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Raftaar is going to be back with a bang. And if the trailer is any indication, it looks like the sequel is going to be an even bigger hit than Singh is Kinng! We can't wait for the film, and we know you can't either! Until it releases then, here are the 5 most amazing moments from the Singh is Bliing trailer:
Raftaar Ki Grand Entry
If there's one person who knows how to make an entrance, it's Akshay Kumar. This time, the actor has outdone himself! After all, is there anything more grand than getting a lion along with you? We don't think so!
Raftaar Ka Feminist Side
Most Bollywood films are filled with chauvinistic jokes, but Singh is Bliing isn't one of them! Just listen to Raftaar's wise words from the trailer: "Ladkiyon ko nakhoon sirf rang lagane ke liye nahi badhane chahiye. Koi chhede toh uske chehere ko noch lena chahiye." You go, Raftaar!
Raftaar Ka Background Score
What's a hero without an epic background score? Singh & Kaur, the track from the Singh is Bliing trailer, is one of Bollywood's grooviest songs of late!
Raftaar Ki Badassery
If a film stars Akshay Kumar, you know you're going to be treated to some high-octane action. In fact, just the stunts that we've seen in the Singh is Bliing trailer are better than most full-length action films!
Raftaar Ka Pyaar
After all these years, Akshay Kumar might have finally found his Miss Khiladi! Amy Jackson's character is gorgeous and badass, making her the perfect match for Raftaar Singh. We can't wait to see their sizzling chemistry onscreen!
1 Comment
Hi, I log on to your blog on a regular basis. Your humoristic style is witty, keep doing what you're doing!


text:
> Biography
> Everything is an Experiment
> The 21st Century Digital Photography Discussion
> Creating Robust Online Photo Experiences
> Not all photographs are created equal
> Screen Experiences
> Adapting to the technological constraints of the day
> Shifting Photographies
> Connecting with not transmitting to…
> Transcending geographical boundaries
> Admiring scholarship and the Academy
> Legacy and perpetual visibility
> Partnerships and the Museum 2.0
> The potential for the digital-native producer
Andy Adams is an independent producer and publisher whose work blends aspects of digital communication, online audience engagement, and web-based creative collaboration to explore current ideas in photography and visual media.
He is the editor of FlakPhoto, a website that promotes the discovery of photographic image-makers from around the world. Recent projects include The Future of Photobooks, which considered the impact of internet culture on photographic production, exhibition and distribution and 100 Portraits-100 Photographers, an exhibition of contemporary portraiture shown at the Corcoran Gallery of Art, the Australian Centre for Photography and numerous festivals in the U.S. and beyond. In 2012, he was commissioned by the Museum of Art, Rhode Island School of Design to produce Looking at the Land-21st Century American Views, a web-based survey exploring the evolving landscape photographic tradition. Last year, Adams partnered with the Nelson-Atkins Museum of Art to produce Making Pictures of People, a mobile publication/exhibition of recent photographic portraiture designed for touchscreen tablets and handheld devices.
In his spare time he hosts the FlakPhotoNetwork, an online community focused on conversations about photo/arts culture.
Everything is an Experiment
AA: Everything I do with FlakPhoto is an experiment – a way to understand new possibilities for how photography functions online. The whole thing started with wanting to learn how to blog and having an interest in photography. So I love the idea of treating newfotoscapes as a work in progress that can evolve. That's very much the way that I think of everything I do – keeping things fluid. Hopefully that opens up some serendipity for something that you didn't expect to happen to happen.
NFS: I think it is key and really exciting that your approach with initiatives such as FlakPhoto works with social media platforms in a way that provokes people to think, become interested, and ultimately engage.
AA: The audience always comes first. One of the aspects of the way that I work is that I do it here, in this room by myself, and I'm very interested in reaching out to learn from my peers. It's a psychologically social experience, but it's a new kind of social interaction, because I'm alone, not saying anything out loud most of the time. My social media projects are about creating a dialogue – asking and answering questions about photography via the Internet.
NFS: You've been doing this since 2006 with a particular kind of mind-set. You've offered things in such a way that very few people, especially early on, were actually thinking about or considering, never mind doing. How did that happen?
AA: To begin with, I live in a place where there isn't much of a photography community happening offline. So my projects have always been rooted in a personal desire to connect with other people who love photography.
I come from a non-traditional photo background. I studied mass media communications with an emphasis on the aesthetics and history of cinema, broadcasting, television and radio. So I view everything I do and what the Internet provides us now as folding inside that broader picture. Movies are my first love. The Web reignited my passion for still photography.
In 2004 I discovered a web-based photoblog community that was very much focused on amateur photographers – people who published their digital camera photographs on personal blogs. It's significant to note that these photoblogs were different from traditional photography blogs (text-based blogs with writing focused on photography). They were a kind of proto-Instagram experience where people published single jpeg images produced on digital cameras to personal websites. This was of course before smartphone/iPhoneography image-making, where we publish directly from our mobile devices.
I launched FlakPhoto.com in 2006. I was using digital tools but to a lesser and certainly more primitive degree. For example, I didn't know the phrase 'social media' then. Like a lot of people at that time, I was fascinated with the Internet. It was becoming a new diversion for me and I was using it to feed my interests and my passions. I didn't consciously recognize that I was participating in a social experience on the Internet. That came later.
The 21st Century Digital Photography Discussion
NFS: It sounds like, as it's evolved, it's almost clarified the particular roots that you're interested in exploring.
AA: Definitely. Once I recognized the social aspect of my own online activities, I decided to provide a gathering place for people that care about photography to come together on the Internet to share that passion. Social media, and Facebook in particular, was a huge discovery that completely changed the way I think about what I do and the way my projects manifest themselves in the world. In addition to producing FlakPhoto.com I host two discussion groups on Facebook – the FlakPhoto Network and FlakPhoto Books.
NFS: You've been described as a leading figure in the 21st century digital photography discussion. TIME Magazine included you as one of the top 140 feeds in the world in terms of engaging with what you're doing. When people see you in that light, how do you manage the level of expectation? Surely, it's one thing being a community organiser, it's another thing where people essentially beginning to see you as a leader?
AA: I definitely do a lot of public thinking on social media. I love promoting photographers and their work and use my Facebook, Twitter, Google+ and Instagram to do that every day. If I have a reputation as a leader in the online photography community it may be because I share personal ideas consistently and publicly on this particular topic. I suspect that as more of us turn to indie websites and personally curated social media newsfeeds to look for news, connect with colleagues, and satisfy our curiosities the people and institutions that influence us will evolve.
NFS: That's true. It seems only recently that photographers have begun to see themselves as publishers. It sounds like very early on, you didn't just see the blog as a diaristic tool. You understood it as an opportunity to publish, which continues to place you in quite a unique position.
AA: In the beginning, when I was finding my way around the blog culture, my original aim was to publish a web-based magazine. As I began to understand Facebook and Twitter I realized that all of these expressions on social networking sites are themselves acts of publishing. I use my social networks in a very public, personal way and I connect with anyone who is interested in connecting with me. I use Facebook like a blog and email photo colleagues all the time. I ask a lot of questions and do my best to facilitate discussions. I love conversations.
Creating Robust Online Photo Experiences
NFS: You talked earlier about promoting photography but I think you've just alluded to the idea that your approach has transitioned more towards curation. How do you go about selecting the work that you feature?
AA: I'm always looking. My approach to discovering photography is deeply connected to the online media ecosystem that surrounds me. For example, one of the things that's extremely common now – and, in fact it's a requirement, I think – is that every photographer has a website. So every photographer essentially has a public outpost on the Internet where you can find them. And, increasingly, photographers and other creative people have multiple touchpoints. They're on Twitter, Facebook, Tumblr, Instagram, YouTube, Vimeo; they publish a blog, they send email updates, they mail print postcards. They're expressing themselves and their ideas across various digital media all the time – they're mass communicators. I make it a point to connect to my colleagues as much as possible.
Another big part of this, to take it away from the photography conversation for a moment, is that before the Internet I watched a lot of TV and movies and I read a lot of magazines. Now I've shifted those habits completely over to the Web. Because I'm able to curate my newsfeeds to be meaningful to me, I've filled them full of independent videos, blogs, and photography. Since all of these people out there in the world are expressing themselves and publishing their material and showing their pictures and spreading their ideas in the newsfeed, I'm constantly aware of all the things that are happening out there. It's wonderful.
NFS: Essentially, it's become your own self-selected channel. A personal information and communication stream offering shared experiences and a direct dialogue with your peers. And it's a two-way dialogue directly with your peers.
AA: Exactly. It's a wonderful way to discover images because photography plays so well on the Web. I like helping photographers get their work seen. So, I see a picture that looks interesting on Facebook and I write to the photographer to say, "Can we show this? Here's who I am; here's what I do." I ask photographers to tag me @FlakPhoto in their Twitter updates and retweet the ones that catch my eye. I highlight FlakPhoto Network member projects in the Facebook group. I show photography on my Instagram. It's a lot of fun.
NFS: You sometimes talk about the digital archive of contemporary photographs that you have created with FlakPhoto. Have you actually gone back and looked at the things that you've selected to see how your thoughts or the work that you're looking at has changed?
AA: Three years ago, we launched a FlakPhoto redesign. We built a new website and brought all of the earlier pictures into the new system. That was a fun exercise in seeing how my tastes have changed. In fact, we built a section into the website that randomly pulls pictures from the FlakPhoto Collection archive into the site. It's good to see the images you've forgotten about.
One of the criticisms of the social news feed phenomenon is that something's fresh for a day and then it disappears. That's a valid criticism but I don't think it's unique to the digital environment. The online 'drive by culture' complaint is an idea I'm personally interested in pushing back on. There's this idea that our inability to pay attention is an inherent flaw of the medium, and I don't agree. That's user error; that is inherently a flaw of the spectator. You choose to give something your full attention or you can choose to pay partial attention. Our job as photography publishers is to produce experiences that are entertaining and robust, designed to encourage thoughtful and extended reading by the spectator.
Not all photographs are created equal
NFS: You hosted a panel with Stephen Mayes and Miki Johnson exploring the 'Future of Photobooks' at the 'Flash Forward Festival' in Boston and Stephen put forward the idea that photographs are experiences in their own right.
AA: I agree. The 'Making Pictures of People' exhibition that we produced in collaboration with the Nelson-Atkins Museum of Art was a photography experience that focused entirely on the image as opposed to the object. We set out to make something incredibly robust and entirely on the Web so it would be accessible to anyone. It's essentially a public art project, but entirely digital and full of stuff to look at and ideas to think about. You can't get through it in one sitting; you're expected to go back to it again and again. It's an experience to be approached and consumed like you would a photography book, which actually demands a lot of attention.
NFS: Consideration for the experience is also true of photography in general and can be traced back to the early evolutions of photography. The idea of the picture show emerging with entrepreneurs and photographers like Eadweard Muybridge projecting images with a magic lantern to reanimate his infamous animal locomotion series.
With collaborations like Making Pictures of People you are clearly forging positive relationships between the analogue and the digital. In the NEWFOTOSCAPES conversation with Stephen Mayes, he suggested, "Archive? Who cares about archives?" In other words, if a stream of photographs is ephemeral and momentary then we should just be fine with that.
AA: That makes sense. But one of the distinctions that I think we've got to make is that not all photographs are created equal. I'm not even sure we should be calling some of this photography anymore, since the great majority of it isn't technically photography at all. Many of these pictures are photographic images. Sometimes images are merely expressions of the self. Photography has become a real-time way to say, "I did this," or, "I'm here," or, "Look at this," or something else and the sharing is as important as the making. That's a different kind of picture than one that's designed to be experienced as a fine art print.
NFS: There's been so much anxiety about that dematerialisation of the analogue photograph, which seems to miss the potential of this new ecology. For instance you constructed multiple connections and layers for Making Pictures of People. As such this online platform amplifies the message of the show and acts as a mechanism which significantly increases the size and reach of its audience.
In essence you are fusing the experiences offered by both the physical and digital to explore new narratives.
AA: To use Stephen Mayes' example of the news feed, and my example of 'The Making Pictures of People' show – they're both inherently digital. Neither is a physical photographic object. They convey specific ideas using pictures. Images are not inherently intended to be objects. They're visuals that reflect the people who made them. They depict something that (may have) existed in the world and an idea that a photographer aims to convey to a spectator. And context is crucial. There are some people that will tell you, "A picture should speak a thousand words. If I have to talk about a picture, it hasn't done its job." I disagree. Like any cultural text, an image is influenced by its maker. Why did they do this? Why are they compelled to go out in the world and make this happen? Understanding the maker is key to understanding the work.
Screen Experiences
NFS: Yes, it enables the audience to see them as real people.
AA: That's the thing; they are real people. It matters that we communicate some kind of human experience.
NFS: You're keen on exploring the web browser as an exhibition space. How do you plan and create an experience through the screen?
AA: I stumbled upon the idea of creating 'experiences' a number of years ago, when I started to struggle with how to describe the things that I make. I produce photographic experiences that blur the lines of traditional production, exhibition, and distribution. Most are manifest online via the Web and are inherently mediated through a screen. A new language is emerging.
The browser as an exhibition space… that concept pushes back on the notion that you can't find anything meaningful on the Internet or that a jpeg is somehow inferior to a print. Perhaps my background in cinema, where the entire experience has always been presented to the audience on a screen, frees me from these sorts of concerns. We witness a film on a screen. It's not a physical object.
NFS: It was fascinating in conversation with Katrina Sluis, the curator of Digital at the Photographers' Gallery in the UK, to hear how this establishment, entrenched in the analogue is exploring ideas presented by digital native environments. She has also written a lot about the idea of the networked image; an individual relationship mediated through the screen, in perpetual 'motion'. So when the gallery during their major refurbishment decided to 'fix' a screen, dominant in scale on an interior wall, it has been an almost impossible task to try and fuse together those concepts. When, in essence, this screen is almost replicating a typical photographic display.
Adapting to the technological constraints of the day
AA: That's a smart distinction about the spectator's experience, because it's a big part of my approach. With 'Looking at the Land' and Making Pictures of People we designed and optimized these projects for touchscreen tablets. When we consume the Internet on handheld devices we behaviourally engage these digital experiences with a similar intimacy as we do a book. We hold them in our hands or on our lap; we're comfortable, at home on the couch, in our own environment. Those conditions put the mind in a completely different situation for engaging with photography. It's why we love books ñ we can take them with us. They're portable and private. With mobile media and specifically mobile photography, we engage with the material through our sense of touch. That creates a uniquely personal connection. These experiences are distinctly different from viewing photography in a public museum or gallery space.
I call these projects digital exhibitions but they're essentially media experiences like traditional books, films and record albums. We're adapting the possibilities for photography to the technological constraints of the day. One of the reasons photography is more popular than ever is because people can share and view pictures like never before. But it's also because the Web is more perfectly suited for photographic consumption than any other technology in the history of broadcast publishing media.
Shifting Photographies
NFS: I think you are right, the screen as a digitally mediated experience, has changed the function of the photograph. Not just in terms of its physical form, but its ability to generate new connections, experiences and interpretations that engage with its audience. In an attempt to navigate and understand this difference there seems to be a tendency to use the term 'image' rather than 'photograph'. Do you see a shift in the different types of work being produced that you receive or consume?
AA: The constraints of the screen definitely influence the images I show. Pictures that work best on a computer monitor – those of a certain size, horizontal in shape, backlit, and illuminated – are always going to work better than those that don't. There are all kinds of photographs that will never function successfully on the Internet and that's just fine. In time, the history books will explain how these new screen environments impacted the style of images produced in the early 21st century. People are making pictures that are only ever expected to be seen on a screen. There's room for everything.
NFS: In the context of today's distributed knowledge, the way that you operate, connecting people and ideas, matched with your background within the moving image; potentially you're as informed a curator within photography at this moment as those who have studied it in the academy.
AA: I do my best to stay current. I make myself very available online and I constantly ask photographers and filmmakers to tell me what they're working on. If there's one shortcoming of FlakPhoto it's that I cannot keep up with the email correspondence. There are literally thousands of submissions that I haven't reviewed yet.
NFS: But that's the point you seek to open up a dialogue, rather than seek to make a judgement.
AA: I assume my objectives are very different than a curator of a traditional institution. I'm fascinated with photography and my projects are an extension of my personal interests. The interviews in my exhibition projects satisfy my own curiosity at the same time they add impact to the act of looking at these photographs. Perhaps, for the institutional curator, there is a detachment and distance from the photographers they showcase. I want to surround myself with people that love photography as much as I do, because it's something I'm extremely passionate about. These projects are very personal for me.
Connecting with not transmitting to…
NFS: The social media reach of FlakPhoto today has an impact comparable to mainstream media. You seem to have an ability to connect with your audience, how has your approach evolved from those early experiments?
AA: I ask a lot of questions and I'm genuinely interested in hearing and responding to the answers. Many of the people that follow FlakPhoto know I'm the guy behind the wheel. I assume that adds a personal dimension to my projects. I come from the blogger community so I usually write in the first person. Audience engagement figures into everything I do.
I'm interested in co-creating and collaborating with people online. As the early photography blog culture evolved, I recognised that the best ones had lots and lots of comments. But many times the author of the blog wasn't actively engaged in the comments. It was just the people that were out there in the world commenting with each other. One of the reasons I launched the FlakPhoto Network (FPN) was because I realised the comments are frequently the most interesting part of a blog. The FPN is focused on asking and answering questions about photography ñ the entire thing is predicated on comment conversations so the emphasis is always on listening to each other.
Transcending geographical boundaries
NFS: So your role within the community is one focused on facilitating and producing collective, participatory, shared experiences and knowledge as opposed to being an authoritative figure.
AA: I've never claimed to be an authority. I ask a lot of questions because I'm interested in learning. I'm also clarifying my own opinions. The Web creates this global, photographic hive-mind and I do my best to tap into it. My social media projects engage photo people wherever they are in the world. We create these conversations together which helps the group to learn more about photography, this thing we all care so much about. That's very rewarding. In the best-case scenario, we transcend geographical boundaries with digital technologies to crowdsource knowledge and aggregate ideas.
The problem I'm running into is that I only speak English. So language barriers are still a significant constraint. There are all kinds of nationalities not represented in my projects, and they should be. There are still lots and lots of excluded voices, and that's a problem.
NFS: Which is why initiatives such as World Press Photo's 'Multimedia Research Project' led by David Campbell should be seen as really important. Although, as he admits the input wasn't as vast and wide as desired it did at least set out to actively draw together a more globalised perspective.
AA: What should probably happen is that one of the establishment institutions, or maybe a coalition of institutions, needs to champion that conversation and invest time and resources to strategically connect all corners of the photographic world from around the globe. Because for the most part, I think, America and Western Europe dominate the online photography scene. It will expand as digital literacy flourishes. There's a lot that needs doing still.
Admiring scholarship and the Academy
NFS: Which again raises the question of authority, today image production and distribution has escalated beyond our perception which has contributed to the "democratization of photography" meme but do you see this as a shift away from the photographer as the authority?
AA: I guess the question really is who's the authority, for what purpose? I've always considered the true authorities to be the scholars, institutional curators and the academics ñ those with expert knowledge in the field. I have a great deal of respect and admiration for the academy and photographic scholarship. I continue to bring that into my projects. But I'm not sure if the great majority of the world that consumes photography through the Internet shares that view.
NFS: Equally, the academy is facing huge disruptions. Is a walled and closed institution still appropriate for the digital world, at a time when knowledge is distributed, rather than performed from a single book? However, it is vital that we learn and acquire the skills for critical thinking and making. David Campbell positively cites his ability to locate and construct his perspectives because of the critical framework his academic life provided.
AA: I agree. I'm keenly interested in understanding how media culture is evolving. The Photo 2.0 lectures I give take a somewhat scholarly approach to evaluating media culture. I talk about Marshall McLuhan and how media is an extension of the mind and how photography's role changes as the media framework it functions in changes. I don't spend so much time thinking about who the authority is. But I do spend an awful lot of time, and I am personally influenced by, people who are consistently interesting and insightful in their areas of interest. And, even more so, if they're actively engaged online.
One of the defining factors of the social media news feed, the social Web, and the current state of digital media publication is that anyone who has the tools can publically think and share ideas in the public sphere. At one point, someone like David Campbell would have been reliant on institution funding to get those ideas out into in the world. Now, as an individual, he can make those ideas circulate in the world on his own. And because he's savvy he's become an influential thought leader. So I can subscribe to his blog feed, I can follow him on Twitter, I can engage with him on Facebook, which is exciting and fun. It adds a unique new dimension to my learning from him.
NFS: This does perhaps mean we adopt an alternative mind-set, one which accepts open and accessible forms of communication. Which isn't advocating the simplification to the lowest common denominator, but a mind-set that does consider audience offering transparency in the production of knowledge and simplicity for inclusion in the evolution of this.
AA: I like the concept of open accessibility. That's a core ideology for me.
Legacy and perpetual visibility
NFS: With your projects being primarily being located in the online world, how do you plan and consider their duration and ultimately the aspirations for their legacy?
AA: Good question. This is greater than online and photography, though, right? Everything has constraints. It's a problem. For example, the 'Words Without Pictures' project you discussed with Charlotte Cotton; putting a time constraint on those discussions made a lot of sense. But I was disappointed when the 'Words Without Pictures' website went offline. It's crucial that these projects leave footprints on the Internet – so future generations can find them. That project was very innovative. In my talks I always mention Jason Evans' 'Online Photographic Thinking' essay, because that made a huge impact on me when I first read it in 2007. Ideally that project would live online, even within its fixed constraints, because it's a great resource. Of course, it is available as a book, so the information is available for a fee.
When you impose limits, in part it's so you can move along to the next thing and try something new. It's great when you stumble upon a blog post from 2004, because it feels like ancient history. But it's good that it's still out there. Certainly that's one of the concerns about the Web, how nothing ever disappears. I don't feel like everything I make needs to last forever, but in the case of my digital exhibitions I definitely intend for those websites to stay online in perpetuity. I fully expect and hope that educators will reference them and share them with students. Teachers use FlakPhoto.com in the classroom – I'm always hearing from photographers who assign students to mine the website and write about photos they see there.
Partnerships and the Museum 2.0
NFS: Did you find early on that you had to invent ways to motivate people to become engaged with and talk about the work?
AA: Five years ago, I took a job with an arts organization whose primary role is to present arts/culture programming for the public. That gave me insights about how FlakPhoto could do similar things for the photography community. In time I realized that my projects aligned with the philosophies of the Museum 2.0 movementñengaging online audiences using social media to celebrate arts, ideas, and knowledge. I consider FlakPhoto a public photography project.
NFS: Are institutions now approaching FlakPhoto to help them transition into a community led landscape? Are you looking to develop more partnerships with organisations?
AA: Definitely. In the past five years I've produced digital collaborations at the Corcoran Gallery of Art, the Rhode Island School of Design Museum of Art, the Nelson-Atkins Museum of Art and the Center for Creative Photography. I coordinate live stream broadcasts and panel discussions for photography festivals. I support community photo organizations and photobook publishers with digital marketing. I love photography and I use my skills to champion the culture of photography on the Internet.
The potential for the digital-native producer
NFS: Which brings us to the other really important part of your project; photographers are acquiring new skills as these digital technologies become native to them.
AA: Young photographers know how to blog. Many photographers use social media for promotional purposes. They can, to a certain extent, bypass traditional gatekeepers and directly champion the causes they believe in. I gave a lecture once and someone called FlakPhoto a "new gatekeeper" and insisted on the responsibility that comes with that. That may be true, but it's just not the way I think about what I do. There will always be influencers but things have changed. Gatekeeping is an unfortunate outcome of the system.
NFS: But equally, this new landscape does afford us the opportunity to challenge and question the old systems, rather than introduce new governance. In many ways, the openness and transparency that you operate with FlakPhoto will be key.
AA: I really appreciate that point of view, because the new systems can easily fall into the routines of the old. Social media and the Internet in general are great tools for marketing things. But what I'm actually more interested in, and I would like more people to do, is to use social media not to market, promote and sell things but instead to connect with each other and learn from each other; to share ideas and develop new approaches to pushing the medium forward. This is our time and it's filled with enormous potential.

subset: commoncrawl


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Following regular business at this month's April 10 Board of Health meeting, the Snohomish Health District will recognize individuals and organizations in its 2017 Health Champions ceremony, including one based in Mountlake Terrace.
Six local businesses will be presented with Food Safety Excellence Awards. These awards recognize those in food service who not only meet minimum standards, but typically stand out within their industry. The recipients by category are:
- Limited Menu – Gourmet Latte #18 located at 24119 Snohomish-Woodinville Rd., Woodinville
- Schools/Industrial/Institutions – Snohomish County Corrections located at 3025 Oakes Ave., Everett
- Temporary Food Service – Joe's Concessions located at 20301 81st Ave. W., Edmonds
- Full Menu – Pochi Lifestyle Café located at 1211 164th St. S.W., #10, Lynnwood
- Fast Service – Papa Murphy's Pizza located at 21005 44th Ave. W., Mountlake Terrace
- Large Grocery Chains – Costco Wholesale Warehouse #1190 located at 18109 33rd Ave. W., Lynnwood


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text: http://www.amazon.com/Ultralast-ULAA-AAAUS...r/dp/B000PGAYDC I was looking to replace my rechargeable batteries when I ran accross this item at my local Micro Center. I couldn't believe it, 4 AA batteries and 4 AAA plus a USB charger for $11.99 in store (I discovered it was $9.99 on Amazon.com after I bought them, but I'm not complaining). I was a little worried the USB charger wouldn't charge with my Wii, and I also doubted the quality of the batteries, but so far they have all worked perfectly charging them from my Wii. The batteries have been fine, holding a strong charge for a couple days now. There was a huge rack full of more batteries if I need them, and they are also extremely cheap. Sure, it's not a Wiimote charger with a special charging base or anything like that, but it's ultra portable and charges off of the Wii itself. The added bonus is that my wireless gamecube controllers use the AAA batteries that came with it and all of my regular remote controls use AAA as well. For $10 I just couldn't pass it up, and I couldn't help but let you guys know about it.


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Testosterone enanthate ( USAN , BAN ) (brand names Delatestryl , Testostroval , Testro LA , Andro LA , Durathate , Everone , Testrin , Andropository ), or testosterone heptanoate , is an androgen and anabolic steroid and a testosterone ester . [2] [3] [4] Along with testosterone cypionate and testosterone propionate , it is one of the most widely used testosterone esters. [5] Testosterone enanthate was first introduced in 1952. [6] Administered via intramuscular injection , it is the most widely used form of testosterone in androgen replacement therapy . [6]
Dosage and duration of therapy with Delatestryl depends on the age, sex, diagnosis, patient's response to treatment, and appearance of adverse effects. Delatestryl may interact with blood thinners, or corticosteroids. Tell your doctor all medications and supplements you use. Delatestryl must not be used during pregnancy. It may harm a fetus. It is recommended that women use 2 forms of birth control (., condoms and birth control pills) while using this medication; consult your doctor. It is unknown if this drug passes into breast milk. It may affect milk production and it may harm a nursing infant. Breastfeeding while using this drug is not recommended.
The second theory is similar and is known as "evolutionary neuroandrogenic (ENA) theory of male aggression". [77] [78] Testosterone and other androgens have evolved to masculinize a brain in order to be competitive even to the point of risking harm to the person and others. By doing so, individuals with masculinized brains as a result of pre-natal and adult life testosterone and androgens enhance their resource acquiring abilities in order to survive, attract and copulate with mates as much as possible. [77] The masculinization of the brain is not just mediated by testosterone levels at the adult stage, but also testosterone exposure in the womb as a fetus. Higher pre-natal testosterone indicated by a low digit ratio as well as adult testosterone levels increased risk of fouls or aggression among male players in a soccer game. [79] Studies have also found higher pre-natal testosterone or lower digit ratio to be correlated with higher aggression in males. [80] [81] [82] [83] [84]


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A precious babe is simply divine, pamper the little one with the most divine gift. Sweet offerings include a reversible blanket, matching sleeper, Kushies receiving blanket and a cuddly Kaloo friend Who could ask for more?
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Was Selena Gomez Disney Channel's Real 'Hannah Montana'? Fan Theory Has Everyone Talking
Wait, what?! A new fan theory suggests that Selena Gomez could have been the real 'Hannah Montana' of the Disney Channel. But what about Miley Cyrus?! Find out the details of this crazy idea that's making waves here!
Move over, Miley Cyrus! The Disney Channel has been no stranger to insane theories and the latest one will knock your socks off. According to one fan, Selena Gomez, 24 , may have been the real character of Hannah Montana all along! How? Well, Selena gained stardom in 2007 when she first appeared in the role of Alex Russo on Disney Channel's Wizards of Waverly Place, a show about three wizard siblings. However, before this role, she made appearances on Miley's series, Hannah Montana in which she played Hannah's nemesis, Mikayla Skeech. Later in 2009, Disney aired a crossover episode of the series called The Suite Life on Deck and Hannah Montana which featured characters from various shows including Selena's Wizards, and this is the episode that has sparked theories. Check out the most sizzling pics of Selena here!
Tumblr user wayfaringandwhatnot recently posted an opinion about the crossover episode on the Tumblr website and it has everyone talking. In the post, the user says that Selena's character of Alex may have used magic to create an alter ego that was a pop star so she wouldn't be recognized. Since the character of Miley Stewart disguised herself as Hannah just from putting on a blonde wig, this is definitely feasible. The user also supports this theory by pointing out that although the characters of Hannah and Alex don't cross paths during the episode they're still on the same cruise ship at the same time. Therefore, they can't exist simultaneously unless there was indeed magic there. And if Hannah saw Alex, wouldn't she have recognized her as Mikayla instead? Our minds are blown!
Selena's been keeping in touch with Disney Channel co-stars and has expressed her hope for a Wizards reunion. Her success with the network has led to many opportunities but she doesn't seem to be forgetting where she came from. If we do see her on the channel again soon, we can't wait to see what future theories may be on the horizon!
HollywoodLifers, what do you think about the Hannah Montana fan theory? Tell us now!


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Power PlayBook
Ben Bova, six-time winner of the Hugo Award, brings us a fascinating look at the future in Power Play .
Astronomer Jake Ross wants nothing more than to teach a few university classes each semester and continue his research. However, Frank Tomlinson, an ambitious politician with his eye on the U.S. senate, is determined to land Dr. Ross as his science advisor.
Tomlinson is in need of an edge that will allow him to defeat his opponent at the polls, and Dr. Ross can contribute just that edge with a new innovation that will allow electricity to be generated at less than half the price of nuclear power. But the technology is still in its infancy, and although the outlook is extremely promising, there are great---and deadly---risks.
Dr. Ross soon discovers that the world of politics carries its own dangers. Nothing has prepared Dr. Ross for the extreme tactics that desperate and powerful people are willing to use.
From the critics
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This political thriller has too little tech. The main character is introduced to an exciting technology called MHD, allowing the author to wax poetic about his favorite unrealized dream. While I enjoyed that, I really didn't like the main character, who wonders too often who is having sex with whom. Most of the characters were caricatures, and portraying Indian gambling as run by the Mob doesn't fit.
Power Play ---- by Ben Bova - c 2012 ---- A very good read ---- This story has alot of avenues for more tales. ---- Who knows where Dr. Bova will go with this next. For myself it has always been an enjoyable tour with Dr. Bova's works. ---- The read is comfortable, good for nearly all from early teens on up. ---- Enjoy! ---- (finished 3-13-12) RichardPaul
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Welcome to my website, it is still far from being complete. "Sorry"
I'm currently working on content to put on each page, it all written on paper, I just need to find the time to plough through the whole lot and re-write it so it makes sense. Please note the only button worth clicking on is the Instagram button.
All other sections are empty, they will contain a picture of a sign, that states it is 'under construction'.
In a nutshell, my name is Jaben. I work in customer services, previous to this I worked in a finance company. I draw during the morning when I arrive early and on my lunch, whilst I stuff my face with sandwiches. So that's me
More information will be added soon, please do visit again or add me on Instagram.


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This listing is for a 5 yard cut of Merry Go Round by American Jane for Moda.$6.50 flat rate shipping no matter how much you buy!Please feel free to ask any questions you might have. Thanks for looking!
$7.25 shipping no matter how much you buy! We offer fast shipping! Our goal is to ship out all orders the same day as purchased if possible.
See something you like, but maybe not the right fabric or pattern. Let us make something just for you! We gladly accept custom orders. Once we have agreed on a project we will ask for a non refundable 50% deposit up front and the remaining 50% when your quilt is complete.


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Document Type
Publication Date
Background: Barth Syndrome (BTHS) is a serious X-linked genetic disorder associated with mutations in the tafazzin gene (TAZ, also called G4.5). The multi-system disorder is primarily characterized by the following pathologies: cardiac and skeletal myopathies, neutropenia, growth delay, and exercise intolerance. Although growth anomalies have been widely reported in BTHS, there is a paucity of research on the role of inflammation and the potential link to alterations in growth factors levels in BTHS patients.
Methods: Plasma from 36 subjects, 22 patients with Barth Syndrome (0.5 - 24 yrs) and 14 healthy control males (8 - 21 yrs) was analyzed for two growth factors: IGF-1 (bound and free) and Growth Hormone (GH); and two inflammatory cytokines IL-6 and TNF-α using high-sensitivity enzyme-linked immunosorbent assays.
Results: The average IL-6 and IL6:IGF ratio levels were significantly higher in the BTHS (p = 0.046 and 0.02 respectively). As for GH, there was a significant group by age interaction (p = 0.01), such that GH was lower for BTHS patients under the age of 14.4 years and higher than controls after age 14.4 years. TNF-α levels were not significantly different, however, the TNF-α:GH was lower in BTHS patients than controls (p = 0.01).
Conclusions: Comparison of two anabolic growth mediators, IGF and GH, and two catabolic cytokines, IL-6 and TNF-α, in BTHS patients and healthy age-matched controls demonstrated a potential imbalance in inflammatory cytokines and anabolic growth factors. Higher rates of IL-6 (all ages) and lower GH levels were observed in BTHS patients (under age 14.5) compared to controls. These findings may implicate inflammatory processes in the catabolic nature of Barth Syndrome pathology as well as provide a link to mitochondrial function. Furthermore, interactions between growth factors, testosterone and inflammatory mediators may explain some of the variability in cardiac and skeletal myopathies seen in Barth Syndrome.
This article was originally published in Journal of Inflammation, volume 9, in 2012. DOI: 10.1186/1476-9255-9-25
Recommended Citation
Wilson et al. Higher IL-6 and IL6:IGF ratio in patients with Barth syndrome. Journal of Inflammation 2012 9:25. doi:10.1186/1476-9255-9-25
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This work is licensed under a Creative Commons Attribution 3.0 License.
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Cell Biology Commons, Genetic Phenomena Commons, Genetics Commons


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backing it up with a cd rom backup
Among the data that resides on your computer, you may have precious pictures and memories that do not want to lose. No matter how sophisticated computers get, it still will crash, or encounter other problems that can cause data loss. For this reason, a backup of your data very seriously.
Although there are several ways you can go about backing up your data on a CD-ROM is by far the easiest and fast becoming the most popular. Like other backup methods, the CD-Rom error, even if it has more to offer advantages and disadvantages.
One of the best facts about backing up to CD-ROMs that are stored on CD. standard data CD-R can hold 700 megabytes of information, which is a lot of files. You can store photos, documents, programs, applications, and virtually anything else you can think of, and the CD - including entire folders full of files and data.Backup
If you use a CD-RW media, which is also known as rewritable discs, you can continue adding data until the disc is full. You can also overwrite existing data on these discs, thus making them ideal for those who constantly update documents that they need to cope.
If you use standard data CD-R discs will not be able to add data to them. Once you have added information on the disc, that's all. This is an excellent option to keep the data as it is, and know without a shadow of doubt that will be saved whenever you need.
With prices of recordable CD and CD being so cheap these days, anyone can afford. They cost almost as much as they did years ago, which explains why they are so popular when it comes to safeguarding your data. If you have a newer computer, it is likely that a CD is included with. If you have an old computer, buy a CD burner and some disks of almost anything.
The best thing about backing up data to CDs is that they are more reliable than floppy discs, easier to access than an online backup, and that will last a lifetime. If you have important data to be saved, you can be sure that a CD-Rom is an excellent way to protect your information.


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Then we check this:
Please download FixWareout from one of these sites:
http://download.bleepingcomputer.com/lo ... areout.exe
- Save it to your desktop and run it. Click Next, then Install, make sure Run fixit is checked and click Finish.
- The fix will begin; follow the prompts.
- You will be asked to reboot your computer; please do so.
- Your system may take longer than usual to load; this is normal.
- Once the desktop loads, post the text that will open (report.txt) and a new Hijackthis log in the forum please.


text: Adrián Rodríguez & , Mireia Pairó Primera Linea from February 2015 nude "ALWAYS SOMETHING I DO ME PLAYING ON TV undress" We have seen growing on TV, "Los Serrano " The beach bar Pepe '. Now, Adrián Rodríguez just presented grapes in Telecinco and gives an upset in bed with Torito with his spectacular girlfriend, Mireia Pairó. Txt: QUIQUE JIMENEZ 'TORITO' Photos: JOAN POT ost 2015 Spaniards began taking the grapes to the sound of fritanguero Art Dani Leal, played by Adrian Rodriguez in the series 'Pepe beach bar'. With only 26 years, Adrian is, thanks to its dual role as singer and actor, one of the most promising artists of our country. Although success has come to him, he has not been for a simple stroke of luck, but as the result of many years of preparation and constant search for your site. Perhaps the treasure chest tattooed on your body is responsible for the fate (deserved) does not leave and continued positive things happening in his career. It is presented with a very promising 2015: just released his most personal single, 'Sexy Lady', with a decent bill any international prize, and continues in the cast of 'The beach bar Pepe'. So want to celebrate your good professional and personal moment with myocardial perched with his love, Mireia Pairó model. Adrian, how would you define yourself professionally? Actor and singer. And it also gives me great dance in this country to do a bit of everything and innovate. You started very soon, you were a child prodigy? Child prodigies arrive very quickly. Mine has been staggered. I prefer it that way, because I have made a better person and helped me to always keep my feet on the ground. In 1999 the program won 'Menudas stars' singing 'Salome' by Chayanne. Who you managed the money when you were a kid? My parents, although in that program did not give us money when we passed round, but gift vouchers. But to win the contest I got three million pesetas. My parents put me in a checking account. Average Well, two million, and the rest took him Hacienda. After you get into the series 'Los Serrano' where you were part of the band Santa Justa Klan. What do you remember of that time? We did it because it was cool, not like now that at times you have to do things out of necessity. Brown liábamos remember: once from the attic of a hotel started throwing water balloons at everyone who was down. Now you just release a new single that sounds great, 'Sexy Lady'. He left on 29 December by Sony Music, produced by Alex Guerrero r DMOL and me. I am very happy with how everything is going. How would you define your music? It is another roll, scented and sounds from outside. We have been fortunate that Juan Magan has opened a very good line of house electrolatino all that we dedicate ourselves to this type of music. The world of music is something classist. Have you had any trouble for being so media? In Spain there are these limitations, an actor can not sing and a singer can not act. I want to break those rules, because you can do a little of everything and if you do it right, why not? But it costs. I think we have to renew a little poster, the artisteo a little more was recycled. sallr. We have things in the video 'Fruit of Paradise' sales as a real cocky pool, is that image represents you? No, really. I am aware that I am very close and apparently half rim, but people who wanted me to know that I am normally seen. By the way, this video is one of the worst I have been in music. Only you need to represent Spain in Eurovision. Eurovision, no. Sena a good boost for me, but I think it is a festival where we do not take seriously ever, so do not make me special pleasure to go. In 2009 started in the 'Physics and Chemistry' series, playing a homosexual boy of 17 years. At first it was weird to get into a new world that no 'When we started we talked in the past And then we have thrown in the face somewhere anger'. Mlrela 33


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Therapeutic Massage and Manual Therapy
Searching for a professional massage therapist to give you Deep-Tissue Manual Therapy or a customized massage? Columbus, Ohio area residents rely on The Winchester Institute of Chiropractic Health and Wellness for Hot Stone, Himalayan Salt Stone, Swedish, and Medically needed Deep-Tissue Manual Therapy treatments. If you are experiencing pain or tension in any area, our talented professionals will be able to work out the issue and have you feeling as good as new. We also offer Deep-Tissue and Trigger Point Therapy, which are usually covered by insurance when prescribed by our Doctors. Treatment must be medically necessary to be billed to insurance.
At The Winchester Institute of Chiropractic Health and Wellness you will find all-new therapy studios, each custom designed to help your daily stresses melt away while restoring health and function to your spine. Each massage suite is complete with specifically selected linens, relaxing scents, and soothing sounds. Our massage therapy suites are perfect for even the toughest musculoskeletal conditions or for that special person you feel deserves a relaxation massage. Maybe that someone should be you!
Whether you're suffering from an injury or you're simply looking to relax, our skilled professionals can be of service. Our Licensed Chiropractors and experienced Licensed Massage Therapists will provide you the personal attention you deserve, ensuring a relaxing and rejuvenating experience each time you come in for a massage. Columbus area residents can request more information on massage therapies or schedule an appointment by contacting our Dublin, OH, clinic. Call today.
Gift Certificates Available for all Massage Therapies.


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Guwahati/ 13th April'2017 (Prag News): Assam Chief Minister Sarbananda Sonowal urged Prime Minister Narendra Modi to completely seal the Indo-Bangla border to regulate and even completely put a cease to influx from Bangladesh.
The CM conferred the request through a telephonic conversation on Wednesday where he formally invited the Prime Minister of India to the inauguration of the Dhola-Sadiya bridge in May and to the global investors summit in November. In the conversation Sonowal pointed out that sealing the Indo-Bangla border has been noted as one of the top priorities by the Central Government.
To gear up the issue of illegal migration on war footing, CM also insisted on instructing the Ministry of Home Affairs to center-forth the sealing of the Indo-Bangla border once in for all.
Sonowal also praised the move of allocating 1,800 bighas of land for the Indian Agricultural Research Institute setting up in Dhemaji district.
Speaking on the invite to "Advantage Assam: Gateway to ASEAN", Sonowal mentioned that this a first ever two-day glocal investors summit that will be held in Guwahati on 9th of November.
The CM also quoted that the 9.15 km long Dhola-Sadiya bridge will be a path -breaker in the surface-communication network in the state of Assam.


text: Roebling: Joan E. Laning, age 76 a lifelong resident of Roebling passed away Wednesday at home. Mrs. Laning was born in Trenton and was the daughter of the late John and Anna Yankosky Brecko. She was a checker, employed by Acme Markets in Fieldsboro and Medford with 21 years of dedicated service. Joan's children and grandchildren were the center of her life. Some of her most enjoyable times were watching soap operas and cooking. She was also a member of Sts. Francis & Clare Parish, Holy Assumption Church. Joan is survived by a daughter and son-in-law, Lisa & Keith Stuart, son & daughter-in-law, Kevin & Jill Laning and son Scott Laning, grandchildren, Thomas, Kaylie, & Kelsey. Catholic Wake Services will be held Wednesday 7:00 PM at Koschek and Porter Funeral Directors, 1115 Hornberger Avenue, Roebling . Friends may call Wednesday from 6:00 - 7:00 PM at the funeral home. Final disposition will be private. Condolences may be sent to www.koschekandporterfuneralhome.com


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Vandoren BD5 Black Diamond Eb Clarinet Mouthpiece
by Vandoren
Price excluding VAT (EU Export price): £90.83
Manufacturer's Description
The Black Diamond Ebonite mouthpiece features a new internal and external design. These developments offer the musician a full sound, rich in depth and color, especially in the upper register of the clarinet.
One facing available: BD5
The perfect balance between a dark, rich, yet compact sound.
Item DetailsManufacturer: Vandoren - Vandoren online
Model number: CM125
Category: Eb and Alto Clarinet Mouthpieces
Fair Price Pledge
We aim to offer the best possible value for our products, taking into account our comprehensive choice, Perfect Performance Plan, quality of service and expertise. Sometimes, we may be able to beat our web prices: please call us on 020 8662 8400 to discuss your requirements.


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What Sbobet Betting Websites Present More Than Chances?
In this article we are going to review concerning internet sites that contain the remarkable sport wagering solutions. If you Google it, you will certainly locate hundreds of web links that are about sporting activities wagering as well as several of these web links have great wagering pointers on the Internet. Let's research better on specific of these sites. If you are an excellent gambler as well as know with wagering you might have heard of Bo dog, Bet maker, The Greek and Pinnacle? These web sites are the most effective sports books as several reviews have confirmed them and also wrote a number of testimonials about them. What is that these books use to make them so unique compare to the various other sbobet login internet sites?! What exactly what and also methods these websites have? Greater than anything else it's our choice, not the problems of our betting's that establish our wage ring's destiny.
These websites have some advantages which can assist a gambler to win the game or assumption which sporting activities group will win the game. The complying with are some facts that expose some of the advantages that these internet sites do have: The first and foremost reality is that these sites focus on sports wagering. You do not see advertisements or any other subjects in these sites. It is all about game as well as betting. We will not refute that there could be a couple of gambling establishment games or poker games in several of them, however the focal focus of the web site's web content is sports wagering. As you see the specific niche is very clear regarding places gambling. These internet sites consist of the best gambling with excellent graphic and user interface. Webmasters of these sites aim to keep them pest cost-free to make sure that individuals will certainly take pleasure in surfing around and also betting on their preferred teams.
These best sport books have the very best online assistance that makes certain your demands are satisfied. They are there to solution to your inquiries as well as help you to address your issue. This is among the important variables for an on the internet service which is to supply a terrific customer care. They supply odds upon the whole fantastic U.S.A sporting activities which are popular and also favorite teams not only in The U.S.A. yet also the other countries of the globe. These sites or sporting activity publications contain prominent chances such as: soccer, football, hockey and cricket. As we speak about earlier, these internet sites have a terrific interface as well as different approaches of settlement. This will certainly help with repayment treatments without a problem. An individual that wants to utilize these wagering web sites could trust their payment entrances as they are geared up with security system which avoids cyberpunks to hack in as well as swipe away individuals' loan. An individual merely sings up a subscription, receives some quantity of reward on down payment, and after that starts the game.


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'Hop' Rises to Top of the Home Entertainment Charts
"War Horse" and "We Bought a Zoo" were among the new releases hitting stores.
In its third week of release, Universal Studios Home Entertainment's Hop finally topped the national home video sales charts, hopping to No. 1 on the Nielsen VideoScan First Alert chart, which tracks overall disc sales, for the week ending April 8.
The week ended with Easter, and Hop -- which bowed at No. 3 and then rose to No. 2 its second week of release -- is a movie about the Easter Bunny that grossed $108.1 million at the domestic box office.
PHOTOS: 11 British Actors Invading Hollywood's 'It List'
Walt Disney Studios' War Horse debuted at No. 2 on First Alert but narrowly beat Hop to bow at No. 1 on Nielsen's dedicated Blu-ray Disc sales chart. The Steven Spielberg-directed historical drama, which earned $79.8 million in U.S. theaters, generated 36 percent of its first-week sales from Blu-ray Disc, while the HD format accounted for just 30 percent of third-week sales for Hop. Even so, Hop sold nearly as many copies on Blu-ray Disc as War Horse (98.4 percent), Nielsen data shows.
20th Century Fox's Alvin and the Chipmunks: Chipwrecked, No. 1 on both sales charts the previous week, slipped to No. 3 on First Alert and No. 5 on the Blu-ray Disc sales chart its sophomore week in stores.
PHOTOS: The Big Screen's Evolution of Talking Animals
Rounding out the top five on First Alert are Fox's We Bought a Zoo, which debuted at No. 4, and Walt Disney's The Muppets, which finished the week at No. 5 (after falling from No. 1 to No. 3 the previous week). We Bought a Zoo also bowed at No. 4 on the Blu-ray Disc chart, while The Muppets held fast at No. 3.
War Horse also debuted at No. 1 on Home Media Magazine's rental chart for the week, with Fox's Immortals – fresh off its 28-day rental moratorium from Redbox and Netflix – shooting up to No. 2 from No. 68 the previous week. Sony Pictures' The Girl With the Dragon Tattoo, the previous week's top rental, slipped to No. 3.


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A holiday in Vietnam would be incomplete without a trip to the Mekong Delta, Vietnam. Popularly known as one of the 'Rice Baskets' of Vietnam, the Mekong Delta is located in the South Eastern region of Vietnam, where the Mekong River meets the sea. A pride of the Vietnamese and the one of the most popular of the Vietnam tourist attractions, the Mekong Delta is exceptionally rich in scenic beauty. It is a place unique in itself. There is so much to see and so much to do here that a one day trip would definitely not be enough.
Cultivation in Mekong Delta
Extending over an area of nearly 60,000km, the Mekong Delta, Vietnam is like a maze of the Mekong River tributaries. It is one of the most fertile areas of Vietnam; hence any spare land in between the waterways has been used for cultivation. The Mekong Delta is one of the main sources of agricultural products in the whole of Vietnam, contributing about 50% to the country's total rice cultivation. Apart from this, here there are many sugar cane fields, vegetable gardens and orchards, growing various kinds of tropical fruits. The vast stretches of green paddy fields, criss-crossed by winding streams, surely makes an exquisite sight.
People and Life in Mekong Delta
The Mekong Delta, Vietnam has a population of nearly 17 million, consisting mostly of farmers and fishermen. Life here revolves around the river; the homes and place of work are mostly near the river banks. Some natives, especially the fishermen, have even built houses on canoes. In a whole their lifestyle though simple, is indeed very fascinating and something that tourists love to see.
The Floating Market in Mekong Delta
The floating market had been initiated to make use of the vast extent of water in Mekong Delta. However it has now become one of the most distinctive features of this place. From around 5 am to 11 am every morning the floating markets in Mekong Delta are set up. The concept of a floating market is that, boats heaped with fruits and vegetables from close by orchards meet at the floating markets, from there the local dealers buy the goods to sell it again in the markets or to other cities. Floating markets in Mekong Delta also have floating eateries and gas stations and hence are flocked by tourists most of the time. Among the various markets spread all over the place, the Phung Hiep, located at a significant junction of seven main canals is by far the largest. When viewed from a bridge this market surely makes a fantastic sight.
Another bizarre yet interesting feature of the Mekong Delta is its Snake Industry. A snake buff, Lt Col Tran Van Duoc had set up the Dong Nam Snake Farm in 1977. It had actually been created purely to do research on reptile venom. However, now they also sell live snakes, which are used as food and for medicinal purposes.
So if you are planning trips to the Vietnam popular destinations, and if the Mekong Delta is on your itenerary, then it would be ideal if you house yourself at Can Tho, about 170 km away from Saigon. Known as the 'capital' of Mekong, it is a very busy Trade Centre, with a pretty large sea port. To accommodate the rush of tourists to Mekong there are several hotels and restaurants in Can Tho, Vietnam. It is also the best location to sight-see around the whole of Mekong Delta, Vietnam.
October 30, 2008
Mekong Delta Vietnam
Posted by Sapa tours, Sapa trekking tours at 5:31 PM
Labels: Mekong delta, Mekong delta tours, Vietnam travel


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Disney Sets a Release Date For Live-Action 'Mulan'
Disney has finally set a release date for their upcoming live-action version of 1998′s animated film Mulan!
The studio announced that the flick is on the fast-track and will hit theaters on November 2, 2018.
The company is now searching for a Chinese actress to cast in the role of Mulan and for a director for the flick. Jason Reed, Chris Bender and Jake Weiner are set to produce.
Disney has previously brought Maleficent, The Jungle Book and Cinderella to life through super successful live-action remakes.
It was also recently announced that Disney has plans for a live-action remake of The Lion King.


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How to Resolve the iPhone 7 Cannot Restore from iCloud Backup Error
If you have updated your iPhone 7 to the latest version of iOS, then you are likely to face an issue pertaining to restoring the backup of your iPhone. The issue seems to have affected a lot of users and if you are one of those affected users, you might want to learn how you can resolve it.
The exact issue is that after you have updated your iPhone 7 to the latest version of iOS, you have trouble restoring the iPhone backup from iCloud. When you tap the restore button to restore the backup, you get an error message that says you cannot restore the backup.
This has put many users into trouble as they have no clue what they did wrong and what has caused the error. Actually, the error is from the Apple side as there seems to be an issue with the operating system of the phone. A patch should be on the way but it is not available yet.
If you are in that situation, here are some steps that you can take to fix the issue until Apple rolls out an official way to fix it.
Resolving the iPhone 7 Cannot Restore from iCloud Backup Error
There are actually two ways to fix the issue on your iPhone 7 and here we show you both of those:
Method 1: Fix iPhone 7 cannot restore from iCloud with recovery mode restore
In this method, you need to put your iPhone 7 into recovery mode and factory restore your device from iTunes, and then you will restore from iCloud backup. Free Reiboot will help you put your iPhone 7 into recovery mode with only 1 click.
1.Download and install the app on your computer. Launch it and plug in your iPhone to your computer using an authorized cable.
2. On the main interface of the app, you will see a button saying Enter Recovery Mode. Click on it and it will reboot your iPhone into the recovery mode.
3. When the iPhone enters the recovery mode, launch the iTunes app on your computer. iTunes will detect your device in recovery mode and require it to be updated or restored. Now, you can reset your iPhone with iTunes.
4. When a backup has been restored on your iPhone using iTunes, unplug your device from your computer.
5. Launch the settings panel on your iPhone and proceed with restoring an iCloud backup and it will work fine this time.
Method 2: Repairing the iPhone 7 Operating System and Restoring the iCloud Backup
If the method above didn't work, you need to first repair your iPhone 7 operating system before you can restore an iCloud backup. Reiboot also enables you to repair corrupted iOS easily. Here's how to do that:
1. Run Tenorshare ReiBoot and connect your iPhone to computer with an USB cable. Click "Fix All iOS Stuck" section in the main interface.
2. After Tenorshare ReiBoot detect your device, Click "Repair Now" to start downloading the firmware package.
3. Once the firmware package is downloaded completed and successfully. Click "Start Repair" to start system recovery. After the repairing process, your iPhone will boot up normally. And now you can go forward to restore from iCloud backup now.
So, that was how you could fix the error that prevented you from restoring an iCloud backup. Let us know if this helped you fix the error!


text:
Thanks so much for having me today Jane. I'm excited to share a scene from my new release, Returning To Her Master! Picking up where Her Master At Last left off with Marc and Cassie's story, I have added over 4,000 words to the original version of this story in Make Me Yours as well as made significant changes to the plot.
Title: RETURNING TO HER MASTER
Publication Date: July 1, 2016
Publisher: Stormy Night Publications
Marc Taite is shocked when Cassie Edwards, the only girl he's ever loved, suddenly shows up in the club room of his Colorado vacation lodge. Ever since she broke off their romance without explanation and refused to answer his calls, he has wondered what went wrong, and he hauls her upstairs, intending to spank her soundly and then get some answers. Their old passion instantly reignites, however, and instead of taking her over his knee he ends up taking her hard and fast.
The connection they once shared clearly still exists, but Marc has already lived through the pain of losing Cassie once, and he is determined not to let himself be hurt again. Desperate to prove that this time she is truly ready to belong to him, Cassie promises Marc her complete submission, and she soon finds herself on her knees with her bright red bare bottom on display as she begs him to claim her in any way he pleases.
Though he is reluctant to risk his heart again, when Marc discovers that a stalker has followed Cassie to Colorado his need to protect her quickly overcomes his hesitation and he takes it upon himself to keep her safe, even when that means punishing her sternly when she breaks the rules he makes to protect her. But when a misunderstanding sends her fleeing from him once again, will he lose her a second time?
Publisher's Note: Returning to Her Master is a stand-alone sequel to Her Master at Last. It is an erotic romance novel that includes spankings, sexual scenes including a threesome, anal play, exhibitionism, BDSM content, and more. If such material offends you, please don't buy this book. Also note that an earlier version of this book was previously released by another publisher under the title Make Me Yours.
And how about an excerpt?
Reining in his lust, he went to the closet and found a spreader bar, just what he needed. Showing it to her, he asked, "Do you know what this is?"
"Y…yes," she stammered. "What are you going to do?"
"I'm going to see if a little pain stimulates you." Kneeling, he attached the cuffs on the end of the bar to her ankles, leaving her legs spread eighteen inches apart. "Relax." Smiling at her, he sat on the edge of the bed and drew her slowly over his lap, adjusting her so her head hung down with her ass propped up. "Comfortable?" he asked, running his hand over her rounded buttocks.
Peering up at him through the cascade of her hair, she sputtered, "No!"
Marc smacked her cheek, admonishing, "No, what?"
"No, Sir."
"Let me see if I can take your mind off your uncomfortable position." He smacked her again, a little harder, and then ran one finger down her slit, pleased with the dampness he encountered. "I think you rather like this position." She cried out with the next two smacks, but another check of her pussy revealed her pleasure at the stimulating pain. Alternating between slapping her buttocks and fingering her warm, wet sheath, he brought her to a feverish pitch. Her cries were sounds of pain, but when she lifted her ass for each swat, she told him without words she wanted more of that pain, and the obvious pleasure it gave her.
Nothing turned Marc on more than the sight of a wriggling, red ass, and Cassie's was no exception. Her buttocks warmed under his hand, a heat he found reciprocated in her pussy each time her warm, damp walls closed around his finger. When he felt the ripples of small contractions heralding her climax, he smacked her ass harder while rooting out her swollen, needy clit. She screamed as she came, her hips grinding against his thighs, her buttocks jiggling along with her spasming pussy.
He waited for her cries to turn to whimpers and her hips to settle then soothed her buttocks with alternating soft strokes and light, palming squeezes while continuing to stroke her pussy. She was so tight he had to work at getting two fingers inside her, which inflamed him more, made him want to get inside her faster.
Reaching down, he released the spreader bar and turned her over on his lap, cuddling her shaking body against him. Her tears of submission and the pleasure/pain she received from it endeared her to him in a way he hadn't seen coming.
"Tell me, darlin'," he insisted when she had calmed down from what he suspected was the best orgasm she'd ever had, "have you ever come like that before?"
Cassie turned her face into his shoulder, her body still shuddering with pleasure. "No, Sir. Never."
"Good girl. For being so honest even though it embarrassed you, I'm going to reward you. Up on the bed now."
Now available!
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text:
Local Leadership
Our Regional Board and Regional Management Team lead us in our mission to save lives by improving lung health and preventing lung disease.
Upper Midwest Regional Board
The regional board is the governing body responsible for strategic focus, organizational goals and measurable results in achieving the mission. The business of the board includes the equitable distribution of resources and programs as well as the development of volunteer structures across the entire region.
FY2017 Board of DirectorsJuly 1, 2016 - June 30, 2017
Steven T. Mielke
Todd A. Mahr, MD
Gundersen Lutheran Medical Center
Jessica Hoppe
Alerus Bank
Kevin L. Kovitz, MD
Chicago Chest Center, Suburban Lung Associations
- Brad Baker
- Gail M. Brottman, MD
Hennepin County Medical Center
- Jeffrey Cahn
Community Volunteer
- Michael V. Carstens
Physicians Mutual Insurance Company
- Malcolm DeCamp, MD
Northwestern Medicine
- Thomas Gross, MD
University of Iowa Hospitals and Clinics
- Reggie Henderson
Telamon Corporation
- Dustin L. Hinton
- Michael J. Jaeger, MD
Anthem Blue Cross & Blue Shield
- William Kempiners
Community Volunteer
- Caroline V. Krider
US Bank
- Heidi Larson
Goff Public
- Audrene Lojovich
Community Volunteer
- Lisa C. McKinney
Bose McKinney & Evans LLP
- Alan D. Rowe
Kirkwood College
- Jack Shapiro
Community Volunteer
- L. Craig Turner
Craig Turner Attorney at Law
- Peter Francesco Vitiello, PhD
Sanford Research
- Staff
Lewis A. Bartfield
American Lung Association of the Upper Midwest
Management Team
- Lewis Bartfield, Executive Vice President, Upper Midwest Region
- Meghan Miller, SVP of Development
- Penny Fena, Chief Mission Officer
- Brian Leibl, SVP of Finance
- Michael Mark, SVP of HelpLine Services
- Kristen Young, Executive Director - Greater Chicago
- Linda Crider, Executive Director - Kansas
- Greg Voss, Executive Director - Minnesota
- Angela Wiseman, Executive Director - Missouri
- Julia McCarville, Executive Director - Nebraska
- Tanya Husain, Executive Director - Indiana
- Micki Sandquist, Executive Director - Iowa
- Linda Witucki, Executive Director - Wisconsin
Local Leadership Board
The purpose of the American Lung Association's Local Leadership Board to is raise the organization's profile in the community, advocate for lung health and increase resources to fund local programs and services.
Local Leadership Board members impact the work of the Association including: programs and services, public policy, research, and revenue generation.
Kevin Kovitz, M.D., M.B.A.
University of Illinois at Chicago
Chicago Chest Center
Vice Chair
Donna Mosakowski
Immediate Past Chair
Mary Nevin, M.D.
Ann & Robert H. Lurie Children's Hospital
- Thomas Andreesen
- Heidi Azulay
DLA Piper
- Joshua Bennett
Salter Labs
- Sangeeta Bhorade, MD
Northwestern Medicine
- Lela Cirjakovic
Waterton Residential
- Malcolm DeCamp
Northwestern Medicine
- Brian Duhn
Northern Trust
- Bev Foster
Kindred Healthcare
- William Frese
Blue Cross Blue Shield of Illinois
- Brian Groskopf
- Frank Keldermans
Holland & Knight
- Robert Oakleaf
Attest Health Care Advisors
- Herb Seitz
Northern Trust
- Jack Shapiro
ALAUM Board of Directors
- Michael Telesky
- Tricia Vaisvila
RML Specialty Hospital
- Christopher Woll


text:
How Hot is Too Hot for the Carriage Horses?
by Doug Pardue
August 7, 2008
Charleston's carriage tour horses and mules got a break from the searing heat Wednesday when the city's official thermometer hit 98 degrees and the city ordered them back to their stables for the first time this year.
Deanne Pace holds her own thermometer as she stands on Anson Street in downtown Charleston on Wednesday. The official city thermometer is located at the South Carolina Sea Grant Consortium's office on Calhoun Street.
Deanne Pace said the animals should have been pulled out of the heat a lot sooner Wednesday and on a lot more days because the city's official thermometer is not on the hot streets where the animals do most of their work. To prove her point, the Johns Island silversmith bought a new thermometer and took it on Tuesday to the corner of North Market and Church streets near where most of the carriage tours operate and stable their horses and mules.
At 3:45 that afternoon, her new temperature gauge read a sweat-beading 106 degrees. She looked around and noticed that several horses pulling tour carriages still clomped along the steamy streets loaded with tourists. Others stood ready to take on more. So, she said, she walked over to a city animal services officer near the stables and inquired. He assured her that the temperature was below the official 98-degree cutoff and showed her the official reading, which came in just under 93 degrees, she said.
So where exactly is the official thermometer anyway?
"The official thermometer used for determining the temperature and the heat index shall be located at the South Carolina Sea Grant Consortium located at 287 Meeting Street."
Inside the Sea Grant Consortium the receptionist confessed that she had never heard of the official thermometer, but offered that she was new and went to another worker to ask. That person also didn't know and took the question to Executive Director Richard DeVoe, who replied, "Really?"
Offered a look at a copy of the pertinent section of city code, he responded "We've never been aware."
So just where is the official thermometer?
DeVoe said maybe what the city has in mind is the little weather monitoring station at 113 Calhoun Street where the Sea Grant Consortium keeps another office. That station monitors for the on-line weather site, WeatherBug.
At 113 Calhoun, next door to Buist Academy, Susannah Sheldon with the Sea Grant Consortium agreed to show where the official thermometer sits.
How hot is it?
She spiraled up three, narrow, squeaky floors of wooden steps to the attic. There rested a bunch of electronic gadgets.
But where is the actual official thermometer?
She walked back down the stairs, made a phone call to find out, walked outside and looked up at the roof. There, on a pole several feet atop the roof's peak, perched the city's official thermometer.
That's up above many of the second-and third-floor piazzas where Charlestonians historically retreat to enjoy cooling sea breezes and escape the heat below on the streets.
This discovery made Pace even more upset. "This is where the horses are," she said. She stood in the middle of Anson Street outside several of the carriage tour stables, shortly after the city put a halt to the tours early Wednesday afternoon.
Watchdog series
The official thermometer reached slightly above 99 degrees about 2:30 p.m. before an afternoon thunderstorm sent the mercury into the low 80s and the horses back to work. But as Pace stood on Anson Street about 3 p.m. her thermometer registered 109 degrees at horse height.
"Why would you take it anywhere else?" she asked of the temperature.
Mary Margaret Baker, tourism management coordinator for the city, said the WeatherBug reading was picked a few years ago after lengthy work by a study committee. The committee felt the WeatherBug site offered a better reading of the actual, ambient temperature instead of readings at street level which could be affected by various things and change by location. And she said the online site is accessible to anyone.
U.S. Weather Service meteorologist Joe Calderone said the service's downtown monitor is near the harbor and tends to read lower than the temperature on the streets. The service recorded a temperature of 94 degrees Wednesday at Waterfront Park, 5 degrees off the record set in 1956. The temperature at the airport hit a record 100 degrees.
But, Calderone said, the best reading for what people experience should be taken from about 6 feet above the ground. Readings made from higher sites, such as the service's airport thermometer, which is mounted 30 feet high, reduce the influence of radiated heat off the ground, "the urban heat island."
At Old South Carriage Co., a big French Percheron named Dick rested in the shade of the stable still hitched and ready to go when the weather cooled. He got plenty of water, a couple of spray-downs and a fan. Driver Becky Anton said they carefully watch the big animals, take their body temperature after each one-hour tour and rest them between tours.
Maria Frank and her family from Myrtle Beach walked up to see if they could take a carriage tour but were told the heat put a temporary stop to the rides. Standing in the sun near where Pace still held her thermometer reading 109 degrees, Frank said.
"We understand."
Coalition To Ban
Horse-Drawn Carriages
A Committee of the Coalition For New York City Animals, Inc.
The Coalition for
NYC Animals, Inc.
P.O. Box 20247
Park West Station
New York, NY 10025


text:
Definition of Plastifier
1. Noun. A chemical agent that causes other chemical compounds to react to form a plastic. ¹
2. Noun. A chemical compound added to a polymer in order to produce a softer plastic material. ¹
¹ Source: wiktionary.com
Plastifier Pictures
Click the following link to bring up a new window with an automated collection of images related to the term: Plastifier Images


text:
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The President Muhammadu Buhari-led All Progressives Congress, APC, has been accused of building more Prisons to accommodate members of the main opposition party, the Peoples Democratic Party, PDP.
The newly elected National Chairman of the PDP, Prince Uche Secondus, who said this, warned that Buhari and his party members may eventually end up in those Prisons.
The PDP also alleged that the government was planning to descend on PDP members in 2018.
This was part of Secondus' statement in Abuja, at the opening of a two-day retreat for members of the newly elected National Working Committee, NWC, of the party.
He said: "We learnt that they are building more Prisons. Let them go ahead and build more. They will be the one to stay there.
"We learnt that they are coming after our members in January. Let them continue. How many people will they put in jail?"
The Chairman, stated that it was wrong to assume that the PDP was not ready to fight corruption, stressing that the regime of former President, Olusegun Obasanjo, established institutions that he said: "are currently waging a war against graft in the country."
The PDP Chairman added that, the former President did not spare members of the PDP then, unlike now when he alleged that the ruling party "protects its members".
"We stabilised the structure to fight corruption. Obasanjo, a PDP President, started the fight against corruption.
"He fought our members. But unlike now, no matter how corrupt you are, if you do not want to be arrested, just defect to the APC", he said.
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text:
The Instigator
Pro (for)
0 Points
The Contender
Con (against)
3 Points
Basketball is a bad sport
Post Voting Period
The voting period for this debate has ended.
after 1 vote the winner is...
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|3 years ago
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Comments (2)
Votes (1)
Accept and debate:
Basketball was originally made for soccer players in thier off season to kep them fit. Iy was purely just for socce players but some cooches thought it was good, so they keppt it goig. (1)) shows how the popularity hates basketball.
Basketball is a waist of peoples time and money, what are you goig to leaarn from it? Nothing. College basketball is just awful.
Seriously, strip away the lathered announcers, exaggerated David and Goliath plot lines and the national gambling fetish, and all that's really left is mostly unwatchable basketball (2).
Basketball is a waist, it is a waist, a waist a waist a wasist. What is the poigt of doing it? I cant belieeve pleople call it s sport. I mena, people get a life. IT is just embarrasing.
For say a domesticqa game you have to pay $10 to play, imagine every Wedesday playig. You would lose $40 dollarts before you knoow it.
Basketball eqipitment is expeensive too (3). Why waist money when you could be getting a job?
Some people aslso think that basketball is goood for fitnes. It isnt. It trouly isnt. People say it is good for running, but the court is short and you can have more than 10 players on a benchs, so you don't get fitnse done even though you throught you would, which would be annnoying, even thogh you paid $10 follars each game or something.
Overall, basketball is terrible. It just is!
(2) http://www.mercurynews.com...
(3) http://www.google.com.au...
Basketball is defined as according to http://www.thefreedictionary.com...:
bas·ket·ball (băs′kĭt-bôl′)
1. A game played between two teams of five players each, the object being to throw a ball through an elevated basket on the opponent's side of a rectangular court. Players may move the ball by dribbling or passing with the hands.
According to the book 'Basketball' written by Peter Murray and published in 2008:
'Canadian born, Dr. James Naismith invented the sport of basketball in 1891. Under the instruction of the Head of Physical Education, Naismith was given the task of providing an "athletic distraction" for a bored and unruly class by inventing a game that would keep his students entertained and occupied as well as physically fir during the long, harsh Massachusettes winters.'
Basketball is a very physical and mentally challenging game. Yes the court is only 28 meters long and 15 meters wide, but when you go defense or you get a fast break, you have to sprint your gut to get back. You have to sprint over and over as fast and as hard as you can. http://www.livestrong.com... proves even at a medium paced game you can lose over 300 calories.
Ever since obesity is growing every year, shouldn't we be encouraging people to do sport?
Pro stated that basketball is expensive. I believe it isn't so. Basketball is cheap unlike other sports. All you need is a ball and two rings. There are many free hoops out in the urban area too, so it isn't like they are hard to find. You only need to pay (sometimes) for indoor courts, and if so it is usually $2-$8. If you think basketball is expensive; what about equestrian, polo, Formula 1, sailing, pentathlon, wing suiting, bobsledding, ski jumping and heaps more. Basketball overall, is cheap.
Basketball is also popular in society. It is 'cool' to be playing basketball and encourages younger and older people to play. Whilst being cool the sport is available for all ages. You can be competitive or play social basketball. It is a great source of fitness and it is social as there are usually 6+ players in a team.
Pro said that college basketball was pathetic. If people want to be good at something, they have to work for it. College basketball selects the best ballers and provides specialised training to improve their game. Majority of ballers would love to go to college and train with the experts.
In source (2) of your debate, you posted this website: http://www.mercurynews.com.... This was a tournament held in the US. Nothing to do with you point of 'basketball is bad'.
In addition, basketball is certainly a great source of fitness, suitable for all ages, is trendy, is cheap, if fun and provides excellent training if you want to excel and be the greatest you can be. It is definetly a great sport enjoyed by all, played by all and loved by all.
2 comments have been posted on this debate. Showing 1 through 2 records.
Posted by ColeTrain 3 years ago
Posted by M4sturDebater 3 years ago
1 votes has been placed for this debate.
Vote Placed by kingkd 3 years ago
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Reasons for voting decision: Con proves more benefits than harms in physical activity and in entertainment. Pro's arguments are properly refuted in that basketball is not expensive, and more.
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