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Frequently Asked Questions
What is Tonic DM?
Tonic Document Management is a cloud-hosted and easy-to-use email, RFI and submittal management system specific to design teams in the building industry.
What can Tonic DM be used for?
You can use Tonic DM to file and search project email, send large files (and folders), and track RFIs and submittals within your organization. You can collaborate with other organizations by forwarding items for them to respond to. You are always in control of what you manage internally, and what you collaborate on externally.
What makes Tonic DM different?
We are 100% dedicated to professionals in the building industry. This allows us to build project information management tools that are more focused and easier to use.
What is Zero Data Entry?
Re-entering data that already exists is just plain painful. Tonic DM focuses on providing features that eliminate this. For example: import an RFI or submittal from Procore, forward it to consultants, receive their replies and submit your response back to Procore, all with a few clicks. We can also import email notifications from contractor systems to save most data entry.
Do the people I send items to also need to be Tonic DM users?
No. When you send out files, or collaborate on RFIs and submittals, your recipients will receive an email notification which includes a link they can use to access the information.
However, if they also use Tonic DM, the items you send them will automatically be filed in their organization's Tonic DM account, and their responses back to you will be automatically be filed with the items you sent them.
Is Tonic DM intended to replace our company server?
No. Tonic DM is intended to be an organized copy of the email, issued files, RFIs and submittals that you want to keep for record purposes. It is not intended to replace your organization's file server.
Do I have to install software?
Tonic DM is a web application, so there is no software to install and there are no servers to manage.


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Login/Create Account
Check Out the new Remax App
Ask Me Anything
I have been a Real Estate agent for over 12 years in Whatcom County. My focus is on education of the client and a steady hand during a stressful complicated transaction. My experience is varied from bank foreclosures to high end homes. I love working with people and getting them where they need to go, either in to a home or out of a home.I help chair a golf tournament for Domestic Violence and Sexual Assault Services which I am committed to help.

subset: commoncrawl


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Fred Benson Town Beach Pavilion: Located at the heart of Crescent Beach, this pavilion offers a concession stand, bathroom and shower facilities, beach rentals and life guards in the summer months.
Bicycles can be rented at Beach Rose Bicycles located at the Rose Farm Inn. Beach Rose Bicycles maintains a high quality fleet of Trek and Raliegh bikes for the whole family.
North Lighthouse is located at Sandy Point on the northern tip of Block Island. The North Lighthouse warns boaters of a sandbar extending from this end of the island. The surrounding dunes are part of the Block Island National Wildlife Refuge, home to many species, including the Piping Plover and American Burying Beetle. A short walk away from the North Lighthouse lies the tip of the island, with ocean on both sides of a thin strip of land.
Shopping and additional dining options in Old Harbor are just a short stroll from the Rose Farm Inn.


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I am thrilled to be hosting a spot on blog tour for THE SKYLIGHTER by Becky Wallace! I freaking LOVED this series!!! I have an interview with Becky to share with you today! And make sure to enter the awesome giveaway for a finished copy of the book!
Haven't heard of THE SKYLIGHTER? Check it out!
Title: THE SKYLIGHTER
Author: Becky Wallace
Release Date: March 22, 2016
Pages: 432
Publisher: Margaret K. McElderry Books
Formats: Hardcover, eBook, audiobook
Find it: Goodreads | Amazon | Barnes & Noble | iBooks
Johanna and Rafi are in a race against time to save their country before a power-mad Keeper destroys everything they hold dear in the "enthralling magical world" (Cinda Williams Chima, author of The Heir Chronicles) introduced in The Storyspinner.
As the last of the royal line, Johanna is the only person who can heal a magical breach in the wall that separates her kingdom of Santarem from the land of the Keepers, legendary men and women who wield elemental magic. The barrier protects Santarem from those Keepers who might try to take power over mere humans…Keepers who are determined to stop Johanna and seize the wall's power for themselves.
And they're not the only ones. As the duchys of Santarem descend into war over the throne, Johanna relies more than ever on the advice of her handsome companion, Lord Rafael DeSilva. But Rafi is a duke too, and his people come first. As their friendship progresses into the beginnings of a tender relationship, Johanna must wonder: is Rafi looking out for her happiness, or does he want the throne for himself?
With war on the horizon, Johanna and Rafi dodge treacherous dukes and Keeper assassins as they race to through the countryside, determined to strengthen the wall before it's too late…even if it means sacrificing their happiness for the sake of their world.
Now on to the interview!
Hi Becky! First I want to say welcome to Two Chicks on Books! I freaking LOVED THE KEEPER'S CHRONICLES and I know my readers will as well and am so happy that you could stop by for a visit!
For the readers: can you recap where we left off after THE STORYSPINNER and what we can expect from THE SKYLIGHTER?
THE SKYLIGHTER picks up right where THE STORYSPINNER left off. Here's my short summary:
War is coming.
The magical wall that protects Santarem is falling.
Johanna and Rafi must defeat treacherous dukes and dodge magic-wielding assassins to save their people from slavery and destruction…
Even if it means sacrificing their happiness for the sake of their world.
Okay, the last line is not part of my official summary. I just like the way it sounds.
So…. What are you writing now??? Please say a story from Dom's POV!
I would LOVE to say that I'm writing Dom's story, but whether that story gets picked up depends on how well SKYLIGHTER is received! *crosses fingers*
But other than that, I'm working on another fantasy in a totally different world. It's a much closer story than my duology, focusing on only two characters and the dangerous appeal of magic and power.
Who was your favorite character to write? What about your least favorite?
Dom is my favorite character to write because he's so FUN. I'd love to hang out with him in real life because beyond the good looks, wit, and charm, he's passionate and caring. Also, easy on the eyes. Did I mention that?
I don't have a least favorite, but the hardest character to write in SKYLIGHTER was Pira. Oh, the stuff I put her through…*cringe* Trust me, you'll totally understand when you read chapters 45 and 46. I'm sorry, Pira!
What is your favorite passage/scene in THE SKYLIGHTER?
I love the Inn Scene because…
Yes. That.
I also love Rafi-the-Warrior scene. You don't get to see him in action very much in THE STORYSPINNER, but you get a lot more sword-wielding, butt-kicking, gauntlet-throwing moments in THE SKYLIGHTER. Also, he wears this painfully ugly little shirt, which I find hilarious. He manages to be a total Bad A while wearing a multi-colored sheep shirt.
Sheep Shirt. Say it with me. It gets funnier with repetition.
What kind of research did you have to do for the story?
I learned a LOT about European influence on South America, specifically northern Brazil. The colonization by both the Portuguese and the Dutch really changed the culture, architecture, language, and food. I grounded the world of Santarem in that era, and it's beautiful in my head! Here's one of the pictures that inspired me:
Photo credit: Jennifer Chen
What are you reading right now? Or what do you have on your TBR that you're dying to read?
I'm currently reading Lee Kelly's A CRIMINAL MAGIC. I love the fantastical twist on the prohibition era and mobster magicians!!
I'm looking forward to Victoria Schwab's A GATHERING OF SHADOWS. It's on my kindle right now, but I can't open it until I finish the draft of my current project. It's good motivation! ;)
Who is your ultimate Book Boyfriend?
Gavriel Duval from Robin LaFevers GRAVE MERCY. I've read dozens of EXCELLENT YA books since GRAVE MERCY released, but none of the love interests affected me like Duval. The scene where he comes into Ismae's room and is sitting on the floor beside her bed, and she's trying to decide if she should reach out and touch him or not??? Yes, please. More of that. Forever.
What inspired you to write YA?
I have four small children, and I write for them and the teenagers they'll become! I believe books teach us empathy and inspire our imaginations. I hope my children will look at the world with open hearts, and seek EVERYONE'S backstory before making a judgement. And if they can't learn or understand why people do or believe a certain way, I hope my children will create a backstory that allows them to see every person in the kindest light.
Lightening Round Questions
Twitter or Facebook?
If the sorting hat were to place you into a house at Hogwarts which house would you be put in?
Hufflepuff. Niceness can be a curse.
Favorite Superhero?
Captain America because Chris Evans.
Favorite TV show?
So You Think You Can Dance or Dancing with the Stars!
Sweet or Salty?
Any Phobias?
The list is long: heights, naturally occurring holes (trypophobia), small caves and tunnels (not really claustrophobia because it's only caves and tunnels…weird, I know), water that I can't see through (just because you can't see the shark doesn't mean it's not there), and cluttered counters.
Song you can't get enough of right now?
I find myself listening to Shawn Mendez's Stitches a lot…which I find painfully embarrassing to admit for some reason.
Upcoming Movie you're most looking forward to?
The new Jason Bourne Movie! Did y'all see the Superbowl Commercial? I rewound the game and watched it twice. SO GOOD.
Thanks so much Becky for answering my questions!
About Becky:
In second grade, Becky Wallace had to sit in the corner because she refused to write anything besides princess stories and fairy tales (and because she talked too much). Her time in isolation gave her plenty of opportunities to dream up the fantasy worlds she's been dabbling with ever since. She was lucky enough to find her own, real-life prince charming. They have four munchkins and live in a happy little town outside Houston, Texas.
Giveaway Details:
5 winners will receive autographed SETS of STORYSPINNER and SKYLIGHTER with swag, US Only.
10 will receive swag sets, US Only.
Tour Schedule:
Week One:
3/14/2016- Once Upon A Twilight- Interview
3/15/2016- Jessabella Reads- Review
3/16/2016- Owl Always Be Reading- Excerpt
3/17/2016- Take Me Away To A Great Read- Review
3/18/2016- a GREAT read- Interview
Week Two:
3/21/2016- Mundie Moms- Review
3/22/2016- Supernatural Snark- Guest Post
3/23/2016- Wishful Endings- Review
3/24/2016- Two Chicks on Books- Interview
3/25/2016- Seeing Double In Neverland- Review
Start where it all began!


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Organize your garage and cut the clutter with this garage storage system that you can easily customize to fit any space and can hold just about anything. You can quickly move hooks, shelves and bins around to find the most efficient arrangement. And the entire system is inexpensive and easy to build. You only need two power tools—a circular saw and a drill.
image credit: Jackman Works
Workshop storage is a constant battle, but the use of a french cleat storage system will securely display your tools and accessories, keeping them off your table and out of your drawers.
image credit: Jackman Works
In the video above, Jackman Works demonstrates how bilds and uses a french cleat system to store his tools. You can get step-by-step instructions for her setup at his website. "In my shop there is a small area I share with other tenants with some food storage and a fridge and microwave, so I decided to close it off to keep the dust out and add a bunch of wall and loft storage space."
The frame is all 2×4 construction, fastened together with 3″ deck screws (because I had an excess on hand). It was fastened to the walls with 3″ deck screws and to the floor with concrete anchors in a powder actuated gun.
The french cleat panels were used in my last apartment for storage and I moved them with me to my new place, but the fit perfectly in my shop. The door was salvaged from my grandparents house when I built them a newer, beefier door. Enjoy!


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Sam is expanding and bringing in her passion and knowledge of ceremony to our studio now on a regular basis. The ceremony is revered in every culture, religion, and country; and often overlooked here in Canada. Ancient traditions and truths are held in these different ceremonies and we will offer you a variety of ways to practice ceremony, a variety of intentions or themes, a variety of guest teachers to join us over the next several months. This is an ongoing special class being held a couple of times a month on Saturday nights from 6:30-8:00 pm.
Each Ceremony Session will be a combination of asana, meditation, pranayama, soul work, and learning. We will cover a vast array of "modalities" such as crystals, chakras, reiki, aromatherapy, tarot, fire puja, Kirtan chanting, and connection. Sam will have a special gift each week that you can take home and add to your altar, talisman, pocket or bag of tricks! You don't need to commit to a certain number, you may drop in for $25 whenever you feel. Keep a lookout for our posters we will announce our themes and intentions a few weeks prior, so pick your favorite or try them all. I look forward to sharing the time, space and powerful practice with you.
About This Ceremony:
Tea ceremony, tarot, meditations, holding space and talking about why November is a powerful month for proactive change.
Saturday, November 23rd, 2019
$25 + GST per person
with Samantha Ranson
Call 780.960.0868 to reserve your spot.


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Simple Plant-Based Nutella
Who doesn't love Nutella? Or at least has. Regular cow breast milk infused Nutella was something I ate as a kid and loved it. Unfortunately, I was not aware about the bad things about it. I now know that Nutella doesn't even contain that much hazelnuts, It's in this order: white sugar, palm oil, milk powder, hazelnuts and cacao. Ew.
So, I tested some healthy plant based versions of "Nutella" and finally came up with the perfect mix (in my opinion). This one is creamy, smooth and ridiculously delicious even though it's white sugar and oil-free.
You can have this spread on almost everything! I have it on toasts (whole wheat/grain), oatmeal, nice cream.. etc. If you don't eat the whole jar directly after you made it of course J Check out my Instagram @fivesechealth to see a video of this recipe! Scroll down to get the written recipe.
Simple Plant-Based Nutella
- 1cup roasted and peeled hezelnuts (I bought these ready)
- 7 soft pitted dates
- 6tbsp cacao
- ¼ cup agave syrup
- ¼ cup oat milk (or other plant milk)
- Put the roasted nuts in a food processor and blend until it forms a butter
- Now add rest of the ingredients and blend until smooth
- Put it in a jar and put in the fridge until you need it.


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Today, Governor Dannel P. Malloy presented the General Assembly with his Fiscal Year 2018 – 2019 Biennial Budget Address.
State Representative Dave Yaccarino (R-North Haven) issued the following statement in response to the announcement:
"After listening to the governor's budget proposal with an open mind and heart, I am very disappointed with his approach. He was uninspiring to say the least. I am disappointed that the governor's comments did not address the need and the ability for Connecticut to do better. The governor's message focuses on shifting the burden onto the middle class and puts greater pressure on taxpayers because of years of failed policies – that is not democracy. We should work together with all stake holders to make Connecticut a better place to live, work and retire," said Yaccarino.
"We need to focus on being optimistic. We must challenge each other and try to rebuild our state. We have opportunities that we haven't even tapped into. Connecticut has a rich heritage and history of innovation. We should be challenging universities, businesses and people to come here and embrace what we have. I believe in opportunity and innovation, that's what our nation was built on," added Yaccarino.
State Rep. Dave Yaccarino represents North Haven. He is Ranking Member of the General Assembly's Commerce Committee and a member of the Screening and Executive and Legislative Nominations Committees.


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SAN PEDRO SULA, Honduras — Her slender wrists still red from the handcuffs, she stepped off the airplane on the 36th day of her journey, back where she began.
Diana Aguilar paid $4,000 to her smuggler, which would afford her two more chances at crossing illegally into the United States, but one deportation was enough.
"This is my first time, and it will be my last," the 23-year-old said. "This was a bad experience."
The Obama administration has accelerated its deportations of Central American migrants to try to discourage people such as Aguilar from entering the United States illegally. During the past year, the number of migrants crossing into south Texas, particularly children traveling without their parents, has risen sharply.
In the past two weeks, the United States has dispatched two airplane flights to San Pedro Sula of deported migrant women and children — about 100 people. And the number of adult deportations to Honduras — at just under 23,000 — has set a pace to surpass last year's total, according to the Center for Assistance to Migrants, a nonprofit group that assists deportees when they arrive at the airports. Mexico, which can deport Central Americans by bus, has been sending children back in even higher numbers.
"We've never had deportations like we're seeing now, of children," said Valdette Willeman, the organization's director. "We're not prepared here to receive children. This center wasn't built for that."
In recent weeks, the attention to the immigration crisis seems to have changed the perception among many would-be travelers about how they will be greeted if they reach the United States. The rumors that had spread widely earlier this year that Central American women and children would be granted "amnesty" if they reached U.S. soil prompted many families to leave.
"I want to be very clear about something: Violence and poverty have existed in our region for a long time. But what created this problem also has a lot to do with the lack of clarity in U.S. immigration policy," the Honduran first lady, Ana Garcia de Hernandez, told reporters recently.
But the stricter enforcement along the route and comments by Obama administration officials that children would be deported seem to have dispelled the notion of easy entry to the United States. U.S. Immigration and Customs Enforcement is flying up to 10 planeloads per week to Guatemala, Honduras and El Salvador, and has reduced the time needed to process deportations. The Obama administration is also considering a plan for Hondurans to apply for refugee status in their home country, where gang violence rages.
When deportees land at the airport here, they are given a bag with toiletries, food staples such as flour, sugar, rice, beans and coffee, and a small stipend for bus fare home.
Some of them say the new difficulties involved in reaching the United States will not deter them from trying again.
"I think most people will try to go back," said Jorge Vazquez, a 30-year-old construction worker from Tegucigalpa who was deported from Texas this week. "Because when you have kids, you have to try to help them get ahead. I'm going to wait and save, and as soon as I have enough money, I'm going to go again."
Others, such as Aguilar, say they can't stomach another failed attempt. Aguilar set off by bus from Honduras last month with a group of 45 other migrants because she couldn't find work in her home town. Two of her brothers, whom she hasn't seen for eight years, live in Baltimore, she said, and they helped pay for the smuggler.
At one point, she said, each passenger had to pay 100 pesos (about $7) to Mexican police to let the bus pass. The smuggler arranged other payments to drug cartels, such as the Zetas, when they passed through their territory. Twice a day the group ate simple meals, such as eggs and tortillas, and along the way they slept on the floor in safe houses they called "bodegas."
Her group was divided in Reynosa, the Mexican border town across the Rio Grande from McAllen, Tex., where most of the recent wave of migrants have crossed. After two days trying, Aguilar said, she crossed the river by boat and made it to a safe house in McAllen, but she was stopped at an immigration checkpoint on the way out of town.
Aguilar said she was in U.S. custody for about eight days, moving among various detention centers. At times she was shackled by the wrists, ankles and waist.
"They treat you like you're an assassin," she said. "People will always look for a way to go back there, but I'm not going to try again."
"I think I was lucky, because thank God nothing happened to me," Aguilar said. "I heard so many stories of people who were found dead along the way, dead children."
There is just one thing she will remember fondly: the flight home.
"It was my first time on an airplane," she said.


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This elegant dish is deceptively simple. It looks beautiful and delivers on flavor, but at it's heart it is a meat and potatoes dish. The first duck dish that I posted showed you how to cook "sous vide." While I do think that technique is worth learning, for this post I am keeping things simple and will use the more conventional technique of pan searing the duck breasts and then finishing them in the oven. The accompaniment is mash potatoes that have been enhanced with some beet puree that adds both color and depth of flavor. The sauce is a simple wine reduction that has just 3 ingredients and takes minutes to make.
Serves 4 Prep time 20 minutes, cooking time 1 hour
2 duck breasts
500g potatoes, peel & cubed
200g beets, peeled & cubed
50g beets, peeled & jullienned
50g butter
50ml milk
50ml 35% cream
1/4 bunch red grapes
400ml red wine (cabernet or merlot)
50ml red wine vinegar
100g sugar
1 bag mache lettuce (or arugula)
200g carrots, julienned
olive oil, salt and pepper
Preheat the oven to 175C/350F.1. In two separate pots, boil the potatoes and beets in salted water until a knife runs easily though them. The potatoes should be done in about 30-40 minutes. The beets will take twice as long. Strain, then mash the potatoes with the butter, milk and cream. Strain the beets, then purée in a blender with a small amount of the cooking liquid. Stir the beet purée into the mashed potatoes. Season with salt & pepper.
2. Meanwhile, score the fat of the duck breasts, season with salt and pepper and place in a cold frying pan, fat side down. Put the pan on medium high heat and sear the breast until golden brown on each side. Finish the breast in the oven for 8 minutes.
3. Remove the duck breast from the pan and let rest. Reserve the fat that has run off. Cut the grapes in half and then fry them in the reserved duck fat.
4. Toss the mache or arugula, julienned beets & carrots with olive oil and a splash of red wine vinegar. Season with salt & pepper.
To serve:
1. Divide the beet mash among 4 plates.
2. Slice the duck breasts and place 1/2 breast on each plate, over the mash
3. Garnish the plates with salad and sauteed grapes, drizzle with red wine reduction.


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Is it Hot in Here? Recognizing an Early Menopause SignAs women approach the age at which they can no longer reproduce, it is important for them to know what is going on with their body, and to watch for an early menopause sign or signs. This will let them know that they are beginning the change of life. An early menopause sign is usually a symptom of peri-menopause. To know what exactly that is, listed below is some symptoms and causes on this stage of reproductive life:
What Peri-Menopause isWhen a woman reaches her late thirties or early forties, she may begin to experience changes in her body. This process is known as peri-menopause, the point at which the hormones estrogen and progesterone that initiate ovulation are ceasing production. This stage of menopause can last from two to ten years before actual menopause and cessation of menstruation occurs. At this point it becomes very difficult for a woman to become pregnant, as her ovulation rate slows down.
The Signs of Peri-Menopause
One early menopause sign that may affect your intimate life is your sex drive. As your ovulation is decreasing, so is your desire to have intercourse. This may or may not cause a problem with you and your spouse, but if it does, then be sure to be open and communicate with them about what is going on with your body.
Visiting the DoctorIf you begin to experience an early menopause sign, then you may want to schedule an appointment to see your doctor. Although he or she will probably tell you what you already know is going on, they will give you a professional opinion on what kinds of hormones you should consider taking, or other options to help with the symptoms.
Hormone therapy may be a good choice if the symptoms become too much to handle, or if you want to keep from having your bones degenerate, as estrogen and progesterone aid in keeping your bones strong and healthy. So, with the proper treatment, you are sure to effectively deal with your symptoms.


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Songs With Lyrics Blogs
Videowithlyrics.com offering Music videos and lyrics of the popular and latest music releases.. covering the famous artists, their hits and popular albums.
Owner: Sonali_Jain
Listed in: Music
Other Tags: videos, lyrics, songs, video songs, song lyrics
This Blog is all about Positive Love Poems, and Positive Love article.
Owner: Jay_Dave
Listed in: Personal
Other Tags: Love,, Spirituality, Love Poems, Romantic


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MyCareerMatch is a dynamic higher education marketing
and engagement tool that attracts more students, builds relationships and increases enrolments.
Increasingly, university marketers are adopting communication strategies based on individual students' preferences and behaviours. In an age where students want personalised content, MyCareerMatch is your marketing partner for domestic and international student recruitment.
Students love MyCareerMatch because it's all about them. Students are matched to 'best fit' careers and the courses that you offer. You become the trusted brand in your market, inspiring future students to study with you.
MyCareerMatch also engages with parents who see it as a careers conversation starter. Studies show the earlier parents engage with their children about what they'll do when they leave school, the better the outcome.


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This week I'll roll over 1000 miles of regen according to the lifetime statistics reported by the car. With over 4000 miles on the odometer this means that I've recovered a good 1/4 of the miles driven. This seems odd to me since my commute in always seems to report out 3 miles of regen for my 15+ mile commute. I do notice, however, that my workplace is at a higher elevation than my home–thus my commute to work in the morning consumes more electricity than my trip home. In the Focus Electric this is borne out by the "status" number reading as much as -10 on the way in, but by the time I get home it reads +10.
Speaking of that Status value: If you don't own, or haven't driven a Focus Electric before you don't know what I'm talking about. When you "start" a FFE the car keeps two numbers on the dash:
- The current estimated distance to empty (EDTE)
- The estimated distance to empty when you started the car (I'll call this ODODTE)
The EDTE value will fluctuate (sometimes wildly) as you drive: The car constantly recomputes the EDTE based on your driving style (drive for 20 miles down a 25 mph street and watch as the EDTE increases giving the appearance that you are charging; likewise drive down the highway uphill and watch as the EDTE plummets).
The ODODTE value decreases with the odometer: for each mile you drive the ODODTE value will also drop by a mile.
The status display basically just shows the difference between these two numbers (when no destination is set on the nav system–more on this later). Thus if you start the car with a full battery and its showing the EDTE as 80 miles the ODODTE will also get set to 80. Now if you drive down that 25 mph road your status value will start increasing as your EDTE increases or if you dash down the highway the status value will go negative as the EDTE value drops below the ODODTE value.
Now if you program in a destination to the Nav system and tell it you will be charging there the numbers reported on the dash will change: ODODTE now becomes the distance to your destination which means that the status value becomes the amount of estimated range left in the battery once you get to your destination. This information is much more useful as the # of miles remaining after your destination gives you and indication if you'll need to charge there or not–helpful when planning and driving on a trip that is longer than a single battery charge.
Note that there are a ton of goodies on the FFE's dash more than just the values discussed here. Something I'll have to address in a future post: The FFE's customizable dash.


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Guest Post: On Women, Start-Ups and Travel: Defending an Open Mind
From time to time I'll host guest posts on The Traveling Philosopher. I don't pay, but I can give you an opportunity to be heard and give you link juice, and if I like you, than I might buy you a drink *cue T-Pain music*. Today's guest post is by Alisha Miranda. Alisha is a certified Travel Geek and proud Brooklynite. Since taking off on her first international solo trip this past spring, she hasn't stopped dreaming of traveling through the world of ancient Spanish cultures. Today you can find her rubbing elbows with travel professionals as she plans to dominate the travel scene once again soon.
I will probably never be married with children. But, I'm okay with that. I'm 24 and only recently have I figured out what I want for my career, let alone life. I am a non-conformist, safe to say, playing by my own rules and sparing no one on my way to the top. I've also become a strong believer that incorporating travel into one's life will invigorate inspiration, educate and stimulate your mind, and provide a unique release from the woes of normal life. So when I come across people, articles, and debates that deliver close-minded assumptions for how I should live my life, I can't help but speak up and defend my views (see: previously and furthermore).
My outlook on being (1) a young adult female (2) with a career, and (3) lust for travel is what I'd like to discuss and argue in response to Tech Crunch's ignorantly insulting and offensive piece by Penelope Trunk. I should disclose that I myself have worked in the start-up world for a few years now, have even experimented with my own side freelance business, and am good friends with quite a number of women who are successful business owners themselves, happily raising families. With all these factors included, I have learned that success is not defined by how much money you make, but how happy you are. Everyone defines success and happiness differently, so for Trunk to suggest otherwise is a mistake that deserves some rebuttal.
I surely don't believe everyone is the same, or that everyone should live and work the same way, because we all have different passions, interests, ethics, and so on; therefore, we cannot be all pooled together. Penelope Trunk's argument in Tech Crunch goes against everything I am, believe in, and choose to be. To be told that I should be like every other woman in this country is simply degrading. Not only do I disagree with Trunk's premise entirely, but also I found some of her statements to be contradictory. Here are some points I'd like to address (beware: angry Rican on the loose):
"Startups move at break-neck pace, under a lot of pressure to succeed bigger and faster than any normal company. And women don't want to give up their personal life in exchange for the chance to be the next Google."
I for one would like to see the statistics behind this. As I now have come to know, respect, even admire, more women than men running their own ventures with more balls than I've ever imagined. Speaking on my own behalf, I'd like to say that I've managed to NOT give up a personal life in exchange for that kind of success. Yes – I work insane hours with a lot of pressure and perhaps not making great amounts of money, but I'm doing it my way and I still pitch my ass off to the people I know will support me in the end. Plus, to assume all women want to be a company like Google is just dumb. How would you know and who are you to speak on their behalf?
"Women are under real pressure to have kids, though. They have a biological clock. So women who are the typical age of entrepreneurs—25—need to be looking for someone to mate with. Think about it. If you want to have kids before you're 35—when your biological clock explodes—then you need to start when you're 30, allowing for one miscarriage, which is more probable than most young people think. If you need to start having kids when you're 30, you probably need to meet the guy you're going to marry by the time you're 27, so you can date for a year, get married, and live together for a year before kids. If you need to meet that guy by 27, you are very distracted during your prime startup time."
Here's the kicker with this woman. This is by far the part that baffled and enraged me the most. I find it incredibly offensive that all women have to abide by this so-called "biological clock." Honestly, who even uses that term anymore? By her standards, I should be pregnant right now with my future husband waiting for me to sign over my life and a house in the middle of the country away from any remotely exciting city or opportunities. I should just give up now! News flash: I'm as single as can be and perfectly fine with it. I have the rest of my life to settle down with or without a mate who I may or may not want to pop out kids with. Frankly, I've never even imagined myself married with kids. Realistically, I envision my thirties as a happy single mama of an adopted child chillin' in the parks of New York City. Also, having made strong friendships with women older than me who are nomadic businesswomen, it has come to my attention that more and more women do NOT aspire this wholesome mom life at all. They have bigger and better dreams for their career and their life – dreams that in many cases have become reality! I know women who have traveled the world over, falling in and out of love with "probable mates", but instead chose to pursue a life of their own, on their own, for their own reasons; and I couldn't commend them more. Furthermore, travel has proved to open more doors for women of all ages and life stages in a number of fields including start-ups, multimedia platforms and independent projects; therefore, to limit a woman's choice based on her age and marital status is flat out offensive.
"And I'm not even going to go into the idea of women having a startup with young kids. It is absolutely untenable. The women I know who do this have lost their companies or their marriages or both. And there is no woman running a startup with young kids, who, behind closed doors, would recommend this life to anyone."
Let me shout out a few names to ya, homegirl: Melanie Renzulli, Carol Cain, Julie Schwietert Collazo, Francesca Folinazzo, Kimberly Nyström, Amer DeGrace, Christine Gilbert, Kim Mance, and Bethenny Frankel. These are just a few of my favorite women who also happen to be doing quite well with their own businesses (primarily writing), while running a household full of babies and husbands. Plus, they also encourage other women to pursue their dreams of starting their own careers. So I'd think twice before assuming all women want that passive, domestic role.
The real crime with Trunk's outlook and article is her false assumptions of career-minded women. She claims women don't want to run their own businesses because they would rather settle down with a husband and kids, and this is false. Gathering conclusions from stereotypical female roles is just cornering us into a box from which we need to prove ourselves even more. What Trunk fails to acknowledge is that using our other passions such as travel, we as women are able to fulfill our dreams outside that box, breaking the norm, and seeking our own happiness on our own terms. In fact, I have seen first-hand how travel can further a start-up company with engaging content, lively community and inspiring affiliate programs. Whether we women choose to have a husband and child at our side in that process is our own decision and not to be judged by others who have failed in that path previously. Just because you chose to abandon your start-up to live on a farm with a husband and some kids, doesn't mean we all should follow in your footsteps.
But, to each his own.


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Establish Paternity
Paternity means fatherhood. Establishing paternity is the legal process of determining the biological father of a child. When parents are married, in most cases, paternity is established without legal action. If parents are unmarried, paternity needs to be established. Paternity can be established by a court order or through the Paternity Opportunity Program (POP). The process should be started by both parents as soon as possible for the benefit of the children.
Until paternity is established, the father does not have the legal rights or responsibilities of a parent. Establishing paternity is necessary before custody, visitation and child support may be ordered by the court. (Note: custody and visitation issues are handled separately from child support.) A permanent child support order cannot be established for a child until either the alleged father admits paternity or it is proven that he is the father. If the man does not admit that he is the father, the court may order the mother, child and alleged father to take genetic (DNA) tests.


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Monica Douglas-Clark
My name is Monica Douglas-Clark
I'm also known as The Rebel Reverend.
I inspire change-makers and business rebels to be authentic, abundant and fulfilled.
I am an Inspirational Speaker, Spiritual Abundance Mentor & Business Rebel. The 'rebels' I work with are often difference makers, talented professionals and care givers who sometimes feel exhausted, frustrated or unsupported. They often have a tendency to over-do "everything" because of a secret fear of not being good enough, an inability to say 'no' to unreasonable demands and difficulty in accepting help.
This has an impact at home and work.
I call my 'difference maker' clients 'rebels' because they have a cause, they want to live fully and die happy but don't fit neatly in a standard box. They know they're here for a bigger purpose and they may or may not know what that is yet. There's a soul rebel within them who is attracted to the idea of authentic spirituality, who is ready to be deeply creative, who wants to say 'no' to the pressure to conform, who is ready to stand up for truth and integrity, and wants to say 'yes' to an abundance of love, joy, peace and prosperity to leave a lasting positive legacy for their loved ones and the world.
I have over over 20 years experience in merging the fields of professional, personal and spiritual development as a government officer, social activist, business director, evolutionary business leader, wellness coach, yoga teacher trainer, ordained interfaith minister and spiritual counsellor for people of any faith or none.
I support my clients through my book "The Reap Abundance Guidebook", my Podcast The Spiritual Kitchen, Inspirational talks, Online courses at rebelrev.net, Transformational 1:1 soul guidance packages, bespoke ceremonies and retreats. You can arrange a consultation to find out which approach would suit you best at this time of your life.
I work globally online and I'm based between Burton, Birmingham and Barbados. I live a vibrant, inspired and abundant life with my beloved husband Simon, my eclectic family, and a prosperity-bestowing cat called Lakshmi.
READ more about my ongoing journey in the Rebel Rev. Reflections Blog.
WANT to be
authentic, abundant and fulfilled?
Download your FREE Reclaim your Rebel Journal below.
Rev. Monica Douglas-Clark – The Rebel Reverend


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Want to bet big on fossil fuels? Plunk down some money on Frac Daddy in Saturday's Kentucky Derby.
The colt is owned by a pair of Montana oilmen, Carter Stewart and Ken Schlenker. They told Forum News Service that the name was a natural choice, since the horse's sire was named "Scat Daddy." They're pitching it as "a tribute to the oil field workers of America," particularly those involved in fracking.
The owners have made their fortunes in the Williston Basin, which has seen a boom in oil production thanks in large part to hydraulic fracturing technology. Whether the name fuels interest from bettors remains to be seen. Frac Daddy was posted as a 50-to-1 longshot as of Friday morning. Among the factors in the colt's favor, Louisville Courier-Journal turf writer Jennie Rees notes that he has run well at Churchill Downs in the past. The main drawback: "He's too slow."
Thoroughbred names are supposed to avoid political controversy, along with obscenity and poor taste. But as T.D. Thornton explained in Slate in 2007, plenty of edgy monikers have slipped through the cracks over the years. And while Frac Daddy may raise the hackles of a few environmentalists, it's certainly no more pungent than "Hoof Hearted." Regardless, greens will be watching closely to see if the horse's grooms clean up after it or just leave its waste products to fester in the open air.


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Home Residential Installation
Snohomish homes satellite TV dish installation for homes, residences, condos, apartments and any residential structure.
Home Satellite Sales & Service was founded in 1995.
We have been doing home satellite TV installations for 22 years.
We primarily service Snohomish County and surrounding areas.
We offer fast professional local near me friendly tv dish installer services.
We are proud of our work, and enjoy serving the greater Puget Sound areas.


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This question already has an answer here:
- Why can rm remove read-only files? 3 answers
I've been experimenting with file permissions and ownership lately, and I tried this:
touch a
sudo chown root:root a
sudo chmod 000 a
I can't read, write, or execute the file, but I can still delete it using
-f. Why is this? I don't own the file, and nobody has any permission for the file. Shouldn't you need root to delete a 000 file you don't own?
---------- 1 root root 0 Apr 3 20:18 a


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New and Noteworthy IDEA 2004 Updates
by Tina Spencer, M.S., and Lee Anne Sulzberger, M.Ed.
On December 3, 2004, the revised Individuals with Disabilities Education Improvement Act of 2004 (IDEA 2004) was signed into law. All provisions of this law became effective July 1, 2005. Several changes that may be of interest to parents are outlined below. Due to the complexity of this legislation, readers are referred to the Guidance Document on the Implementation of IDEA 2004-Part B Requirements. The following highlights have been taken from this document.
School divisions cannot require parents to obtain a prescription for a controlled substance (i.e., medication) as a condition of their child attending school, being evaluated, or receiving services under IDEA.
A teacher or specialist may screen a student for the purposes of determining appropriate instructional strategies for curriculum implementation. This type of screening is not considered an evaluation for eligibility for special education and related services.
School divisions are no longer required by the state to use the difference between achievement and intellectual ability when determining whether a student has a learning disability. School divisions may choose to consider how a student responds to a research-based intervention as a part of the evaluation process.
Individualized Education Program (IEP) Content
General: The IEP team must now consider the academic, developmental, and functional needs of the student when writing the IEP.
Present Level of Performance: The present level of performance must include a statement of academic achievement and functional performance.
Goals: IEPs must include academic and functional goals in the statement of measurable annual goals.
Benchmarks and Objectives: Benchmarks or short-term objectives are only required for IEPs of students with disabilities taking alternate assessments aligned with alternate achievement standards. However, it is permissible to include benchmarks or short-term objectives in the IEPs of other students with disabilities.
Progress Reports: IEPs must now include a statement of how the student's progress toward annual goals will be measured. It must also state when the periodic reports will be provided.
Essential Components: This provision states that the IEP team need not include more than what is explicitly provided for in the new law. Additionally, IEP team members no longer have to restate a provision that is found in another section of the student's IEP.
Accommodations/Assessment: In this provision, the IEP team must include a statement of appropriate individual accommodations a student needs to be able to participate in state and districtwide assessments (i.e., Standards of Learning Assessments). The IEP team must state why a particular alternate assessment is appropriate for a student if that student cannot participate in the regular state and districtwide assessments.
For further information regarding IDEA 2004, visit the Council for Exceptional Children's website at www.cec.sped.org/pp/ and the Virginia Department of Education website at www.pen.k12.va.us.
Date: November/December 2005


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Apple releases Boot Camp 1.1 betaApple Computer on Tuesday released a significant update to its Boot Camp software, a dual-boot solution designed to allow Intel-based Macs users to also boot and run Microsoft's Windows operating system.
According Apple's Boot Camp Web site, Boot Camp 1.1 beta contains many updates and is intended for all new and previous Boot Camp beta users. The 202MB release is immediately available as a free download.
Among the enhancements in the new version are support for Apple's new Mac Pro and Xserve systems, iSight camera support and right-clicking when pressing the right-hand Apple key on Apple keyboards.
Also new in Boot Camp 1.1 beta is the ability to install Windows XP on any internal disk, support for built-in microphones, improved Apple keyboard support and easier hard disk partitioning through new presets.
Apple recommends that users who installed the initial Boot Camp beta update their Macs to Boot Camp 1.1 beta.
"You don't need to partition your hard drive again (unless you want to change its size) or reinstall your Macintosh and Windows software or documents, but it's very important to update the Boot Camp Assistant software, create a new Macintosh Drivers for Windows CD and install the updated software it contains on Windows XP," the company said.
Complete instructions on installation and upgrades are provided in the Installation and Setup Guide included with the latest Boot Camp 1.1 beta download.


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CHANDIGARH: The Haryana government is all set to purchase 150 new ambulances and 22 Medical Mobile Units (MMUs) to provide immediate health and medical services to people.
The MMUs will comprise a doctor, staff nurse, pharmacist and lab technician, Chief Secretary D S Dhesi said while presiding over a meeting of governing body of State Health Society, National Health Mission.
The Chief Secretary directed the officers concerned to strengthen First Referral Unit (FRU) in coordination with Director General, Health Services so that round-the-clock medical services could be provided to people.
The unit comprises a paediatrician, gynaecologist and anaesthetist, he said.
Mr Dhesi also underlined the achievements by the state in the medical sector from 2005 to 2015.
As per the Sample Registration System 2011-13, the under-five mortality rate (U5MR), which was 78 deaths per 1,000 live births in 2005, decreased to 43 deaths per 1,000 live births in 2015.
Similarly, Infant Mortality Rate (IMR), which was 60 deaths per 1,000 live births in 2005, decreased to 36 per 1,000 live births in 2015. Neonatal Mortality Rate (NMR), which was 35 deaths per 1,000 live births in 2005, decreased to 24 per 1,000 live births in 2015; and Maternal Mortality Rate (MMR), which was 186 per 1,000 live births in 2005, decreased to 127 per 1,000 live births in 2015. It was also informed that the state has improved considerably in terms of institutional deliveries.
"The institutional delivery rate was 43.3 per cent in 2005, which increased to 92.1 per cent till December 2016, whereas Total Fertility Rate (TFR), which was 2.8 per cent in 2005, decreased to 2.2 per cent in 2015," the official said.
Mr Dhesi also directed the officers to achieve the target of 100 per cent Aadhaar registration of newborns, which is presently 94 per cent.
The official also gave the approval to empanel private ultrasound centres under the 'Janani Shishu Suraksha Karyakram' to facilitate pregnant women.
It was also decided that specialists would be appointed in cities such as Nuh, Palwal and Narnaul where there is poor availability of doctors, the spokesman added.
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An update to Microsoft's Cortana app for Android removes the "Hey Cortana" hands-free activation feature. Updated December 20, the new version of the app lists three "what's new" features:
- Improved app stability.
- Enhanced call and text features.
- Removed "Hey Cortana" feature for US market.
"Hey Cortana" was reportedly removed because the feature disrupted use of the microphone. It's not clear whether the feature will come back in a future version when the bug is fixed.
Google offers the "OK Google" hands-free search capability, and iPhone owners can invoke Siri with "Hey Siri" (only when plugged into a power source). I haven't seen any data on how popular or widely used hands-free voice search is. Yet it is a strategic feature and one that Microsoft will want to fix.
According to Google Play download figures, the app has been installed between 100,000 and 500,000 times. A recent MindMeld consumer survey (n=1,800 US smartphone owners) reported that voice search and voice assistants have seen significant usage increases in the past year.
According to the survey, Siri was the most widely adopted assistant. However, Cortana was used by 6.1 percent of respondents, which is more than 2X Windows Phone's market share in the US. That means Android owners are using it.
Source: MindMeld (October 2015)
The richest and most complete Cortana experience is available to Windows 10 desktop users. However, Microsoft abandoned its Windows-only approach to apps some time ago, taking a platform-agnostic approach in an effort to grow its audience.


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Organization Name:
San Diego Cultural Arts Alliance
Age Group Targeted:
Grade School
Middle School
High School
College/Beyond (21+)
Topics Presented:
Spanish Speaker Provided:
Organization Web Site:
Over 125 hands-on exhibits, live performances, free and open to the public -- all in the fun and exciting venue of PETCO Park in Downtown San Diego!
It takes true community spirit and engagement to build a successful Festival Week that not only provides meaningful experiences, but sets a path for the future of San Diego.2019 Sponsors 2019 Sponsor Application
Want to attend?
Want to get involved?
Have a question?
Send us a message and we will get back with you right away!
Copyright 2008-2019, San Diego Festival of Science and Engineering, a Program of the Biocom Institute


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Profit from Seminars
If you have a business you want to profit from it, so how can you learn to profit from various forms of event photography? The first profit from seminars will take place on 14/15 May 2011 in leamington Spa.
One of the ways is to learn from the experts and therefore avoid the potential pitfalls – putting you into profit quicker.
The first Profit from Seminar is "Profit from Proms" which is lead by Jeremy Nako a well known speaker on all matters event photography. Currently touring the UK on the PT4U Cash Machine Tour Jeremy has run a successful event photography for a number of years and one of his specialities is Prom Photography, so he should know a thing or two about how you can make a profit from Proms.
Victoria House
Masonic Rooms
Wiles Road
Leamington Spa
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2 Responses to "Profit from Seminars"
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[…] will be your downfall."I have just been asked about what training will be delvered at the Profit from Proms seminar and my answer was "have you identified the training you need before asking the […]


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Many people ask me how do i drive traffic to my websites?
There are basically 2 types of traffic in the online world.
Either they are free or paid traffic.
Most people start with free traffic first but it takes quite a long time to setup in some cases and people give up.
For most cases, i will ask them to try some paid traffic methods like setting budget of $5 and slowly scale their traffic when they can see some leads or sales to cover the cost of the traffic.
Types of free traffic:
- Classified Ads – Craigslist
- Forum Marketing
- Video Marketing – Youtube
- Blogging – WordPress
- Facebook Group/Page
Affordable Penny Traffic:
- Bing PPC
Paid Traffic:
- Solo Ads – Email Marketing Clicks
- Media Buy
- Facebook Advertising
These are some good place to get started with some traffic. Good Luck 🙂


text: Prosecco is both the name of the pale-colored white grape (also called "Glera") used to produce the sparkling wine of Italy's Veneto and Friuli regions and the name of the sparkling wine itself. Prosecco quality ranges from cloying and commercial to complex and characterful, with the greatest examples hailing from a hilly zone between the towns of Conegliano and Valdobbiadene. The wines tend to be lightly floral and lemony, with softer, frothier bubbles than those found in Champagne since the fermentation that makes them occurs in large tanks rather than in the individual bottles. The one exception to that rule? Prosecco Col Fondo, a premodern and somewhat trendy style of the frizzante wine that's unfiltered, yeastier, and more savory than most others in the category. Try one of Ray Isle's top Prosecco bottles.


text: Been holding off? If so, add up the incentives. It just might be Soul EV Time? Save UP to $10,500.00 Off MSRP on a New KIA Soul EV or EV+ when you combine customer cash, Federal Tax Credits and State Tax Exemptions. *See our dealership for bonus cash specifics. $7500.00 Federal Tax Credit All-electric and plug-in hybrid cars purchased in or after 2010 may be eligible for a federal income tax credit of up to $7,500. The credit amount will vary based on the capacity of the battery used to power the vehicle. find out more… Alternative Fuel Vehicle (AFV) Tax Exemption Dedicated AFVs are exempt from state motor vehicle sales and use taxes. Qualified vehicles include plug-in electric vehicles that are capable of being charged by an external power source and can travel at least 30 miles using only electricity. They must meet the California motor vehicle emissions standards; have a fair market value less than $35,000; and comply with the rules of the Washington Department of Ecology. The sales tax exemption expires July 1, 2019. A vehicle purchased or leased before July 1, 2019, is exempt from the use tax until it is retired or changes hands. find out more… Puget Sound Energy Rebate Get a $500 rebate on qualified Level 2 EV chargers It's easier than ever to own and operate an electric vehicle (EV), major automakers are offering these vehicles which have all of the comforts and performance of gasoline-powered cars. New EVs have a driving range that meets daily needs, reasonable charging times and can be charged easily at home or at public stations. find out more… CALL NOW!360.707.2468


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After spending 10 amazing days on my little paradise island I have finally returned back to work. On the evening of my arrival I was lucky enough to catch Jackie AnakAgung Gede playing at Folk N Nomas Bar. He opened the night with one of my fave tunes and sang it with passion; after I handed his guitar back to him…I think the guitar was pleased.
Today I sit in my normal spot, upstairs at Mingle on Dewi Sita Street, Ubud. I love this little hangout; and the long black coffee the friendly staff serve me as I enter the building. Today I am accompanied by my publicist who delivers my extensive 'things to do' list…I really thought she would ease me back into the daily life of launching a book; but no, not her, and the spreadsheet she hands me gives further proof.
Suddenly Anik arrives from the stone stair passageway to carry out the daily offerings, presented to the small wall-hung temple just in front of where I am sitting. This little ceremony can be seen all over Bali and is known as Canang Sari. In Balinese, the word Canang means essence and sari is the word used to label the small palm leaf basket used to hold the offerings.The #philosophy behind this simple ceremony is one of respect and self-sacrifice in honour of the gods; as the offerings and prayer take time to prepare and execute.
Later in the day I have an appointment with a journalist who is interested in the message that The Banyan Tree seems to convey. He has put me in touch with a printer in #Jakarta who specialises in high quality embossed hard cover books. This limited edition copy will be displayed and sold in hand-picked selected outlets in and around #Ubud and #Seminyak.
This whole process of bringing the book into the public domain still fascinates and excites me.
Feeling motivated…


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John Tranter in conversation with Brian Henry, 2009-2010
This interview was commissioned by Jeffrey Side, for The Argotist Online. It was conducted by email, and is about 13 printed pages long. Brian Henry has published several books of poetry and was a Fulbright Scholar in Australia in 1997-98. He has co-edited Verse since 1995.
Paragraph 1 follows:
Brian Henry: Your 2006 book Urban Myths: 210 Poems: New and Selected (Salt Publishing) is mainly chronological, but begins with a newer poem ('After Hölderlin') and ends with an older poem ('The Popular Mysteries'). What was it about those poems that compelled you to deviate from chronology in providing entry and exit points for the book?
John Tranter: Entry and exit points is right on. I hoped that those two poems would act as framing devices, and provide a pathway into the poems, and an exit at the end. The opening poem, 'After Hölderlin', is a version, or an updating, or a personal takeover, more like it, of Hölderlin's poem 'When I was a Boy'. He talks about how as a child 'The breezes singing in the trees were my teachers, and I learned to love among the flowers… ' Very German, that: I can see him hiking around the Black Forest in his lederhosen whacking at hollyhocks with a stick. And he learned about society from the ancient gods. My gods were very different, and mainly appeared in the pages of books (Biggles, Somerset Maugham) or on the movie screen (Kim Novak, John Wayne), so my version of that scenario talks about how I grew up, and what turned me into a story-teller or a poet. It seemed a good introduction to a collection of my best poems over fifty years.
The last poem in that book ('The Popular Mysteries') also concluded my earlier Selected Poems (1982), and I wanted to have that link from a quarter of a century ago. It talks about poetry too, but in a dreamy way ('your complex dreaming / is a gift factory'), and ends up with the narrator going to sleep, 'thoroughly happy'. It seemed a pleasant way to emphasise the continuity in my work, and to end the book and send the reader back to the real world. Poetry and dreams are intimately connected, in my view. They have the same kind of meaning.
Brian Henry: Is the book's title a nod to, or send-up of, the critical commonplace that you are an 'urbane' poet ― the urban to Les Murray's rural?
John Tranter: Like most thinking people, I stopped paying any serious attention to Les Murray decades ago. As Gertrude Stein reminds us, village explainers are 'excellent if you were a village, but if you were not, not.'
No, the title was suggested by my wife Lyn, and it seemed to suit the book, so I used it. I have always liked the lurid plausibility of urban myths, and believed quite a few of them as a young man before learning that the same dramatic stories appeared in many societies, in slightly different guises. In my collection of four long narrative poems The Floor of Heaven, the stories of people's lives are tangled up with a number of urban myths which I had believed to be real when I was young and living in the country.
But these myths are also 'urban', of course, and mark out the distance we travel from the innocence of childhood to adulthood and disillusion. Urban myths don't embody the ancient wisdom of the race; they are not folk tales or fairy stories or historical events or legends. They are contemporary and superficially realistic, and they invest the ordinary world with melodrama and high colour. Poetry, novels, television and movies do the same kind of thing. It seems to me that urban myths are invented mainly by adolescent boys, as a way of portraying and dealing with the bizarre world of freedom, choice and personal responsibility that looming manhood entails. They usually deal with punishment for a transgression, and often involve killing.
It is a 'rural' or 'pastoral' world that urban myths seem to provide the alternative to: childhood, a world of innocence that cannot be recovered, seen through a veil of nostalgia. You find traces of that in Dylan Thomas's 'Fern Hill', or in those lovely rural dream-scenes by Rimbaud: 'Memoire', 'Michele et Christine', or 'La Riviere de Cassis'. And in the work of those French poets who travelled so far from the tropical world of their separate childhoods in Montevideo, Uruguay, to cosmopolitan, industrial Paris: Lautréamont, Laforgue and Supervielle: 'J'avais un cheval / Dans un champ de ciel / Et je m'enfoncais / Dans le jour ardent.' ('I had a horse in a field of sky and I plunged into the burning daylight.' ― Supervielle, 'Open Sky'.)
Brian Henry: Your poems often reach out to a 'you.' What attracts you to that mode of address?
John Tranter: That second person address does seem to be something I do, or perhaps overdo. Am I being clever, or just avoiding something? Over twenty years ago Andrew Taylor (Australian poet and critic) puzzled about that. He was looking particularly at my poem 'Leavis at The London Hotel': '… just who is 'you'? Is it F.R. Leavis, addressed by the poem's subject? Is it the reader, similarly addressed? Is it the poem's subject, being addressed by it/ him/ herself, the modern colloquial equivalent of 'one'?… Does 'you' refer to a number of different addressees, each with his/ her separate needs? It might, but the poem does not enable us to distinguish them from each other.'
And Marjorie Perloff quotes a 1973 interview with John Ashbery, who as usual was doing this pretty much before anybody else thought to do it. He explicates the tactic better than most. Let me find the quote… 'The personal pronouns in my work very often seem to be like variables in an equation. "You" can be myself or it can be another person, someone whom I'm addressing, and so can "he" and "she" for that matter and "we"; sometimes one has to deduce from the rest of the sentence what is being meant and my point is also that it doesn't really matter very much, that we are somehow all aspects of a consciousness giving rise to the poem and the fact of addressing someone, myself or someone else, is what's the important thing at that particular moment rather than the particular person involved. I guess I don't have a very strong sense of my own identity and I find it very easy to move from one person in the sense of a pronoun to another and this again helps to produce a kind of polyphony in my poetry which I again feel is a means toward greater naturalism.' [1]
I guess I'm interested in that kind of polyphony, though I'm not so sure about the naturalism. A focus on the first person ― me, me ― is something poets grow out of as they leave adolescence. Though decades ago poets used to throw their own personal identity around like a club: 'I am a poet: I had this authentic experience: now I have written an authentic poem about it: bow down before me!' Things have moved on from that, I hope. The second person is more open; it invites other people into the conversation; particularly the reader.
Novels used to employ that second person address plainly ― 'Dear Reader, I hardly knew in what manner to repel the gentleman's importunate advances… '. And then again, all theatre, from Shakespeare to the movies, addresses 'you', the audience member. Don't you think? In a movie, the actors pretend to be speaking their lines to each other, but they know and the director knows and the scriptwriter knows that all of those words are specifically meant for 'you' to overhear, as in Hamlet, or in The Marriage of Figaro. In some television serials and film noir movies ― Sunset Boulevard, for example ― the voice-over narration specifically addresses the viewer, or (in radio) talks to the listener. Maybe that's what Ashbery means by 'naturalism', the naturalism of theatrical speech aimed at 'you' the consumer.
Brian Henry: Talking of movies, how would you describe your approach to narrative? Do you think films ― or cinema, the cinematic ― have had a big influence on your poetry?
John Tranter: Oh yes, definitely. Poems are what I do instead of making movies, which I'd rather do. And for a living I have produced or commissioned dozens ― uh, no, hundreds ― of radio plays and features ― they're cheaper to make than movies, and as they say, the pictures are better. Luckily I stumbled into the trade as a young man, when large audiences used to listen to radio plays and radio features.
I love that cooperative creativity, that buzz when you get a team of talented people working together to invent a magical world and the strange events that go on it it: scriptwriter, director, actors, sound effects, sound engineers… just ask a group of people to help tell a story and you'd be amazed at the talent that emerges. I find it deeply satisfying, more so than sitting alone in a room typing all day. I'd hate to be just a poet: horrible fate.
The whole of my book The Floor of Heaven is really a movie, or a sequence of movies, inspired initally by Luis Buñuel's The Discreet Charm of the Bourgeoisie (1972). That's a strange film: in it the main story keeps being derailed by characters who feel an urge to tell about a dream they've had: dreams, poems… Buñuel pointed to the identity between dreams and movies. He said (in 1953) 'Film seems to be an involuntary imitation of dream … the nightly incursion into the unconscious begins on the screen and deep inside man.' [2]
There are other influences behind those narrative poems, of course: most film noir, a short story by Christina Stead ('George'), the idea of the aria in opera, tragedies I had heard about, people I had known in my misspent youth, lots of things.
Brian Henry: What are the origins of your 1976 book-poem 'The Alphabet Murders'?
John Tranter: That marked a break in the kind of poetry I was writing. And in my attitude to poetry. I began writing poetry in 1960. Eleven years later I had written over 300 mainly undistinguished poems and had published my first book and had completed most of a second. I had lived overseas, I had travelled from London to Sydney mostly overland, with some danger and difficulty, and I had married. I had obtained a degree majoring in English Literature and Psychology.
But I dropped out of university in 1971 to take up a position in Singapore as a publisher's editor. There I stopped writing, and started reading: novels by Graham Greene and Eric Ambler and John Le Carre. I had grown sick of poetry.
Over the years I had tried several differents way of writing poetry, and I had queried the various purposes poetry might have. I had reached the stage where I could turn out a reasonable poem in an effective tone of voice using a collection of workable rhetorical strategies. But I couldn't see the point. Maybe the relative isolation of Singapore had something to do with it: there was no one to talk to about poetry. In any case I felt that poetry was affected, artificial and vain, and I stopped reading or writing it.
When I came back to Sydney in late 1972 I reconnected with the poetry world there, and through 1973 and 1974 began reviewing and writing poetry again. Perhaps it is not a coincidence that I wrote a long review of Robert Adamson's Swamp Riddles in 1973, surveying his career up to that point.
And in 1974 I compiled a one-hour radio anthology of Frank O'Hara's best poems for the Australian Broadcasting Commission, as it was known then. That involved reading every poem in his 586-page Collected Poems. I had been slow to appreciate O'Hara, despite my friend John Forbes's enthusiasm for his work ― John was always quicker and smarter than I was ― but now I could see more clearly the strengths of O'Hara's writing, and how pretentious Robert Lowell's poetry ― for example ― seemed by comparison.
A telling moment of conflict occurs at the reading at Wagner College on Staten Island in February 1962. Frank O'Hara introduced his untitled poem beginning 'Lana Turner has collapsed!' by explaining to the audience that he had written most of the poem on the Staten Island ferry (in a snowstorm) on his way to the reading ('… I was trotting along and suddenly / it started raining and snowing… '). Robert Lowell also read, and ― clearly irritated ― introduced his reading by apologizing for not having written his poem on the spot too. Lowell ― all his life the career poet ― frowned on the glare of the mundane world through the sunglasses of 'literature'; O'Hara took it as it was, as his subject matter.
In a sense he was furthering Baudelaire's project. Michael Jennings mentions Walter Benjamin's appreciation of Baudelaire: 'For Benjamin, the greatness of Baudelaire consists… in his absolute susceptibility to the worst excrescences of modern life: Baudelaire was in possession not of genius, but of an extraordinarily 'sensitive disposition' that enabled him to perceive, through a painful empathy, the character of an age.' [3]
So with Adamson and O'Hara I had two important contemporary poets and their careers in mind at that time: sobering, and challenging, too.
Lyn and I had also had a child in Singapore, and that tends to steer you away from too great a focus on literary quibbles.
I obtained my first Literature Board grant in 1973, for the 1974 calendar year, and my main project was a series of longish poems that turned into 'The Alphabet Murders'. A great deal of the dislike I had felt for poetry (and the world of poetry) found its way into these poems. They're indiscriminately argumentative and angry. I suspect I was chastising poetry for having failed me. (Hubris? Moi?) I set the poem up as a workshop where I hoped to dismantle 'poetry' and find out what was left of value once the bullshit had been torn out and thrown away. What was left, of course, was just that poem. For what it's worth.
Nearly thirty years later I realised that every eleven or so years I suffered a period of disinterest and dislike for poetry, as I had in 1971. I mentioned this to a psychiatrist, saying that I failed to understand it, as there was no natural or social force that went through an eleven-year cycle. 'Oh, yes there is,' he said. 'Sunspots.'
Brian Henry: Sunspots?
John Tranter: Yes. I'm still thinking about that one.
Brian Henry: The opening line of 'The Alphabet Murders' ― 'After all we have left behind' ― offers a sense of intimacy, a shared world with shared experiences. Were you intending to speak to and from a collective, or was it more personal, more specific than that?
John Tranter: I think I was talking about leaving behind the history or the tradition of literature in English: Shakespeare, the Romantics, the early Modernists. And Callimachus, and Sappho, and so on. Just as we have left World War One and World War Two behind, so we have left 'literature' behind. But of course we haven't left the modern world behind. It follows us like a dog that never ages, becoming more modern every day.
That stanza ends 'So I write to you 'from a distant country'', a quote from Henri Michaux, whose distant country ― a dreamy, mournful place ― features eucalyptus trees. I think I had in mind that this 'distant country' might have an alternative future, as in a science fiction story, where a wonderful kind of poetry lived, full of passion and energy, and perhaps we could cross over to that universe if we wished hard enough.
Brian Henry: Also near the beginning of 'The Alphabet Murders,' you seem to offer an aesthetic statement, something of an ars poetica, but one subject to slippage, when you write, 'this complex of thought begins / a new movement into musical form, much as / logic turns into mathematics and automatics / turn into moonlit driveways.' Is there an instinct to turn away from wisdom per se, or at least to deflate it a little when it appears?
John Tranter: That's a complicated one. When I studied Philosophy at university I was dismayed to find that there were no lectures on Buddhism or J.W. Dunne (An Experiment with Time) or Bergson, but instead complex syllogisms and truth tables that looked like mathematical theorems. Yet of course mathematics can be beautiful. And the automatics (automatic gearshift automobiles) through the pun on 'turn into' call up Ginsberg's best poem, his imaginary conversation with Whitman, 'A Supermarket in California' : '… Will we stroll dreaming of the lost America of love past blue automobiles in driveways, home to our silent cottage?' I think I was trying to give the poem a bravura opening, demonstrating that anything was possible, any contradiction, any simile, any future, as long as writers and critics were prepared to leave behind everything that was worn out and predictable. Of course that's a rephrasing of the ancient struggle between the young and the old. I'm not sure that I was aware of that at the time: I was thirty years old. (Thirty years young.)
Brian Henry: One of my favorite things about Kenneth Koch's poetry is its peculiar didacticism ― a kind of faux-didacticism ― which also appears in other poets (Ashbery, James Tate, and John Forbes, among others). Your own poems offer numerous instances of information or advice, much of it mock-serious. In 'The Alphabet Murders' alone, we have 'Fate is a variety of religious experience which is / always asking its own questions,' 'Justice is a kind of rhyme,' 'Love is the most awkward game to play,' 'Love is like a dose of vitamins,' 'Love is like an angler, or his goals, / obsessively preoccupied with problems of the tide,' 'Karl Marx is a comic novelist, almost,' etc.
John Tranter: I was intrigued by the idea that you could invent something in a poem, then follow the logic of that invention to see where it led. Matthew Arnold does this with his heroic similes (in 'Sohrab and Rustum', at least) which I have parodied elsewhere, and once you accept that a poem can create its own world, then in that world, anything can happen. I used to read a lot of science fiction as a teenager, and into my thirties. I used to love reading J.G. Ballard, for example; he can invent entire worlds on the flimsiest premise and make them lyrically real (The Drowned World, 1962, The Crystal World, 1966). And of course movies are like that: hire a set and a camera, and you can invent a universe, as we know from Ed Wood's bizarre life. [4]
Brian Henry: A lot of your poems focus on human weakness and failure, but there's a passage in 'The Alphabet Murders' that I think elevates, or at least dignifies, those foibles through song in a way that's both old-fashioned (in its seeming earnestness and soul-searching) and fresh:
How are we locked into the forme that is
history in the making? At night, when
the mothy lamp flickers and shadows crawl
across the lawn, we dream of a perfect history
and pray that our children will be included
in the small reward that trickles out of action.
Is it too late to stare at ourselves cruelly as we must
if we really want that freedom, or are the little fears
that grow out of human contact and avoidance
and the knowledge of all those terrible old stories
too much even for the willing soul? How do our
acts and gestures, falling through the years,
shore up the silly things we do, the way we
argue and cause pain and hurt our friends with lies,
and make us grand? Grander than we deserve, we think,
and then sob and break down and no guiding hand …
[ellipses in the original]
And this section is immediately followed by a kind of pastiche, a skewering of confessionalism ― that wielding of the 'I' that you mentioned earlier.
John Tranter: Well, I always feel ambivalent about earnestness. Perhaps because Ernest is my middle name. There I go, deflating earnestness again. That anxiety about appearing too full of deep feelings, I think it might have something to do with my growing up in an Australian country town. Australians have a laconic sense of humour. So in my writing, I often feel divided between a need to speak about deeply meaningful things, and a fear of looking like a manipulative phoney with his heart on his sleeve. Sentimentality and cynicism are the two sides of that coin. It's always spinning in the air in front of me.
As Oscar Wilde said, 'All bad poetry springs from genuine feeling.' That's not quite true, like most of Wilde's aphorisms. And of course not all genuine feeling produces bad poetry, but it often does. Some of the most horrible frauds write poetry that is dripping with sincerity. In my own writing I have found that a strong emotional feeling produces poetry that needs to be kept in a drawer for several months, when the feeling has evaporated and a cooler critical intelligence can be employed to repair the poem's worst stylistic excesses.
But I try to leave room for sincerity. There's nothing wrong with sincerity, as long as you're not too earnest about it.
Brian Henry: 'The Alphabet Murders' is a sectional abecedarian ― 26 sections going 'A' to 'Z,' with a 27th section, the only prose poem in the sequence, starting with 'A' again. You've written a lot of other poems in generative forms: the terminal, the haibun, the collage pantoum…
John Tranter: I have been doing that kind of thing since I was twenty, when I wrote a parody of Australian poet A.D. Hope's poem 'Australia', using seven of Hope's 28 rhymes, changing the rhyme scheme from abba to abab, and borrowing and distorting many of Hope's metaphors. I derived the idea for terminals, where I borrow the end-words of a poem by another writer, from John Ashbery, who nearly twenty years ago ― when he gave a reading in Sydney ― admitted that he had borrowed the end words of Swinburne's double sestina 'The Complaint of Lisa' for a double sestina of his own (in his book Flow Chart).
You can find an excellent and thorough article by Brian Henry about my use of forms like these on my journal website, here: http://johntranter.net/?page_id=8605 [5]
And, like a recidivist shoplifter, I'm still at it. I recently completed a fellowship at the Civitella Ranieri in Umbria, where I took fifty-six poems from Baudelaire's Les Fleurs du mal (1861 edition) and updated and entirely rewrote them. They form part of my new book Starlight: 150 Poems, due to be published later this year (2010).
Brian Henry: Do you have any qualms about appropriating another writer's work?
John Tranter: Well, it looks like stealing, but artistic procedures like these have a long and honorable history. Musicians have been doing it for centuries. There's Bach's 'Goldberg Variations', and of course there are Bach Variations by Johannes Brahms, Franz Liszt and others, and Benjamin Britten's 1937 'Variations on a Theme of Frank Bridge', for string orchestra, and hundreds more. You see it even more with painters. Here's a good example: the New York painter Larry Rivers, who was a jazz musician and friend of (and portraitist of) the poet Frank O'Hara. He painted a version of 'Washington Crossing the Delaware' (a famous painting by Emanuel Leutze, 1851) in 1953.
In poetry there's Kenneth Koch's hilarious 'Variations on a Theme by William Carlos Williams' (1962), and John Ashbery's strange 'Variations, Calypso and Fugue on a Theme of Ella Wheeler Wilcox', and others.
Brian Henry: Why do you feel this kind of appropriation is so widespread? And what do you get out of it?
John Tranter: For one thing, it's a way to learn more about your craft. For example, how did Shakespeare manage the new sonnet form from Italy? And why are his attempts to do them in English so stiff? Why does Baudelaire go on and on about graveyards? And an example from music: if you're a cellist, Bach's cello suites are a wonderful way to find out what the instrument can do at its most elemental. So reworking a prior artwork by another artist is a kind of learning exercise, both technical and artistic.
And there's a threefold payoff for an artist with this kind of work. First, you have a challenge, and challenges always get the adrenaline going. If you're going to rewrite Baudelaire, it had better be good! So your pulse rate is up to begin with.
Then you have instant inspiration: the original work brings a whole collection of interesting things with it: the artist's life, his or her struggles, achievements, the narratives and themes that interested the artist, and so on. That whole world is there, in the background, waiting to be used, borrowed, criticised, parodied, whatever.
Then there's the generational conflict and the completion of a lineage. When Francis Bacon paints his 'Homage to Van Gogh' or reworks Velázquez's 'Portrait of Pope Innocent X', when Picasso recreates Velázquez's 'Las Meninas' in 58 cubist variations in 1957, or paints 'Le Déjeuner sur l'herbe, after Manet' in 1961, the audience has more than a painting to consider: they have a whole history lesson, an artistic argument and an Oedipal struggle as well.
Brian Henry: You've mentioned Ashbery and O'Hara. Do you have an interest in the New York School in general? How has American poetry affected your own work at various points of your writing life?
John Tranter: I've always been interested in American culture. And British culture. They were the two great 'foreign' influences on me as a child, through books and movies. The first movie I remember seeing as a child was British (Scott of the Antarctic, 1948), and the second was American (National Velvet, 1944.) I was born in the middle of the worst war the world has ever seen, and Britain and the US were the allies that fought that war alongside Australian troops (including three of my uncles, two of whom died of war wounds). And US and British movies were staples each week at the local cinema. So though those two cultures were thousands of miles away, they were familiar. Well, both familiar and culturally exotic at the same time. In both those foreign cultures, it snowed at Christmas time, while in Australia we had heatwaves and bushfires. And what was a pizza, and how did you pronounce the word? [Does it rhyme with 'fizzer'?] At sixteen I had never seen one, and only dimly knew what they were like.
When I became aware of poetry in my late teens I looked outside Australia for exotic material, and eventually the New York school attracted my attention, along with German, French and British poets and all the other US American 'schools' in the 1960 Don Allen anthology, and the other conservative American poets who weren't in that collection, too.
Of course Ashbery and O'Hara are very different from each other. Poets generally like other poets' work not just because it is good, but for what you can get out of it. Ashbery presents a lyrical and highly literary take on English poetry from the renaissance through the Romantics to the Victorians, and on surrealism and French poetry generally. Perhaps that satisfies the 'British' and side of my interests.
O'Hara on the other hand shows what effective use you can make of everyday personal experiences, of the demotic, the gossipy and the evanescent. The work is just as lyrical and deep, in the end, but it arrives there fresh from the noise and bustle of lunch-time New York. Ashbery arrives there through the fog, bemused on the packet boat from Calais, a volume of Raymond Roussel in his pocket.
And the younger generations of both British and American poets are different again, as well as being very numerous. Working on Jacket magazine has allowed me to follow lots of interesting younger poets as they have developed over the last dozen years.
Brian Henry: In your view, how has Australian poetry changed since you started editing Jacket in 1997? Do you see a change in your own work since then? I'm curious about the effect of the Internet on poets, in terms of making hard-to-find work more readily available. When I was in college and graduate school in 1990-1997, I had a really hard time finding Australian poetry. There was Les Murray (FSG's token Australian), and Peter Porter and Chris Wallace-Crabbe at OUP. I knew of other Australian poets through Verse, but I couldn't get their books because of distribution. So I went to Australia. Now, of course, it's not hard at all, thanks to online magazines and presses like Salt, which publish a lot of Australian poets and distribute their books around the world. Has this had any effect on Australian poetry as a whole?
John Tranter: Oh, yes, it has. The reach of the internet is extraordinary, and it's especially valuable for writing. It makes it easy and economical to keep up with what is happening in the rest of the world, and to some extent to take part in that cultural mixing. It's something I had hoped to see from a very young age. As a poet starting out I was very conscious of how far away from the rest of the world Australia was. There's a catchphrase for it: the tyranny of distance, which derives from the title of a book of history by Geoffrey Blainey: The Tyranny of Distance: How Distance Shaped Australia's History. In blunter terms, Australia seemed very provincial, in a distant orbit around London and New York. Poets like Peter Porter and artists like Sidney Nolan had to travel to London to make it, in the 1950s. I travelled to London and returned overland through Asia in the 1960s.
It was difficult to know what fresh and experimental work was being done in the rest of the world after World War Two, because the press and the other news media in Australia were run by conventional people, as were the universities, though no one looked there for literary news. Our novelist Patrick White said in the 1950s that 'whatever cultural roost there is in this country is ruled over by schoolteachers and journalists.' [More correctly: "the schoolmaster and the journalist rule what intellectual roost there is…" at Patrick White and Buttocks] My father was a schoolteacher, and a much-loved one; my brother was a journalist. There's nothing wrong with those occupations; it's just that people who work at them should not be placed on pedestals as cultural arbiters.
The three Australian poets you mentioned are in their seventies or eighties. I guess it takes that long to be noticed in London. But none of them, as far as I know, has much of a presence on the internet. And that's where most people look for poetry, nowadays. That has to have an effect on the kind of poetry we write in Australia. Perhaps it's more internationally homogenous as a result, and less like a particular local cheese prized for its flavour by seven people. Perhaps it's fresher and more complex, with more things to say to a wider range of readers. I don't know.
[1] Quoted in Marjorie Perloff, The Poetics of Indeterminacy: Rimbaud to Cage. New Jersey: Princeton Press, 1981. Page 63.
[2] Carrière, Jean-Claude. The Secret Language of Film. Trans. Jeremy Leggatt. London: Faber and Faber, 1995.
[3] Jennings, Michael W. (Introduction to) Walter Benjamin, The Writer of Modern Life: Essays on Charles Baudelaire. Cambridge, Massachussetts: The Belknap Press of Harvard University Press, 2006.
[4] See Rudolph Grey's biography Nightmare of Ecstasy: The Life and Art of Edward D. Wood, Jr. (1992).
[5] This piece first appeared, minus the footnotes, in Antipodes: A North American Journal of Australian Literature, 18(1), June 2004, pp 36-43.


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Yearlong Course in three sessions:
November 6 - 9, 2016
February 26 - March 2, 2017
May 21 - 24, 2017
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