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The Russell Vale Colliery, already closed down due to financial concerns, may soon face a permanent end to expansion plans due to a rare, giant dragonfly.
Wollongong Coal's plans for a five-year mine life extension were stymied after the Planning and Assessment Commission responded to concerns lodged by WaterNSW that the mine could cause the loss of up to 2.6 gigalitres of water from its reservoirs each year, labelling it a "high risk situation".
The PAC review panel cited concerns from the Office of Environment and Heritage that the expansion had the potential to drain two of three swamps at the Woronora Plateau, which are home to the giant dragonfly, listed as an endangered species in NSW.
However, Wollongong Coal failed to address the impacts of the mine expansion on the population of giant dragonflies in their risk assessment.
Wollongong Coal said it would review the commission's report before it determines a course of action, and noted the Department of Planning had already recommended the project for approval, SMH reported.
"Despite significant challenges Wollongong Coal has persevered with the unconditional support of its major shareholders and worked tirelessly for several years to ensure the proposal met the requirements of government policies," the company said.
Last year environmental groups petitioned to have Wollongong Coal declared as not being a "fit and proper person" to conduct business in NSW.
National Parks Association science officer Peter Turner said the PAC should be "commended for formally recognising what has been obvious for many years".
"The NSW government should act now to protect the Special Areas from any further mining by refusing the submitted plans for more mining at Dendrobium and the soon to be submitted plans for the next stage of the expansion of the Metropolitan mine," he said.
"The very limited and short term benefits do not justify the damage and degradation."


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This just in: Pure Flix Entertainment sent out a press release today touting a couple of their upcoming releases, including The Case for Christ (which opens tomorrow) and Same Kind of Different as Me (which opens October 20) — and near the end, they mention that they just started shooting a new "biblical epic" about Samson.
Here is the relevant part of the press release:
In April, Pure Flix began filming the biblical epic SAMSON in South Africa, a dramatic adaptation of a man with supernatural strength who leads his enslaved tribe to victory over the mighty Philistine empire. The film stars Jackson Rathbone, Rutger Hauer, Billy Zane, Lindsay Wagner, Caitlin Leahy and Taylor James as Samson and [is] coming soon to theaters.
That plot summary makes it sound like the film will have a more triumphalistic take on Samson than the Bible does. The biblical Samson is one of the Bible's biggest screw-ups — flagrantly violating the laws of Moses, allowing his emotions to get the better of him, and failing to recognize that his Philistine lover is trying to trap him — and his story ends with an act of public suicide that kills many Philistines too, but leaves their network of city-states very much in power. (Just ask Saul and David.) And when, exactly, does the biblical Samson "lead" the Israelites? The one time the Bible describes Samson interacting with a large group of Israelites (in Judges 15:11-13), it is because they have decided to capture Samson and hand him over to the Philistines. It's not like we have stories of Samson leading armies into battle or anything.
Still, I'm curious to see the film itself. Samson is at least the fifth Bible movie that Pure Flix has made, but it will be their first foray into this genre since God's Not Dead made them a whole whack of money three years ago. So I assume it will have more resources at its disposal than their films about Ruth, Esther and Daniel did. (The only Bible film of theirs that I have seen so far is Apostle Peter and the Last Supper.)
The only actor mentioned in the press release who has any previous experience in this genre, as far as I can tell, is Billy Zane, who starred in the 2012 version of Barabbas. Lindsay Wagner (a.k.a. The Bionic Woman) also has at least one "faith-based" film under her belt, having played Billy Graham's mother in Billy: The Early Years.
Samson does not seem to have an IMDb page yet, but a few of the film's co-stars have been posting behind-the-scenes pics to their Instagram accounts.
Jackson Rathbone posted a couple photos of himself with battle-scar makeup:
One of the actors the press release didn't mention is Garth Collins, who also played the Philistine warrior Goliath in the short-lived series Of Kings and Prophets:
Hmmm. I wonder if Samson will be using any of that show's props or costumes?
Finally, here are a few other recent Instagram pics that may be relevant:
— Note: this blog post was substantially expanded one day after it was first posted.

subset: commoncrawl


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Price: 115 - 180 € (Average)
Rating by guests: There are no reviews for this hotel.
Located in a renovated, historic palace in the heart of Florence, MSNSuites Galileo is a luxury bed and breakfast offering refined and elegant accommodation just 400 metres from the Duomo. Boasting marvellous views of the Bargello National Museum and Chiesa di San Firenze, MSNSuites Galileo is within a 400-metre radius of main attractions. With just a short stroll you can reach Piazza della Signoria, Piazza Santa Croce, the Uffizi Gallery, the Ponte Vecchio and the Pitti Palace. MSNSuites Galileo offers spacious rooms and suites, elegantly furnished with antiques and featuring a small dining area to serve snacks. The suites open on the bed and breakfast's dining area where you can enjoy a rich breakfast that includes both regional specialities and international products. Breakfast room service is available on request.


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Saturday Snapshot is hosted by West Metro Mommy Reads.
I haven't been home on the weekend to participate in Saturday Snapshot in a few weeks. I attended Booktopia, an amazing weekend retreat in Vermont - you can check out the photos from that at my Booktopia post. Last weekend, we visited my Dad, and this week, we celebrated my father-in-law's 90th birthday! It's been busy!
I did find time for a couple of short walks this week in our neighborhood - our temperatures dropped 20 degrees to more normal springtime weather. Here are some of the sights I saw:
|The azaleas my husband planted for me are starting to bloom!
|It will be a while before my azaleas get this big!
|The very last flowering trees in our neighborhood...
|Everything is green now - no more blossoms until next spring!


text: First Name Last Name Email * Yes, I would like to receive emails from Great Falls Clinic Legacy Foundation. (You can unsubscribe anytime)Constant Contact Use.By submitting this form, you are granting: Great Falls Clinic Legacy Foundation, 3010 15th Ave South, Great Falls, MT, 59405, permission to email you. You may unsubscribe via the link found at the bottom of every email. (See our Email Privacy Policy (http://constantcontact.com/legal/privacy-statement) for details.) Emails are serviced by Constant Contact.


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Working as a freelancer, gig artisan or 1099 agent over the internet can sometimes be tricky. You appetite the work, but never appetite to abatement for a scam or assignment for a aggregation that won't pay you.
When I started working as a freelance writer, I crafted what I hoped would be the ultimate writer's contour on LinkedIn (we all can dream, right?) and began interacting with abeyant audience online, through groups and over email. Most were strangers I had never met. But as I acquaint added and added of my assignment samples online, audience began emailing me, allurement if I could assignment for them.
The botheration was, abounding would accelerate me tax forms that I'd accept to ample out afore I started the work.
Get It NowPrivacy Policy
Again, I didn't apperceive these people. I didn't apperceive if they accurately formed for who they said they formed for. Some of their aggregation names weren't familiar. So I afraid about sending tax forms with my Social Security cardinal to absolute online strangers. I didn't appetite to set myself up for possible identity theft.
"It's so accessible for character thieves to actualize a apocryphal contour online," Dominick Miserandino, CEO of the business and website consulting business Dysleximedia, said.
Once they get your Social Security number, thieves can administer for loans, administer for acclaim cards, get medical treatment, adjustment utilities, get your tax refunds, abduct your allowances and alike accomplish crimes application your character — which could entangle you in their bent history.
During the aeon from February 2011 to December 2015, the IRS articular about 1.1 actor taxpayers who were victims of employment-related character theft, according to an August abode from the Treasury Inspector Accepted for Tax Administration. The botheration is, unless you're ecology your acclaim abode or attractive for signs that your character has been stolen, you ability never apperceive addition is application your number.
"An alone should be accurate about administration his or her number, alike back asked for it," Darren Lutz, a spokesperson for the Social Security Administration, said. "People should ask why their cardinal is needed, how it will be used, and what will appear if they debris to accommodate the number. The answers to these questions can advice bodies adjudge if they appetite to accord out their Social Security number."
You appetite to be careful, but you charge the work, right? And you don't appetite to aggravate what could be a actual legitimate, advantageous aggregation by alleviative them suspiciously. So you charge a toolbox to do your own sleuthing.
Ask For Their Business Information: This is a reasonable ask if it's not already on the email they beatific you or on their LinkedIn profile. You'll charge to apperceive their name, aggregation name, email address, concrete abode and buzz cardinal to verify they're legitimate.
Consider Application an EIN Number: I've back abstruse that abounding freelancers abstain giving their Social Security cardinal by establishing an "employee identification number," which can be acquired aural account through the IRS website. Once generated, it is a abiding cardinal that links your business with your Social Security number. It ability not leave you as accessible as if you gave your Social Security cardinal to a scammer.
"Security-wise, application an EIN would be safer because it's not bond to you as a person. In theory, if your character was stolen, your aggregation would booty the hit, not you," Miserando said. But accumulate in apperception that scammers can still use your EIN to get curve of acclaim and administer for loans.
Nix the Tax Form for Small Gigs: Some companies crave 1099s, but if it's a job that pays less than $600 total, it's not needed. "You could acquaint a applicant to abandon it until your accumulated pay is added than $600," Miserando said. "It's accidental paperwork for them. There's no benefit."
Do the D&B: "If it is over $600 and you're ambidextrous with a ample contract, do your research," Miserando said. You can head to Dun & Bradstreet's website, which should acquaint you if the business exists. (For added research, a cable to the affairs is accessible and chargeless at some accessible libraries.) "But it's not the be-all, end-all search," Miserando said.
Search Through the State: If it's a business in the U.S., acquisition out area it is incorporated, again do a Department of State, Division of Corporations chase to acquisition out if the business absolutely exists. "You can attending up any company, wherever it's incorporated," Miserando said. (To acquisition the appropriate website, Google the accompaniment name with the appellation "Division of Corporations." Once you're on the website, access the name of the business into the chase feature.)
Do They Pay Their Bills?: You'll appetite to absorb a few added account on Google to see if the applicant is accepted to absolutely pay its freelancers, Miserando said, so Google your aggregation and the byword "non payment." You can additionally ask about them on freelance websites acclimated by bodies in your profession, such as LinkedIn or Facebook groups. Be abiding to archetype and adhesive the email you accustomed anon into Google to see if a betray active has been issued about it. Googling the business name accumulated with "and scam" can additionally about-face up interesting information.
WHOIS Search: This can accord you advice about a company's area and online presence.
Company Reputation: If you appetite to apprentice if the aggregation aing you has a acceptable or bad reputation, you can analysis with the Better Business Bureau to see any registered complaints. Yelp! is addition resource, but accumulate in apperception that bodies are able to Yelp! about places and casework they've absolutely never experienced.
If the Aggregation is International: Reach out to the American admiral or admiral accepted in that country for information, explain your bearings and ask for abstracts — such as the age of the company, cardinal of employees, revenues and reputation. Banks ability additionally be able to acquaint you if there has been a alternation of affairs over time, which a added accustomed aggregation should have. Additionally see if there is a biking active to the country you're about to do business with, abnormally if you intend to biking there.
If You Do Get a Betray Email: If it's over LinkedIn, the armpit wants to apperceive about it. "When this blazon of activity is detected, we assignment to bound aish it and anticipate approaching reoccurrences," May Chow, a agent for LinkedIn, said. "We animate our associates to abode any letters or postings they accept are scams and advance our member advice center as a ability to brainwash and assure themselves from frauds online."
If you appetite to analysis to see if bodies are alive beneath your cardinal and you're over the age of 18, you can additionally analysis antithesis acquaint to your almanac on your Social Security statement, through the Social Security website, Lutz said.
So, let's say you accidentally give your numbers to the amiss person. Watch out for these signs of aborigine character theft, per the IRS' website:
You've attempted to book a tax acknowledgment and it's rejected.
You accept one or added notices stating:
You can analysis your chargeless anniversary acclaim abode from the above acclaim bureaus — Equifax, Experian and TransUnion — and get two chargeless acclaim scores on Credit.com. If you're alive over the internet, it's a acceptable abstraction to accumulate a aciculate eye on your credit, because alike if your employer is legit, the email that acclimated to accelerate the tax forms can be hacked. (If that happens, you can see added on what to do here.) Back you assignment adamantine stringing calm freelance jobs in the gig economy, the aftermost affair you charge is for addition to blend with your acclaim or affirmation your tax return.
Image: Geber86
The Biggest Contribution Of How To Get A 12 Form Online To Humanity | How To Get A 12 Form Online – how to get a 1099 form online
| Delightful to be able to my own website, in this period I am going to provide you with about how to get a 1099 form online


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Our History
Beginning in the late 90's, Dr. Sells developed a six week, psychoeducational, skills-based group curriculum to help give families new skills where there were skill deficits for families involved in the juvenile justice system. In short, the families loved the information, felt it was relevant, but shared with Dr. Sells that the newly learned skills did not work with their families. Not giving up, Dr. Sells decided to use grounded theory, and met with each family individually to seek out a solution.
Game Changer #1 - Overwhelmingly, the families reported similar stories and a clear theme surfaced, the families needed to be shown how to incorporate the newly learned skills within their individual family system, and thus, the family therapy, or as PLL terms it, coaching was added to the groups. In family therapy "coaching", each family was shown the who, what, when, and how to incorporate their new skills as family contracts were customized and role plays were conducted to ensure the new behaviors were fully incorporated into the family system.
Game Changer #2 - As therapists across the country were beginning to deliver the multi-family group and individual family coaching model, videotaped supervision was introduced to ensure that both the content and process of model delivery had high fidelity. The clinical skills of the therapists delivering the model immediately increased and family engagement and participation rose dramatically.
Game Changer #3 - While out-of-control teenagers and chaotic families were being stabilized by the group and coaching, Dr. Sells and his team discovered that some families were relapsing due to unhealed trauma. This led to the final game changer—that of developing the family systems trauma (FST) work.
This eight-year journey resulted in the full PLL treatment model in which families receive specific tools to stabilize their families as well as specific tools to heal trauma. This complete package is used to bring about second order change, that is, permanent change to what was once an unhealthy family system.


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Wealden District Council
The Environment Agency role is to protect the environment by minimising the impact of drought, while making sure there's enough water for people. They have up to date website information and advice about the drought. Environment Agency Drought Website (external link)
They also have a 24 hour hotline you can call to report such things as green coloured water (algal bloom) or fish gasping for air. Telephone 0800 80 70 60
Help Prevent Forest Fires. Don't make an open fire. Pick up your litter, don't leave glass bottles lying around (sunlight through glass acts like a magnifying glass and can start fires).
Only use barbecue equipment in suitable and safe areas and never leave it unattended. If you see a fire in the countryside, ring 999. You should not try and tackle it yourself unless it is small enough to be put out with a bucket of water.
Make sure you put out cigarettes properly and don't throw the ends on the ground.
Wealden are part of the Sussex Resilience Forum, we meet partner organisations to assess the effect of the drought on the environment, supplies to vulnerable people and businesses.


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Arabic Interface Now Available in Questionmark Live
As we have been making translations for the Questionmark Live interface, one language high on our list has been Arabic. However, we did not want to go half way and release an interface where, yes, the language was translated but remained in a left-to-right format. We wanted to release the entire package: an Arabic translation of Questionmark Live in a right-to-left interface — and we are pleased to have achieved that!
Below are two screen shots of Questionmark Live for Arabic users. Click on each picture to see a full sized view of the Questionmark Live interface in Arabic.
Click here to use your Questionmark Live account, see a demo or try it out.
(If you have never changed the Questionmark Live interface to display in another language, click on the Account tab and then select a language setting.)


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Anemia during pregnancy can affect baby development
Allergy test is available to detect what you are allergic to
Alcohol, Smoking are main risk factors behind oral cancer
Cerebral palsy remains a significant health problem
How can ovarian cysts affect the chance of becoming pregnant?
Symptoms, Risk Factors, Vaccine and Treatment
Surgical approach to treat severe GERD
More precision and accuracy
An Examination of the Pancreatic and Bile Ducts
Smoking and drinking for a long time has led to laryngeal cancer
Cause, Symptoms and Treatment
New alternative hope for cancer patients
Removal of Salivary Glands for Treatment of Head and Neck Cancer
Learn how to help reduce injury or damage from sport injuries
Understanding office syndrome with rehabilitation physician
Similar to dialysis, filter the blood and remove harmful antibodies
Gradual loss of kidney functions
Diagnosis and Treatment
An important role in the treatment of gynecologic cancer.
Endovascular Aortic Aneurysm Repair (EVAR) and Thoractic Aortic Aneurysm Repair (TEVAR)
Treatment for cardiovascular diseases in children without the need of surgery
Surgical evaluation and treatment of the foot and ankle for a variety of conditions
Investigating the cause of various nose and throat problems
A hole in the heart can cause Migraine
Without visible scars
A painless solution to rejuvenate your vagina
Irregular heartbeat, too fast or too slow
Understanding Parkinson's Symptoms and Treatment
Botox is now used as a preventative treatment for chronic migraine sufferers
Knowing your blood glucose level
Advanced Single Port Surgery
Encourage your child to learn better
It could turn out to be a life- threatening condition.
A whiter and brighter smile can change your life
Not only bad personality but also bad health
Problems of the vascular system are common and can be serious
Treat it before it turn to serious problem
A nerve disorder that causes uncontrollable shaking or tremor
To correct a various facial or dental irregularities.
Diarrhea is dangerous more than we thought
GERD is more common and bothersome but it is treatable with the right plan.
Transoral Approach
The most common type of sleep-related breathing disorder
Emerging technology for examining GI problems
A dramatic weight loss and improved health without the surgery
Sinusitis can be confused for a common cold or an allergy.
It does not leave visible scar and the healing time is shorter.
Male to Female
A novel device
Latest invention in Liposuction
Early detection of health problems
Enhance your beauty
Symptoms and Treatment
Choose to eat wisely
90-95 percent of total knee replacements result is effective with 10 years function after the surgery.
An insertion of interspinous process implants via a minimally invasive lateral percutaneous approach
The most precious gift of our lives
It is less common but highly dangerous skin cancer type.
Reducing the rate of death and disability
A more youthful look with no need to go under the knife
Gynecologic Treatment
A long-term condition where blood sugar levels are higher than normal.
Do you know it can be treated?
A common health problem with a recent alternative treatment
Creating a beautiful smile
A male's inability to cause pregnancy in a fertile female
Instructions for preparation for health check-up
Female Vaginal Rejuvenation
Body hormones you should know and learn to deal with
Mostly occur on the legs
Symptoms and Vaccination
Physical therapy can be one choice of treatment for patients who have headache


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One night in April, 1983, an Englishwoman, twenty-nine, stepped off a plane at J.F.K. and hailed a cab. She had come to the United States for business, though she would have been hard pressed to say what kind. She already missed her husband and the clatter of his typing back at home. As the cab headed toward Manhattan, Dr. Ruth's show blared on the radio. You "tek it in the mouth und move it slowly, slowly up und down," the good doctor advised. The woman in the cab was Tina Brown, and this was her initiation into the world of media in New York.
In the years since that spring night, Brown has become synonymous with the last great renaissance of American print magazines. At Vanity Fair and then at The New Yorker, she expanded readerships. Her editorial appetites were fierce; she raked in news and new writers and cash. Some people found her style unsettling, and her victories did little to alter that judgment. Brown's legacy remains controversial not because her success is in question but because, for some, too much was lost in her kind of success.
A chance for reappraisal has now come. "The Vanity Fair Diaries: 1983-1992" (Holt) is Brown's private account of her work at Vanity Fair for nearly a decade, the editorship often seen as her most dazzling feat. When she took over, less than a year after being blown into New York by Dr. Ruth, the magazine was tens of millions of dollars in the red, with a circulation of about two hundred and fifty thousand. By the time she left, it had more than doubled its pages of advertising and gained about a million readers. The diaries are a ledger of the workdays in between.
That time was filled with famous people, endless parties, comic misadventure. But it's Brown's reports on editing that offer an illuminating thrill. Brown calls herself "a magazine romantic," and, reading her diary, you see why: she collects old magazines the way some people collect baseball cards, and her entries flutter with the joy of conquest at a time when glossies were reaching a glamorous peak. Her narrative is juicy in the mold less of a chophouse steak than of a summer peach: a little tart, a little sweet, mostly refreshing. It's pretty irresistible. Brown is an entertaining writer of what could be called High Magazinese, a prose of front-loaded descriptors and punch-line squibs (from the introduction: "Large, blond, and ebullient in his well-tailored suits, my father filled a room with his commanding height and broken nose"), and, winsomely, she seems to write this way even when writing for herself. She has a novelist's sense of pacing and a perverse genius for description. One pompous woman is "a coiffed asparagus"; an aging lord's secretary is "a pretty, silent blonde girl with whom he probably enjoys recreational humiliation." Walter Mondale "would make an excellent prime minister of Norway," and Wallace Shawn is "like a small, anxious hippo." (There are misses along with the hits, and some descriptions—"Bill Buckley did a pale, sexy, contact-lens stare at me"—leave the reader not just cold but chilled.)
Every New York bildungsroman has essentially the same plot. A wide-eyed outsider drifts among the city's urbane and jaded lions with fear and amusement, acutely aware that she is not one of those powerful, entrenched, kind-of-terrible New York people, until, one day, she wakes up and discovers that she is one of those powerful, entrenched, kind-of-terrible New York people. Brown's version is complicated by a sense of doubleness that she has from the start and never sheds; she indulges a persistent feeling that her true creative life lurks elsewhere. "America is too big, too rich, too driven," she writes. "America needs editing." And so she starts.
In the twenties, Vanity Fair, the glossy magazine that rose with Dorothy Parker and Robert Benchley, put fizz and tannins in the social ferment of New York. Its project soured during the Depression, though, and, in 1936, it was folded into Vogue. The Condé Nast company owned both, and worked to relaunch Vanity Fair early in 1983. The goal was sophistication, but that word has many meanings, and the first editor, Richard Locke, seems to have envisaged a Left Bank-style glossy of literature and the arts. The first issues hit newsstands with a thud, and then a rustle of derision. Locke was canned. Meanwhile, Brown was having conversations with the Condé Nast chairman, S. I. Newhouse, Jr., and his editorial director, the émigré artist Alexander Liberman. She studied them like fickle gods on Olympus; throughout the diaries, her writing about men is noticeably more nuanced and more searching than her portraits of her female peers. "I know it's the wrong feminist answer," she confesses at one point, "but most of my role models have been men. They always had the lives I wanted."
Brown had spent her childhood in impish misbehavior before emerging, under Oxford's spires, as a sort of literary wunderkind. While still at school, she sent a play into production at the Edinburgh Festival. She was recruited to The New Statesman during her time at Oxford, and by her early twenties was a busy freelance writer. Awkwardly, she fell in love with one of her first editors, Harry Evans, who was twenty-five years older and married; charmingly, they've been together ever since. Evans taught her the editor's craft, she says, and there is more about that than about what she refers to as the "scandale" of their early life. (Possibly it's not that sort of book, or possibly Brown is not that sort of person; of her moment of coup de coeur with Evans, she writes, "I fell in love with his professional absorption.")
In 1979, when Brown was twenty-five, she became the editor of Tatler, a faded society magazine, and focussed it on the farces of the Royal Family and on the rising, striving Thatcherist world. She wrote much of the copy herself, including, under a pseudonym, a semi-satirical eligible-bachelor roundup. ("Gregory Shenkman is half-Russian but wholly available and in a city overrun with effeminate one-shave-a-day men is refreshingly hairy.") In two years, she expanded the magazine from a wan publication with ten thousand subscribers into a glad rag with tens of thousands more. In 1982, it was bought by Condé Nast, and Brown, restless and restive, left. That's when Newhouse and Liberman called her to New York.
At the office and at the Four Seasons, they talk of Vanity Fair. But she isn't sure what they're talking about. "Alex suggested I make a proposal about 'what I need to make this work. We need you.' " Is he offering the editorship? She wants it badly, but cannot bring herself to say so. Instead, she flies back to London and offers to consult on the magazine for a couple of months. This leaves her furious at herself. "No man would have fled town with a prospective editorship on the table," she writes. Although she dislikes working under Locke's replacement, the Vogue veteran Leo Lerman, she learns from her vantage inside the magazine and finds New York thrilling: "It's high-stakes and frightening, which is pretty sexy." ("Sexy" is one of Brown's favorite words.) As the consultancy ends, she works up the courage to tell Newhouse that she wants the editorship. "I will do a good, jazzy job for you, Si, if you want me," she says. Then she goes home and becomes a nervous wreck, wondering whether she let her big break slip away. A doctor she consults suggests that she forget New York and produce children.
But at last a call comes. Brown, who is on Christmas vacation, in Barbados, flies to New York with her beach clothes. She has just turned thirty. But she knows what she wants to do. Her idea of sophistication is urgency, wit, and the eclectic front edge of cultural power. It will be Oscar season when her first issue appears, and she notices a new crop of blond actresses coming through. She puts one of them, Daryl Hannah, on the cover wearing a blindfold, with the line "Blonde Ambition." "She's holding an Oscar statuette in each hand like a glitzy version of blind justice, which adds another level of double entendre as the fate of the mag weighs in the balance," she tells her diary. If there was another meaning to be found in Tina Brown's naming her first American cover "Blonde Ambition," it does not seem to have occurred to Tina Brown.
What makes a great editor? The answer is not obvious, because neither is the nature of an editor's creative work. Some editors-in-chief are micromanagers. Others roam. Some are dais creatures; many huddle at their desks. The basic task of editing is to serve as a polarized filter—to let in light this way and not that way—but good magazine editors do something more: they focus light into a sensibility that comes through on each page. A GQ editor knows how his or her readers aren't Esquire's. An editor moving from The American Prospect to The Nation must recalibrate in taste. "You have to be able to throw a magazine on the floor opened to any page and instantly know what magazine you're looking at and who the reader is," a British editor tells Brown. She takes it as a standard for Vanity Fair.
Magazines can be text-driven, or photo-driven, or headline- and package-driven. What editors focus their attention on—what they bend and crimp the other elements around—transforms accordingly. Brown's Vanity Fair was driven by what she calls the "mix": the table of contents, the balancing and juxtaposition of features. "The endless conundrum of how to get the mix perfect is what keeps me from getting bored," she writes. A mixologist needs an instinct for eclecticism (this pairing is dull, that one has a kick) and a sensitivity to context. Also, a big cutting-room floor. Brown famously yanked pieces that didn't suit an issue; at one point, she kills three things because the mix includes an excess of bald heads.
"People management" becomes an issue in this climate. (The diaries' heroes are Brown's managing editor, who manages with sanity and warmth, and the Condé Nast human-resources head, who makes people problems go away.) Yet Brown rarely tires of writers, which is impressive, because writers, as a tribe, are strange. They keep odd hours and have weird, often bad ideas. At gatherings, they tend to skulk or to be over-present, like a recently uncrated Labrador leaping to lick your nose while piddling on your knees. Hollywood is filled with stories of prima-donna actor tantrums, wild affairs, trashed trailers, and overnight benders. Rather than erupting in this healthy manner, writers go home and quietly develop suicidal snacking habits, or unnecessary family troubles, or a rash.
The upside is that good writers, in their best moments, can conjure from a blank expanse of nothingness something: a text with a shape, a voice, a world, even a personality of its own, able to speak to those its author would consider strangers—the same thing that photographers and illustrators manage in their frames. The novelist William Maxwell, a New Yorker fiction editor for four decades, used to say that he could play on a writer's talent like a piano. Brown's first Bösendorfer in New York is Dominick Dunne, whom she meets at a dinner during her 1983 visit. He says that he has never written nonfiction, but she knows he has the sound she wants. "I asked if he'd thought about writing for magazines," she says. "The emotion of the night ratcheted up when Dominick suddenly revealed to me something terrible—his daughter, Dominique, was murdered." He's about to go to Los Angeles for the trial, and Brown encourages him to keep a diary—she'd love to publish something, she says.
Dunne soon becomes a critical part of her mix, along with photographers such as Annie Leibovitz and Helmut Newton. "A VF formula that works is beginning to finally suggest itself," she writes. "Celeb cover to move the newsstand, juicy news narrative . . . A-list literary piece, visual escapism, revealing political profile, fashion. If we nail each of these per issue it's gonna work."
Her mixological skill helps her to dash a playful range into a newsstand of carefully channelled readerships. December, 1984: Joan Collins cover ("SHE RHYMES WITH RICH"); also, Muriel Spark on Piero della Francesca, Styron on Capote. A glance through these issues complicates Brown's reputation as a forward-looking iconoclast, ripping up the old order for something untested and new: mixology is the oldest practice in the editing of magazines—the word "magazine" originally referred to a storehouse—and she understands herself predominantly as a restoration gal, peeling away the shag carpet to reveal the parquet floors. When she edited Tatler, her models were the piquant Tatler of the Augustan Age and a later, Jazz Age iteration. At The New Yorker, she sought to restore the newsier, jauntier illustrated weekly invented by Harold Ross. When she started at Vanity Fair, she cast off the zazzy type and the coffee-table culture writing of seventies Condé Nast and reëmbraced the crispness of the twenties magazine. Glamorous, irreverent; traditional, fresh. Her risky vision was to have something for everybody, but to get the whole to hang together, too.
A reader expecting the steely workings of a brash executive mind will be surprised by Brown's inner life. She is bookish, uncertain, frequently unaware. When she tries to rent an apartment, she gives five thousand dollars in cash to a con man. She's a self-described introvert who quails at going out and spends a New Year's Eve alone in her apartment. She must remind herself that she's always glad she went to parties. (She gets her ideas there.) She is a balky, fussy writer, once holing up for three days in a hotel room trying to produce a thousand words on Henry Kissinger. She can often barely stand New York, and thinks she would be happier in California. If she is to stay sane in the city, she decides, she'll need to leave on weekends, so she and her husband rent a beach house out in Quogue, on Long Island, and she spends the Friday-afternoon rail trips staring dreamily out the window, relishing "that lonely sound of the train's honky warning as it rounds the bend."
She feels more comfortable in Quogue than in Manhattan, but, when they scrape together cash to buy the rental house, their mortgage application is rejected. In London, she never thought about money, she realizes. But in New York, despite making much more than she ever has (she is hired at a hundred and thirty thousand dollars, the equivalent of about three hundred thousand today), she frets about it constantly, feels that she never has enough, and finds herself obliged to act as if she had more than she does. A friend calls this "the New York disease." She finds it tiring. She longs for English self-effacement, and the days when she could read Philip Larkin in bed. When a British journalist notes her suit, her coif, and her "newsreader's smile," she winces: it's a costume, she thinks, an effort to pass. She tells herself that this "outer life"—the job, the dinner parties, the United States—is temporary, research for a novel she is going to write. The big question around diaries is always motivation: Why? For Brown, it becomes clear, the entries are a way of taking all the stuff that flies at you and framing it, weaving a story about an adventitious heroine called Tina Brown. "Here I live in a permanent red-hot present, fascinated, appalled, thrilled, amused, enraged—but never ultimately touched, because in the end I am always a spectator and a foreigner," she writes.
That look at life from the outside gives the diaries good humor, and it offers Brown a kind of armor from herself. She has a healthy, possibly un-American attitude toward daily failures—she takes them as a cost of playing the game—and records her flops with matter-of-fact dispatch. She blew that crucial advertising meeting. She felt distracted by office politics and was rubbish on TV. That dinner party she gave? A comic disaster. Oh, well. It all keeps coming at you anyway. Despite her Britishness, she is a classic New York workaholic: it's not that she adores being in the grind of labor; it's that she is devoured by anxiety when she's not.
Not all things translate. Like many Europeans, Brown concludes that the U.S. has no sense of humor. She is baffled when Sally Quinn disinvites her from Ben Bradlee's birthday, after a Vanity Fair review calls Quinn's new novel "cliterature." She recalls a friend's impious joke, about the men in the late Christina Onassis's life, sending Brits into conniptions and causing a scandalized American to flee the room. The humorlessness complaint also has an editorial dimension. British editors often seem to hire writers, editors, artists, and photographers with an eye to character and quirk, as if casting an opera buffa: there's the prince, the ingénue, the intellectual, the dame, the dandy, the wit, and the sharp-shooting kid. Americans tend to favor well-decorated men and women who make sound and solid points, as if staffing a cabinet. In the diaries, Brown chafes against the sanctimony of American newsprint. "What I miss here is the surprise of a Hollywood splash lighting up a news page or an irreverent headline undercutting a pompous public moment," she laments. "There is huge snobbery and hand-wringing here about what 'serious' papers 'should' publish and where writers 'should' write."
By many measures, though, Brown's eighties world was less rule-governed than the present, and some rascals show their colors early on its schoolyard turf. In June of 1986, Brown goes to Oxford for a story on the death of a young heiress from a heroin overdose. She hires a student journalist, Allegra Mostyn-Owen, to make introductions. Mostyn-Owen fobs off Brown at a lunch with posh kids and her boyfriend, "a young fogey with a thatch of blond hair and a plummy voice called Boris Johnson." A bit later, the Sunday Telegraph publishes, under Mostyn-Owen's byline, a snarky account of Brown's visit, centered on the lunch. Brown finds that she's extensively misquoted—unsurprisingly, since Mostyn-Owen wasn't there. "Boris Johnson is an epic shit," Brown concludes. "I hope he ends badly."
She does better with other opportunists. At a dinner party given by Ann Getty in 1987, she finds herself between the editor Lewis Lapham and an Italian art dealer. Nearby is Donald Trump. "Ann, for some reason, monopolized Lapham for two courses, leaving me and Trump both stranded, so he leaned over them and started bombarding me with interest," she writes.
"Tina," he shouted, "what do you think of the Newsweek cover story on me?" "I haven't read it," I told him.
"You know, Tina, I could have had Time. They wanted me and I saw them, too. But Newsweek scooped them. Who do you think's better, Tina, Newsweek or Time?"
"Time," I said mischievously.
"You really think so, Tina, you really think so?" His pouty Elvis face folded into a frown of self-castigation. "I guess it sells more," he said in a tormented tone. "I guess it does." Then he brightened. "You know how much Fawn Hall gets for a one-night appearance? Twenty-five thousand dollars! I've booked her for the night at Trump Tower. She can't sing. She can't dance. So what. She's so hot everyone's gonna come." . . .
"You see this man, Trump," hissed the Italian on the other side of me. "He is trying to force you to think like him, and I think it's working."
From then on, our President drifts through Brown's memoir like a hot-air balloon in search of power lines. Vanity Fair publicizes the moniker "the Donald." Brown has decided to excerpt his forthcoming book, "The Art of the Deal," and that choice seems to mark the moment when her foreigner's double consciousness sharpens into the shrewd detachment of the age. "It feels, when you have finished it, as if you've been nose to nose for four hours with an entertaining con man," she writes. "I suspect the American public will like nothing better."
The secret self, the deference to effect, the calculating taste—all these shape a curious growth narrative, a story less about becoming than about appearing to become. Is there a difference? It's a truism that the worlds of glamour, power, and success are populated with people who think they got in on a fluke and don't belong. As far as creativity goes, though, is that sense of doubleness the static or the sound? The serious subject in the shadows of Brown's account is the influence of a success economy on creative work. Poignantly, it also emerges as a question in the long arc of Brown's life.
It's instructive in some ways to look to an old master. Joe Hagan's splendid new biography, "Sticky Fingers: The Life and Times of Jann Wenner and Rolling Stone Magazine" (Knopf), lays bare a subject who's notorious for his appetites in commerce and fame. Yet Wenner's flagship publication was also a crucial vector of the counterculture and an early champion of alternative art. Is there a contradiction? Hagan's book is richly sourced, fair-minded, and, helpfully here, attentive to the tricky rapport between individual ambition and the growth of a creative enterprise through time. His underlying idea is that Wenner, far from being a flower-child fanboy who struck gold, was a business prodigy who realized that the boomer counterculture was aspirational, and thus salable—that the young people who bought a bus ticket to San Francisco, bought a tab of acid, bought "Jefferson Airplane Takes Off" weren't really that different from the women who ad-shopped Vogue or the cocktail-party pundits who took Partisan Review. Wenner had been largely indifferent to music through his teens, when he was a loud, social-climbing, student-government type. (Multiple classmates recall him as "obnoxious"; at one point, he returned a girlfriend's love letters with grammatical corrections.) But he recognized a need. "His original insight of 1967 was an abiding one: that the 1960s were, at bottom, a business," Hagan writes.
Rolling Stone was not the first rock-criticism magazine; it was preceded by Crawdaddy! and Mojo-Navigator. It struck a nerve, though. Early issues, Hagan notes, were on newsprint with a trippy logo, but the pieces appeared in clear, crisp columns, "a no-frills Daily Worker for stoned rock fans." This was shrewdness. Wenner: "What they respond to is somebody talking to them straight." On the newsstand, Rolling Stone seemed real, man, and yet Wenner ran it with establishment concern. He went into business with Mick Jagger, and then put him on the cover. He let John Lennon edit his own interview—then sold it as a book, without Lennon's approval. When Rolling Stone was drowning in debt, in 1970, Wenner bailed it out with money from the record labels and then, Hagan says, tweaked reviews critical of their stars. As the sixties ended and realness lost its market value, Wenner went fancy, "reframing rock and roll as a celebrity culture like any before it," Hagan writes. All this seems to conspire against the sovereignty of creative freedom and outsider art.
Here's the thing, though: who has ever read a piece from Crawdaddy! or Mojo-Navigator? Meanwhile, the art of portraiture made strides in the young Annie Leibovitz's daring Rolling Stone photos, and "Fear and Loathing in Las Vegas" (which Rolling Stone published), by Hunter S. Thompson (whom it brought into the footlights), is as genuinely "alt" a chronicle as exists. In recent years, Wenner has expressed nagging anxiety about social media, and it isn't hard to see why. Imperial commercial ambitions now cross with an audience and a stage for creative discovery in, for instance, Facebook. A periodical can no longer survive just as an object with a table of contents; somehow, it must be first at hand—on phones, in earbuds, in life—without droning like a swarm of bees. Going forward, one imagines, visionary digital-age editors will be packagers: those who take this amorphous buzzing explosion, give it a shape, and figure out a way to sell it again as a special box.
Until then, strong voices, more than strong editors, lead. That hardly seems a good thing for truly creative work. Habits of doubleness are inherent in many editors, not just Brown. (Hagan makes much of Wenner's long-closeted homosexuality.) It seems to help. Although such gatekeepers cater to the market gaze of readers, their aloofness guards them from easy consensus. They exist beyond the groupthink that emerges around voices in a crowd. Figures like the sales-minded gallerists who rent the space, draw viewers, set the frames, and put work on the wall tend to be absent from the legends of triumphant outsider artists such as Hunter Thompson. The editorial servants of a success economy may not be in the game for admirable reasons, but they make it possible for us to learn the work of the people who are.
What was Brown in it for? In the introduction, lest we get the wrong idea, she apologizes for the number of rich people in her book. That, she writes, was the eighties! The note feels gratuitous, partly because Brown's relationship to the swells is plainly vexed, and partly because the odd thing isn't her diary's glamour but its aperture. Major world events receive only a passing mention. Her entry for October 27, 1987, begins, "The stock market has crashed!," and then drifts into talk of portentous conversations she has heard at parties. AIDS gets ink, because it felled some of her friends and colleagues, but other spectres creep up on her. ("Return to New York and suddenly feel the stark difference between rich and poor," one entry begins, in 1987.) Throughout her career, Brown has been described as a newshound or as a trader in buzzy ideas, but the diaries suggest something else. Brown is a people hound, registering change when it crosses her near field of vision. Her gift is to feel the big story emerging in the small, human detail.
That instinct fuelled her rescue of Vanity Fair. In 1985, when its sustainability is still unclear and Newhouse comes within a hairsbreadth of pulling the plug, she scores a photo shoot with the Reagans, in the White House. As the First Couple breezes through, wearing black tie, her photographer starts playing a recording of Sinatra's "Nancy (with the Laughing Face)" on a boom box. The Reagans are taken aback. Then they begin to dance. The First Lady kicks up a heel. Snap, snap. They kiss. Snap. This, Brown decides, is the image of the eighties.
How many of the thousands of reporters keeping vigil on the White House recognized what Brown saw—that the cornerstone of the Administration's success and resonance was not the policies or the polish but the public mystery of the Reagans' marriage? The kicked-up heel lands on Vanity Fair's cover. The kiss is printed big inside, cropped close across the fold, with sixteen hundred words of perfumed prose on love and power. The spread changes the magazine's fortunes. Newsstand sales leap, and subscriptions nearly double from a year before. Headlines about Vanity Fair, long doom-saying, now marvel at its turnaround. "What you've done is nothing short of a miracle," Newhouse tells Brown. In 1987, in the wake of the collapsing market, the November issue breaches into the black.
The rhythm of Brown's social life hastens. Evans, who has been editing at U.S. News & World Report in Washington, D.C., comes back to New York to launch Condé Nast Traveler. They throw a joint party, and Helmut Newton shows off a boudoir mag he's founded. It contains a couple of photos of fellatio and what Brown calls "typical Newton, Cabaret-esque decadence with sinister animal sex thrown in." It is a waggish vision of the editorial road untaken: " 'Fuck it!' he exploded. 'I'm sixty-seven on Halloween. What am I waiting for? To print cock-sucking when I am dead? To hell with it! I am paying for this myself.' To which there is no answer really." More parties follow. Brown's patience for this landscape varies. "I love New York City, period," she writes one day. Then, some weeks later: "The thought of the city gives me herpes of the brain."
By now, though, her ambivalence has a protective edge. In 1985, in the midst of rescuing her publication, she discovered she was pregnant. Her son was born two months early, at a stressful time. The complications spooked her ("So you think you're going to romp through motherhood, too, huh? . . . Remember pain and grief and failure?"), but she grew absorbed in her role. "It's so damn tough to make the power woman-to-mommy switch," she writes. She worries about the life she leaves behind each morning; she fires a nanny who she gathers is competing for her son's affection. "I want to be home with my baby! Our house is too turbulent," she writes. "Knowing this makes me guilty." It seems to strike her for the first time that the way she's living is, in fact, her life.
Brown's all-in moment comes in 1989. Vanity Fair has won a big award. Its numbers are still climbing. The C.E.O. of Hearst courts her, offering Harper's Bazaar and the moon. Sensing her opportunity, Brown sends a shark agent to Newhouse and ends up with what she calls a "megadeal": forgiveness for a three-hundred-thousand-dollar loan, a salary increase to six hundred thousand, and a million-dollar bonus at the end of a three-year contract. What's more, Newhouse offers to pay her parents' health bills and to move them back to London from Spain, where they're at the end of their savings. "This is the day I will never forget as long as I live, the day I made my quantum leap," she exclaims. In her eyes, it is when she finally masters New York. Of course, it's also when the city finally masters her.
Or is it? Even after consecrating herself to the megadeal, Brown is fickle: "A few weeks without my trainer dragging me out of bed at six, a few forgotten visits to Louis Licari"—her very busy hairdresser—"in two months I would be a big girl in thick glasses with a bushy ponytail. How lovely that sounds." Another child is on the way. Her "stubborn dream," she confides to the diary, is to be an Oxford college master. When Evans is appointed head of Random House, her happiness comes with a sting of dread. "That locks us into NYC for another five years," she writes. "I will have to stop imagining there could still be an alternate reality in London."
She never stops looking behind her, at what was or, at least, could have been. But, for all her doubleness of vision, her escape path is now overgrown. The only option is to stay and continue mixing issues, showing up at dinner parties, getting three hundred blowouts a year. The only option, really, is to keep becoming Tina Brown. ♦


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Gandhidham | Gujrat |
Graduate |
Typing |
Posted on Oct 18, 2016
Job Organization : Kandla Port Trust of India
Job Detail:
Hi friends, Is you are having an Graduate degree but hasnt has some technical degree to make you work for government of india. Chill you will be trained by Kandla port trust on india, Fresher Graduate may come for walkin interview on 24th of October 2016 to grab a respectable job.
Kandla port trust of Gujrat has vacancies for Graduates huge salary package. you will not have any qualification you will be trained for some months in the port location.
Eligible persons can apply by sending application for the job by post with all required documents xerox to the address of same. All requre other information about job is written below, read it properly and send applycation for the job.
Location : Gujrat, Kutch and Gandhidham
Education Qualification :
Candidates who have completed Graduation with an recognased institute with Typing skill can come for This recruitment from Kandla port trust.
Job vacancie Name : Stenographer & Typist
Total posts : 2 Posts to be filleb by eligibles
Application Fees For These Job : NA
Walkin Details:
Walkin Date: 24th October
Wankin Time: 09.00 AM to 17.00 PM
Wankin Adress: For further details, if any, can be contacted on (02836) 220010.
More Detail about job :
Please read notification to know more about that.
Click Here To Apply for This Job:
About Kandla Port Trust:
Kandla port plays a serious role within the country's international trade. Having notched up a string of success, it's emerged as a forerunner, and has sculptured a distinct segment for itself, by its steady growth and economy of operations.
The Port of Kandla is found on the Gulf of kutch on the northwestern coast of india some 256 maritime miles southeast of the Port of Karachi in West Pakistan and over 430 maritime miles nor'-nor'-west of the Port of city (Bombay). it's the biggest port of Asian nation by volume of payload handled. Kandla history kandla Port Trust, India's busiest major port in recent years, is geartrain to feature substantial payload handling capability with personal sector participation. The geographic region port handled seventy two.225 million tonnes of payload in 2008-09, over eleven per cent over 64.920 million tonnes handled in 2007-08.
Kandla Port has shown buoyant growth in payload handling within the recent past. In 2008-09, its total traffic grew by thirteen.6 per cent to achieve associate uncomparable high of seventy two.225 million tonnes. The port's share in traffic handled by all major ports has up steady over the years, peaking at thirteen.6 per cent last year (see table). Earlier projections created by the port indicate associate annual capability handling target of one hundred million tpa by 2012.
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WeirdMary0427 wrote:Did any of you hear about the kid last month who got his head knocked off from a roller coaster? It's not funny at all, but it's exactly what happened in the song! Except that he wasn't on the ride, he was trespassing in the high voltage area next to the ride and popped his head up to see the ride swoop down and his head was a bit too close.
Mystik Tomato wrote:...Is it though?
Wow. I already asked this question back in 2007. I guess history repeats itself.Muldernscully wrote:I love this song. The second verse is my favorite. What is everyone's favorite verse?
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1. Stainless steel pole, our country adopts the way is hot galvanized surface treatment, hot dip galvanized in line with international standards of product life can reach 15, otherwise far from. Mostly used in courtyard, community, park and other places.
2. Iron lamp Pole: Most of China is this kind of pole, but the surface to do the spraying (paint or dusting treatment), life is 3-5 years, General road lighting use of iron lamp pole more
3. Aluminum alloy lamp Pole: high-strength aluminum alloy manufacturing, not only humanized protection of personnel safety, but also high strength, do not need any surface treatment has more than 50 years of corrosion resistance, and very beautiful, looks more upscale.
China's current situation: China's current status is that iron light pole accounted for most of the market share, aluminum alloy lamp pole exports to foreign countries, especially developed countries.


text: On Mon, May 08, 2006 at 05:50:47PM -0400, Manuel M T Chakravarty wrote: > 1. nhc currently has it easier than GHC as it doesn't support > concurrency. Although, we didn't provide an explicit features > for concurrency in the FFI addendum, we tried to co-exist. actually, I believe all haskell implementations already have or are working on concurrency. I know Einar is pretty close to adding support to jhc, yhc has it, and hugs has a lot of the framework done so it shouldn't be too hard to bring it all the way. > 2. safe/unsafe is about enabling an optimisation. Implementations > are of course free to not apply that optimisation, and then they > don't care about the annotation. So the real question is, if > nhc would want to achieve the same level of performance as GHC, > could it still ignore the annotation? Also, at some point "optimization" problems become correctness ones if they are vital for getting usable performance. I am not sure if you read it, but there has been _a lot_ of discussion about FFI annotations in the concurrency threads. there is a basic summary of our results on the Concurrency page on the wiki. the basic consensus is to drop the ghc-specific safe vs unsafe and annotate ffi calls with what your actual intent is. as in 'nonreentrant' if the code doesn't call back into haskell and 'concurrent' if the haskell runtime needs to arrange to run concurrently with it. the exact names and defaults are still being worked out, but I think we have a good consensus on at least what different annotations we need in order to give compilers of all sorts of implementation models exactly what info they need. > So, I guess, I need to refine my criterion: We leave an annotation as a > pragma if it is a hint to some implementation and irrelevant to others > that can ignore achieve comparable levels of performance while ignoring > it. (Strictly speaking, I guess there is still an exception if it is > generally *much* easier to achieve good performance when taking the > annotation into account.) it is fuzzy. some programs rely on NOINLINE for correctness, but of course they are making all sorts of assumptions about the underlying implementation so it isn't really portable anyway. for instance the NOINLINE unsafePerformIO newIORef trick for global state just doesn't work on jhc and it would be quite tricky to make it otherwise. Not that this is a new or particularly pressing issue as we will eventually hash everything out. John -- John Meacham - ⑆repetae.net⑆john⑈


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Modelling consistency and real world non-coherence in mainstream economics18 May, 2015 at 19:12 | Posted in Economics | Comments Off on Modelling consistency and real world non-coherence in mainstream economics
In those cases where economists do focus on questions of market or competitive equilibrium etc., the formulators of the models in question are often careful to stress that their theorising has little connection with the real world anyway and should not be used to draw conclusions about the latter, whether in terms of efficiency or for policy or whatever.
In truth in those cases where mainstream assumptions and categories are couched in terms of economic systems as a whole they are mainly designed to achieve consistency at the level of modelling rather than coherence with the world in which we live.
This concern for a notion of consistency in modelling practice is true for example of the recently fashionable rational expectations hypothesis, originally formulated by John Muth (1961), and widely employed by those that do focus on system level outcomes. The hypothesis proposes that predictions attributed to agents (being theorised about) are treated as being essentially the same as (consistent with)
those generated by the economic model within which the same agents are theorised. As such the proposal is clearly no more than a technique for (consistency in) modelling, albeit a bizarre one. Significantly any assertion that the expectations held (and so model in which they are imposed) are essentially correct, is a step that is additional to assuming rational expectations.
It is a form of modelling consistency (albeit a different one) that underpins the notion of equilibrium itself. In modern mainstream economics the category equilibrium has nothing to do with the features of the real economy … Economic models often comprise not single, but sets of, equations, each of which is notoriously found to have little relation to what happens in the real world. One question that nevertheless keeps economists occupied with such unrealistic models is whether the equations formulated are mutually consistent in the sense that there 'exists' a vector of values of some variable, say one labelled 'prices', that is consistent with each and all the equations. Such a model 'solution' is precisely the meaning of equilibrium in this context. As such the notion is not at all a claim about the world but merely a (possible) property that a set of equations may or may not be found to possess …In short, when mainstream economists question whether an equilibrium 'exists' they merely enquire as to whether a set of equations has a solution.
Modern economics has become increasingly irrelevant to the understanding of the real world. Tony Lawson traces this irrelevance to the failure of economists to match their deductive-axiomatic methods with their subject.
It is — sad to say — a fact that within mainstream economics internal validity is everything and external validity nothing. Why anyone should be interested in that kind of theories and models is beyond my imagination. As long as mainstream economists do not come up with any export-licenses for their theories and models to the real world in which we live, they really should not be surprised if people say that this is not science, but autism.
Studying mathematics and logics is interesting and fun. It sharpens the mind. In pure mathematics and logics we do not have to worry about external validity. But economics is not pure mathematics or logics. It's about society. The real world. Forgetting that, economics is really in dire straits.
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You can either enter your travel destination into the search box at the top of the rent-a-guide website, or you can search for your destination via the "Where?"-tab. You will now see all activities that are offered for this destination.
If you have found a product you are interested in, please click on the green "Info and booking"-button on the right. Now the description will appear below the offer. The description gives you all the necessary information about your deal: the kind of activity (private or public), the topic, the meeting point and which services are included and which are not (for example tickets). Moreover, you will find pictures and can read customer reviews (if existing).
If you click on the green "Info and booking"-button on the right, the description will appear. You will find out if entrance tickets are included by looking at the additional information (below the description) or the information about what is included (on the left side).
Please click on the green "Info and booking"-button on the left. Now the description will appear. You now click on the tab "Dates/Booking". You will now see a calendar. You can choose the month in which you want to do the activity. Green boxes show the available dates, the grey ones the non-available dates. As soon as you chose a date, the possible starting times will appear. If your desired date is not available anymore, you can always contact the customer service of rent-a-guide. We will then send a request to the offerer, if there is a chance that a activity can be done. If the activity you choose is public, we possibly have to ask for a private activity. The price for this offer might differ from the price of the public activity.
With public activities, the group consists of various participants who booked the offer independently. Public activities always take place at a certain date and time. With private activities, the group consists only of people who booked the offer collectively. These activities will only take place on the date and time you booked it.
Yes, that is possible. Please look at the description to find out, if the public activity of your choice is also available as a private activity. For most of the public offers, we are able to request a private alternative.
Individual tailored deals are offered in many cities. Via our message system you can discuss your individual needs and requests with the offerer beforehand. If you cannot find such an offer for your destination, please do not hesitate to contact the customer service of rent-a-guide. We will send a request to the providers to try and make your individual deal possible.
Most of the activities will take place even if it rains. If that is not the case, it will be mentioned in the additional information, which you can find below the description.
If you click on the green "Info and booking" button on the right, the tour description of the tour will appear. On the left side you will now find the section "Meeting point". If it says 'On request' you can talk to the tour guide after the booking to arrange a meeting point.
The section "Meeting point" will show you whether a pick-up at your hotel is possible or not. With most of the private tours, it is possible to arrange an individual meeting point which, of course, can be your hotel.
Unfortunately, not all tours can start at the cruise harbour. On the left side, you can set the filter to 'Cruise excursions'. Please see also the tour title or tour description for more details about a pick-up at the harbour. Moreover, it is always possible to send a request to our guides. In some cities, for example in Rome or Bangkok, the cruise harbour is out-of-town. We would like to refer to our website www.kreuzfahrtausfluege.de where you can find tours only for cruise tourists.
Unfortunately, this is not possible, because our providers need to know beforehand how many people will be participating during the activity.
Normally, the offer has to be paid within 10 days after the booking. If you book short-dated, it is within 3 days. On request, we can also offer cash payment.
There are several payment methods to pay an offer. If you book online, you can pay via PayPal, "Sofortüberweisung", bank transfer or credit card (Visa or MasterCard). If you book by phone, you can pay via bank transfer or credit card. No matter which payment method you use, the booking is only bindingly when cashed.
The service fee is a small fee which is charged so that individual payment methods are covered. Moreover, rent-a-guide offers its customers a free customer service, which you can contact with all your questions and requests as well as a feeless hotline for a local rate. The amount of the service fee depends on the price of an offer. The service fee will be charged per booking and not per person.
The payment of the bookings have to be done beforehand so that the offerer and the customer have a guarantee and the possibility to plan ahead.
As soon as the product is booked a booking confirmation will be sent to you via E-mail. Please print this confirmation and bring it to the meeting point. If you do not receive a booking confirmation within 12 hours after your booking, please have a look at your spam folder. If the booking confirmation cannot be found there as well, please contact our customer service.
Yes, that is possible. Please click on the green "Info and booking" button on the right, so that the description will appear. Please click on the tab "Date/Booking". There you will find the button "Contact provider". If you click on that button you will be directed to a contact form. Please leave your questions or requests. After you send it, it will be forwarded to the provider. Moreover, you will receive the contact details of the provider after the booking (as the offerer receives your contact details).
During the booking, you will have the possibility to enter a message to the provider. Moreover, after the booking you will receive your booking confirmation which also contains the contact details of the provider.
If you cannot participate in an activity, you have to cancel it. Please use either the cancellation link in your booking confirmation or send an email to firstname.lastname@example.com as well as to the offerer. All deals have a cancellation deadline which is determined by the offerer. If you cancel your activity before the deadline expires, we will refund the already paid money to you. If you cancel the deal after the deadline has expired, a refund is not possible. The information about how long an activity can be cancelled for free can be found on our website in the left column of the description and/or on your booking confirmation.
If something goes wrong or if you are unsure about something, you can always contact our customer service. Our business hours are from Monday to Friday, from 9.00am to 6.00pm. Our telephone number is: +49 (0)234 – 91 55 6 30.
Our customer service is available from Monday to Friday from 09.00am to 06.00pm. If you do not have a short-date request (tour date not within the next 5 days), you can always write an e-mail to our customer service. The e-mail address is firstname.lastname@example.com.
Yes, all the personal details you provide are only used for the technical administration of our website as well as for the fulfilment of your requests and needs – for example for the contact between you and the provider. For the processing of contracts, it is necessary to forward your personal details to the provider, including the details about the booked services, the reference code and the date of the booking, so that the offerer is able to consider you in the provision of the service. A passing on to other third parties only takes place if it is necessary for the processing of contracts with the offerer or if you agreed explicitly.
Many activities are suitable for guests with individual health impairments or limited mobility. If an offer is suitable for wheelchair users, you will gain this information from the description (see the "Additional information"). Of course, we are also able to request an individual and private deal for you.
We only cooperate with well-known and experienced providers and companies. They have to fulfill a lot of criteria, before rent-a-guide agrees to a cooperation. Moreover, we check the customer ratings on a regular basis. However, if you, against expectations, are not satisfied, we would kindly ask you to tell us so via email or by telephone and we will take care of the issue.
Yes, that is possible. If you have chosen an offer, please click on the green "Info and booking" button on the right. Below the product there will now appear a blue button saying "Give this tour as a present". If you click on that button, you will be directed to the order form. The gift voucher can be redeemed for any offer on www.rent-a-guide.com and is valid for 3 years. If there is a remainder after the booking, it can be used for the next booking. The voucher can be printed right after the order.


text:
The Grand River Dam Authority is offering a local property owner more than a half-million dollars for land in the Neosho River bottom.
But Bill Zimmerman is not interested, calling the effort �foolish� and �un-American.�
Zimmerman said the $1,950 per-acre offer doesn�t begin to touch the value of his 300 acres that stretch along the river just north of Miami.
It is not only land that the Welch native inherited from his father, but it is rich with native pecan trees that provide Zimmerman with a healthy supplement to his retirement income. It is what he calls his �American dream� � and it is not for sale.
�I don�t understand it,� Zimmerman said. �They are going to take this land that I am paying taxes on and turn it into something that will do nothing for this county or this country � Our country is in a hell of a shape already and they are going to add to our misery. It is foolishness.�
Zimmerman, 74, contends that he has one of the best pecan groves in northeast Oklahoma with 200 acres of mature trees that consistently produce a crop that is growing at a pace of about 10 percent a year. The remaining 100 acres support a natural orchard of small native trees that he has been fertilizing, trimming, grafting and grooming for fifteen years.
The pecans of northeast Oklahoma, according to Zimmerman, are highly sought after as they have good oil content and a rich flavor.
�This is my American dream,� Zimmerman said. �I got to it a little late, but I wanted to have the best pecans in Oklahoma. I am about to achieve that and I want to pass it on to my children, my grandchildren and my great-grandchildren Now, it looks like I am going to lose it all.�
Zimmerman is the second property owner to publicly chastise GRDA for attempting to bully property owners.
Earlier this month, Ken Prescott voiced his frustrations with GRDA�s repeated attempts to purchase a portion of his 15-acre parcel of property.
Prescott�s refusal led to a �final offer� by GRDA and a threat of condemnation if the offer was not accepted by March 20.
Zimmerman has until noon Tuesday to accept GRDA�s purchase offer.
�I feel like they are singling me out,� Zimmerman said, noting that he has been vocal about his belief that mismanagement of the Pensacola dam is the biggest contributor to flooding.
Zimmerman wants to see the lake lowered back to 738 mean sea level where it was originally fixed.
Increases over time in the lake level has ruined the river banks, covered Miami�s low-water dam at Riverview Park and increased the level of flooding in and around Miami.
�I told GRDA that I had no interest in selling my land,� Zimmerman said. �But, I also told them that I would let them have an easement � I don�t see why their need for an easement should mean that we can�t continue with pecan production.�
Neither Zimmerman nor Prescott have secured legal counsel at this time.
GRDA started condemnation proceedings against Prescott on Thursday of last week, according to district court records, but the landowner said he has not been notified of the filing.
Prescott said Saturday that he will not relinquish his land without a fight that he will carry through the entire court system.
The Grand River Dam Authority has acknowledged it wants to obtain 2,630 acres north of Miami with plans to use the land for a wildlife preserve.
The GRDA said last year it would buy property in Ottawa County and would use condemnation proceedings if it had to. It was thought the primary reason the authority wanted to buy the land was because of repeated flooding, which many had blamed on the GRDA�s operation of Pensacola Dam, which impounds Grand Lake.
But it now appears the GRDA also wanted to address another issue. The Federal Energy Regulatory Commission requires the authority to manage 1,600 acres of wildlife habitat. The GRDA has done so in the past by lowering the lake�s level after each Labor Day and seeding mud flats with millet.


text:
Date of
most recent changes: April 14, 2014
I. Policy Statement
In order
to provide students with a full range of student services and programs,
Onondaga Community College must require students to pay certain fees. This
policy sets forth the College's policy with respect to these fees.
II. Reason for Policy
policy is intended to ensure compliance with New York Education Law Section
6403 and the corresponding Education Department regulations, and to assist
students in planning their educational budgets.
III. Applicability of the Policy
Division Heads, Department Heads, Financial Service,
Student Accounts, and the Board of Directors of the Onondaga Community College
Association, Inc. ("OCC Association") should be familiar with this
IV. Related Documents
V. Contacts
Student Fees
Senior Vice President and Chief Financial Officer will annually set a fee schedule, taking into account requests from Department
or Division Heads. Once the Senior Vice President and Chief Financial Officer has set the fee schedule, he or she will
submit it to the President for recommendation to the College's Board of
Trustees for approval along with the tuition schedule. Once the College's Board
of Trustees has approved the tuition and fee schedules, they will be filed with
SUNY on or before the date set by the Chancellor of SUNY or his or her
designee. The College will file the schedules in accordance with the forms and
instructions of the SUNY Chancellor.
College requires students to pay the following types of fees:
Veteran Deferral
veterans may defer payment of fees in accordance with the College's Military
Service and Veterans' Affairs policy.
VII. Forms/Online Processes
schedules are available for review at: http://students.sunyocc.edu/index.aspx?menu=384&id=1804
by OCC Board of Trustees April 3, 2006
and approved by the President April 16, 2012
and approved by the President April 14, 2014
Onondaga Community College
Central New York's partner in education for success.
4585 West Seneca TurnpikeSyracuse, NY 13215315.498.2000[email protected]
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text:
|22-10-2018, 10:12
BAL Freezing on Asia World Footballer of the Year
I'm playing PES 2018 BAL with Rotherham in the Championship and i've got the Smoke Patch installed.
It's the full steam version of the game as well.
Anyway, I've been playing it just fine for most of the season but every time I hit the Asia World Footballer of the Year announcement (Oscar wins it, by the way ..), the screen just stays black and I can't do anything.
The music still plays, i still get "A" to continue, which i hammer repeatedly, but nothing - i cannot get past that screen.
i've tried skipping the preceding match, getting sent off in it - i even scored 6 goals in it once and made 3 assists but nothing gets me past this screen.
I wondered if anyone had any ideas ?. I'm probably going to have to abandon the game if not.
|22-10-2018, 21:07
I'm reading that it's apparently a problem with the smoke patch itself - plenty of people reporting the same issue not only with BAL by with MyClub as well .. just have to wait i suppose.
« Previous Thread | Next Thread »
|Thread Tools
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Showing 385–396 of 486 results
The Witch-Cult in Western Europe (1921) (1st edition)S$135.00
The Lands of the Saracen – Bayard Taylor (1864)S$82.00
The Commentaries of Caesar, 2 vols. (1833)S$124.00
The Malay Peninsula & Archipelago (1928)S$87.00
Third Malaysia Plan 1976-1980 (1976)S$92.00
Glimpses of Maori Land – Annie R Butler (1886)S$119.00
A History of Italian Literature (1907) (1st, limited edition)S$92.00
The Destruction of the Jews – Flavius JosephusS$79.00
The History of Witchcraft and Demonology (1926) (1st edition)S$174.00
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Address: 175 Bencoolen Street,
#01-37 Burlington Square,
Singapore 189649
Opening Hours:
Friday to Sunday: 1:30pm – 7:00pm
Monday to Thursday: By appointment only
Call: +65 9090 6181
Email: gohd @ gohd.com.sg


text:
Friday, October 16, 2009
8 Post your Comments:
- Kitchen Flavours said...
I can feel the taste by just looking at them...yummy...
- October 16, 2009 at 2:40 PM
- Kiran said...
This is one sweet I grew up with but never knew how to make it. My older sister was actually craving it when pregnant and we did not know how to make it for her. Thanks for the recipe
- October 16, 2009 at 2:43 PM
- jayasree said...
Delcious sugar coated cashews. Have only seen masala cashews.
- October 16, 2009 at 3:05 PM
- RAKS KITCHEN said...
Hmm...Yummy,i love cashews and also i love the snacks coated with sugar like this,so double dhamaka for me :)
Happy Diwali to you and your family!
- October 16, 2009 at 4:28 PM
- YOSEE said...
WHOA ! You opened a bakshanam factory ,what ! Sweets are rolling out in assembly line ! ....i am not going to make any ; content feasting my eyes on all these lovelies.
- October 16, 2009 at 5:36 PM
- Vaishali said...
Dibs, I have been having a virtual feast going through your Diwali sweets posts....gosh, I wish you lived around here so I could run right over! I especially love the chocolate badushah...what a great idea.
Wish you and your family a very, very happy Diwali and a great new year ahead!
- October 16, 2009 at 10:20 PM
- Sukanya Ramkumar said...
Quick fix dessert. Looks so good. Nice recipe. YUM!
Happy Diwali....
- October 17, 2009 at 11:39 PM
- Akal's Saappadu said...
yum yum, will disappear in no time, that's sure!!! :):)
- October 23, 2009 at 1:57 AM


text:
Monday 5
Vocalist Coral McFarland Thuet with trumpeter Gilbert Castellanos, pianist Irving Flores, drummer Mike Holguin, and bassist Rob Thorsen play SDSU's International Student Center (5500 Campanile Drive) at 4 p.m. Free!... the HM3 featuring Harley Magsino on bass, Joshua White on keyboards, and Charles Weller on drums are hitting at California State University San Marcos Art's Building 111 (333 S. Twin Oaks Valley Road), 1:00 p.m., also free!.. And finally, Perla Negra plays the Loft (9500 Gilman Drive), with Charlie Chavez, Roberto Arrendondo, Giovani Mejia, Bill Caballero, and Adolfo Hernandez, 5:30 p.m. No cover.
Tuesday 6
Flutist Holly Hofmann celebrates her new CD Low Life: The Alto Flute Project presented by Athenaeum Jazz at TSRI (10640 John J. Hopkins Drive), with Mike Wofford on piano, Anthony Wilson on guitar, John Clayton on bass, and Jeff Hamilton on drums. Concert begins at 7:30, $30 for Athenaeum members, $35 general public... Violinist Regina Carter looks back on Southern Comfort in a CD-release celebration at the Loft at 8:00 p.m. $18 general admission, $28 reserved seating.
Wednesday 7
Trumpeter Gilbert Castellanos presents the Young Lions Series at Croce's Park West (2760 Fifth Avenue), this week featuring multi-instrumentalist Austen Gatus, 7:00 p.m. $ 5 cover…The trumpeter then heads to the Jazz Jam Session at Seven Grand Whiskey Bar, (3054 University Avenue) with Joshua White on piano, Rob Thorsen on bass, TBA on drums. 9:00 p.m., no cover, musicians bring your horns!... Allison Adams Tucker performs at the Hacienda Casa Blanca (700 N. Johnson Avenue), with Tommy Aros and Irving Flores from 5:30-8:30 p.m.
Friday 9
The Reka Parker/Paul Seaforth Quartet is at Northern Spirits Jazz Club (727 West San Marcos Boulevard, #117), featuring Parker on Piano, Seaforth on trumpet, Jeff Blanco on bass, and Bob Daniels on drums. 7:30, $ 5 cover… Steph Johnson leads a quartet at Croce's Park West, featuring Dean Hulett on bass, Brett Sanders on drums, Jason Shattil on piano and Johnson's vocals and guitar. 8:30 p.m. $5 cover… Vocalist Tokeli Baker comes to 98 Bottles with Nate Jarrell, Mikan Zlatkovich, Harley Magsino, Monette Marino, and Charlie Weller. 8:00 p.m. $15.
Saturday 10
The Danny Green Trio plays an 18-minute set at TEDxUCSD (2910 La Jolla Village Drive) at 10:30 a.m., $60 General Admission, $25 UCSD students… Vocalist Allison Adams Tucker is at the Myrtle Creek Gardens (2940 Reche Road) with Jaeryoung Lee, Gunnar Biggs, and Richard Sellers from 11:00 a.m. to 3:00 p.m. Free!... Steph Johnson plays a solo gig debuting new songs from her upcoming album at the NEW Java Joe's (3536 Adams Avenue) 8:00 p.m. $15 GA, $12 Students… Robert Dove Quintet at 98 Bottles (2400 Kettner Boulevard) featuring Dove on saxophones, Curtis Taylor on trumpet, Kamau Kenyatta on keys, Dean Hulett on bass, and Kevin Higuchi on drums. 8:00 p.m. $15…Vocalist Leonard Patton is at Northern Spirits Jazz Club, with drummer Matthew Smith, bassist Gunnar Biggs, and pianist Michael Peed. 7:00 p.m. $ 5 cover… Guitarist Alex Lopez and Son Pa Ti perform at the Turquoise Bar (873 Turquoise Street) with Mark Lopez, Juan Sanchez, Oscar Angulo and Alberto Diaz… vocalist Ruby Blue is at Croce's Park West with Bob Boss, Rob Thorsen and Richard Sellers, 8:30 p.m.
Sunday 11
Guitarist Bob Boss and bassist Marshall Hawkins play a Mother's Day brunch at the U.S. Grant Hotel (326 Broadway) from 11:00 a.m. to 3:00 p.m… the Matt Smith Neu Jazz Trio have a jam session at 98 Bottles from 2:00-5:00 p.m., featuring Smith on drums, Ed Kornhauser on piano, and bassist Trevor Molby…Allison Adams Tucker is back at the Myrtle Creek Gardens (2940 Reche Road) with John Opferkuck, Justin Grinnell, and Julien Cantelm from 11:00 a.m. to 3:00 p.m. free admission… the Downbeat Big Band is at the Lafayette Hotel (2223 El Cajon Boulevard) from 1:00-4:00 p.m. $10… Listen Shows present A Tribute to Dinah Washington and Clark Terry at Sunset Temple, (3911 Kansas Street), with Gilbert and Lorraine Castellanos, Joshua White, Dean Hulett, and Brett Sanders. Concert is at 7:00 p.m., doors open at 6:00 p.m. $18 at the door.
More from SDReader
- More stories by Robert Bush
- A night for the Young Lionesses — Jan. 1, 2017
- Jaime Valle Latin Jazz Ensemble at the Studio — March 1, 2015
- Antar Martin does a Dolphy tribute — July 21, 2014
- Sprague & Friends debut new CD at City College — June 22, 2014
- Avant-garde trio the Bad Plus total UCSD this week — April 28, 2014


text: About 8 months ago, I started reading up on XML. I got to the point where I felt comfortable with my knowledge of what it is, what it offers, etc. I was excited. Then I began to realize that functioning, documented, and stabilized tools did not really exist for me to feel confident enough to start on a first simply XML project (in Python or any other language or binary release that I could find). There seemed to be a handful of people who lived and breathed XML, and these were the people who knew how to actually get this sea of acronyms to work. It was as if my Christmas presents were wrapped up and set out in the living room 11 months before Christmas. :) So I stepped back and waited. I sure didn't understand enough to help the cause mature faster. I still have this burning desire to do electronic text Right. That's the reason *I* want to use XML. I want to be able to write a readable semi-marked up README.txt conforming to some DTD and generate HTML, Postscript, etc. I want to redo my personal web pages with a common and consistent look and feel. Being a Python-head, I downloaded and poked at the XML-SIG's xml-0.5.1.tgz today, and it all still seems like a programmer's toolkit. Am I wrong? I want to set my expections appropriately and redirect my efforts to areas more suitable to what I am looking for. It seems that xml-0.5.1.tgz is meant for XML gurus who want to develop Python applications with XML functionality built in. Is there anything available for a person with my goal(s)? Should I just continue writing straight HTML? Could someone kick me in the right direction?


text:
So the color turquoise has been popping up as of late on many the red carpet whether blessing full on frocks or popping with accessories. The cool color is perfect for warm weather, reflecting the clear sky and flattering most skin tones.
Let's take a look at how some of our favorites rock it:
Selita Ebanks looks stunning yet simple in a cool blue thigh length cocktail...
Serena has a similar look, yet jazzes up her ensemble with an embellished neckline and matching shoes...
Beauty Cassie shimmers in an ice blue frock and adds a belt for emphasis...
Angela Simmons, not a fan of full on blue, just adds a pop with a pair of patent turquoise pumps...
...And Ms. Fox follows suit with simple jewelry...
...worn with a neutral outfit.
Get a turquoise look with the following:
Top Row: Silky Knit Banded Dress, $58, www.rampage.com; Miranda Pendant, $148, www.coach.com; Karoo Mark Eisen Empire Tank Dress, $98, www.nordstrom.com.
Middle Row: Enamel Bamboo Hoop Earrings, $17.61, www.asos.com; Sam Edelman Gillian Sandals, $69, www.tobi.com; Cousin Claudine Stretch Bracelets, $125, www. intermixonline.com;
Bottom Row: Fausta Moretti Closed Toe Slip Ons, $139, www.yoox.com; Set Stone Turquoise Ring, $32, www.luckybrandjeans.com; RSVP Yvette Sandals, $65, www.zappos.com.
Fashionista reports, "W Magazine needs full time and part time interns for Fall '08. You should be prepared to work 2-5 days a week, for 8 - 12 hours a day. You will be working in the W fashion closet, calling in clothes, helping to pack for fashion shoots, and occasionally assisting on sets. You will be really bored and really stressed unless the only thing you have ever wanted to do is work at a fashion magazine."
So many of you write in asking me how to break into fashion...this is how!
If interested, e-mail firstname.lastname@example.com with a short explanation of why you'd be perfect for the job (oh and your Fall '08 schedule). Do it!!


text:
It's no secret that I love using straight forward, hands-on, no nonsense resources in our homeschool. The USA Activity Bundle offered by The Crafty Classroom is exactly that. We recently were given the opportunity to use and review the three pdf ebooks included in this bundle.
The U.S.A. State by State Activity Notebook includes pages for each of the 50 states with a place to color and record statistics such as the state flag, where it's located in the United States, capital, rivers & lakes, abbreviation, when it became a state, the nickname, state flower, and state bird. There is even room at the bottom for the student to make note of interesting facts and trivia. These pages can easily be used to make a lap book or notebook page in your study of U.S. geography.
Also included in this 50 State Unit Study are fun ideas for making all the facts stick in our children's heads. Who doesn't love a game of BINGO or a homemade game where you can travel from state to state? These are not only educational, but a great option for family fun night, too.
The U.S.A. State Bird Art Cards is really a set of beautiful depictions of each state bird. Because many states share the same state bird, there are 27 (and not 50) illustrations included. They are detailed enough to give a the child a good idea of what the bird looks like in real life, and easy enough for them to color. I only have a black and white printer available, so my children compared their pages to the computer screen and encyclopedias to find the appropriate colors and markings. You can cut these out to use as flashcards or a matching game or glued into your lap book or notebook.
For a little more educational fun, the U.S.A. 50 State Mazes give us opportunity to use some critical thinking skills (finding the proper path) while getting more familiar with the shape of the states. This has proven to be a fun activity for all ages in our household. Next up will be a Friday night Challenge of the Mazes! We'll be printing out a state of choice for each of us, then, ready..set..go! Who can get to the end first?
We only needed a few extra materials in order to complete projects included in the U.S.A. Activity Bundle. A printer (color would be best but b&w worked just fine for us), pen and/or pencil, colored pencils, reference books such as encyclopedia or state/geography trivia books, and then for items needed to create a finished product if you wish (scissors, glue, notebook, folder, etc) In order to play the games, you need manipulatives you can use as bingo markers as well as dice and game pieces.
This activity bundle can be used by a wide range of ages. As long as they can hold a pencil or crayon, there's something here they can use. We are adding in a state or two each week during our morning time, as a way to learn and drill and sharpen our knowledge of U.S. geography. When we are finished with all 50 states, we'll combine all USA Notebooking Pages into a lapbook/notebook we can take on the road with us when we travel. This is a great way to get them to jot down interesting experiences along the way.
We started out with facts and pages about the state we currently live in and the state we recently moved from. Now we are going through all the states we've visited or traveled through. That will cover more than half the states! The kids now have a bucket list of states to visit so they can say, "We were there!"
The Crafty Classroom offers other resources for notebooking pages, such as the Alphabet Curriculum Notebook, Learn to R.E.A.D. Curriculum Notebook, How to Write a Paragraph and more. Many of my fellow Homeschool Review Crew mates are reviewing these products so be sure to check out their reviews by clicking below.


text:
Project Description
The Howatt HR Success Trail For an organization to successfully climb to the summit of success (productivity and profitability) it must have a clear vision and plan. There are no shortcuts and the organization's ultimate success will require an engaged workforce. Each of the flags in the Success Trail graphic represents an important people-driven step in this journey. Designing a productive and safe culture. Strategically aligning people and business. Defining and developing leadership skills. Management models to increase organizational effectiveness. Programs to select and hire the right employee the first time. Knowledge transfer programs to retain organizational intelligence. Structured mentoring for on-boarding, loyalty, and growth. Retention and recognition. Career development and succession planning. This book focuses on Milestone 3 – leadership skills for thinking and selling a point of view.
Project Details
- Client William A. Howatt (Author)
- Date February 17, 2014
- Tags Influencing
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