using a dynamic programming language other than Groovy is not a requirement, nor is it a barrier. The workshop comprises a number of sessions, each of which will be a presentation, a period of practical work, and then a review period to allow delegates to exchange experiences. The exact details are being planned along "agile" and "just in time" lines as befits working with a dynamic language. In reality this means the activity will be fitted to the people at the workshop on the day. Delegates should bring their own laptops and should have already installed Groovy. Groovy 1.8.5 (*) is the version that will be used during the workshop. This is the version in Debian Unstable, which is the platform the presenter will be using (**). Mac OS X users who have MacPorts can get the latest release via that route. At the webpage http://groovy.codehaus.org/Download can be found a Windows installer, a generic deb, and the platform independent distribution zip. Please ensure you have the documentation as well as the binary release installed! (*) Though 1.8.6 may have been released by the time of the workshop. (**) Occasionally the presenter may slip and use Git master/HEAD but this should be deemed aberrant behaviour.
Doing what I want. bio from Twitter
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2nd–3rd April 2012