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Jim Breslin is the author of Shoplandia, a humorous novel about the working lives of show hosts, producers, and crew at a home shopping channel, which was inspired by Jim's seventeen years as a television producer at QVC, and which was called "a raucous novel" by Huffington Post Books. His short story collection, Elephant, came out in 2011.
Jim's short fiction has appeared in Schuylkill Valley Journal, Molotov Cocktail, Turk's Head Review, and other journals. He has been nominated for a Pushcart Prize and was the writer in residence at Elizabethtown College in the summer of 2014. His micro-publishing project, Oermead Press, has also published two anthologies, West Chester Story Slam – Selected Stories and Chester County Fiction, and a poetry chapbook, Exit Pursued by a Bear by Virginia Beards. Jim is the founder of the West Chester Story Slam and the co-founder of the Lancaster Story Slam.
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Matty Dalrymple: Welcome to Episode 6 of the Indy Author Podcast. Today my guest is Jim Breslin. Welcome, Jim.
Jim Breslin: Hi Matty, thanks for having me.
Matty: It's my pleasure. What we wanted to do is take advantage of your Story Slam experience in combination with your fiction writing and talk about the importance of storytelling as part of fiction, so my first question for you is: What came first, your interest in writing or your interest in storytelling?
Jim: I would say my interest really started with the writing and I always wanted to be a writer. Back in high school, I wanted to go to school for English or creative writing but my parents suggested I take something broader, like television and journalism, so I did that, which was a wise thing to do.
We were always told stories and being from a large family, Irish, the oldest of eight kids, definitely storytelling was something we always did around the house. Even our family gatherings now are filled with remembering tales of all of us growing up. But really, it was writing that I was in to first.
Matty: That's interesting. I was comparing that to my own experience when I was thinking about that question. My initial interest was in writing a book. My dad was a writer so that was always a goal of mine. I did some writing in college, wrote some short stories that were more like character studies, kind of vignettes—in fact, one of them won an award—but I feel like it wasn't until 2011 when I started work on the story for The Sense of Death that I really had a story that I was interested enough to write a book about and thought people would be interested in reading a novel length work about.
Jim: I think there's a lot of people that have stories that do want to write but in everyday life, between paying for the mortgage, full time jobs, and families and stuff, it was really tough for me until after I left QVC and I was able to have down time and chill out and really be able to sit at a desk for three hours a day, uninterrupted, to really start cranking stuff out and feel like you're devoting time to the craft. It's hard for people.
I made several false starts throughout the years—trying to get up in the morning or stay up late at night and do some writing—but it's hard to put your heart and soul into it when you're so torn.
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Matty: I can sympathize with that. Shoplandia has a novel arc but it also has an aspect that is short stories within a novel. Do you want to talk a little bit about how your interest in storytelling inform that decision?
Jim: I'm a short story fanatic. Raymond Carver's my favorite writer and I read a lot of short stories. I do read a lot of novels too, but the idea of bridging this, I really wanted with Shoplandia since it is about the live studio of a shopping channel like QVC.
I really wanted to get the spirit of the studio and I thought the best way to do that is through multiple perspectives, so we have Jake who works back stage and then becomes a producer. But we also hear the different perspectives of show hosts, a couple of other producers, and people in the studio. I didn't want the whole novel to be one perspective.
It's really a fractured novel, which does go back in time. But I thought having a fractured novel like that would be more representative of what I went through those 17 years.
Matty: [Laughs] It was a fractured experience for you?
Jim: Right. There's so many different perspectives and so many different things happen that I couldn't put one character, Jake, in all these different situations. By having a story about a show host, you can get into different rooms that maybe one producer wouldn't be in.
Matty: Was there an approach you used when you were stitching together the pieces to make a novel arc? Was there an underlying story that you had in mind, so that at the end of the day you had individual stories but you were also telling this larger story, and what was that story?
Jim: When I first left QVC, I started writing a couple of the short stories. Then I put them aside and realized I needed to work on my craft. I worked on more contemporary short stories and started getting a couple published and then decided to come back and work on Shoplandia.
I really just worked on several different short stories that I thought were interesting and captured the essence of what I wanted to do. Then after I got several of them done, I thought about the order of them and some other pieces that might be missing, so I put in some more flash fiction pieces in between.
Matty: Can you describe what flash fiction is?
Jim: Flash fiction is generally considered fiction under a thousand words—maybe 500 or 600 words. I find that flash fiction can be very powerful. Sometimes it will be called prose poems and it's interesting when people started referring to some of mine as prose poems. I thought that was really interesting.
There's a couple of these short pieces that are in second person—you can just change the perspective—and there's a lot of flash fiction on the internet these days. Reading online articles, people tend to like to stick to about 500 words. It's harder to read long form content on the internet so flash fiction has kind of taken off.
Matty: The story that the novel as a whole is telling, was there a moral that you were after or just the experience of relating your experience at QVC or this fictional shopping channel?
Jim: Definitely, I'm not into really writing moral fiction per se. I try to be non-judgmental and write about real experiences. For each of the characters, even though there are different characters, there's a part of my soul in each of them. The experiences I've had, whether it was sadness or disappointment or disenfranchisement. So for me, the whole idea of the novel—working in the studio of a shopping channel, that's live 24 hours a day—that is capitalism.
One thing that was important for me was I wanted to have empathy for the characters. My friends all worked there, and I felt there had not been anything written in that genre that did have empathy for the main character, so the satire and the comedy that comes from it is not necessarily because the characters are goofy, it's the situation. It's the machine that the characters are trapped in, if you will. This idea of always making money or of being live— the show must go on—and how the characters have to deal with it; it is both a comedy and a tragedy.
Matty: Did you ever have to make decisions about what you included in the story based on what you felt the reaction of the people who were had been included in those experiences that inspired the book?
Jim: There are so many things that really happen at QVC that I would never have put in the book because I just wouldn't do that. The book really is fiction. I think a lot of the stories are more inspired by things we would joke about in the studio. I won't give away anything but one thing I get a lot of emails about is, "I can't believe the dog! What happened to the dog?"
Basically, we would often joke in the studio about Joan Rivers' dog, Spike, and we were careful to make sure the dog did not get injured. But because that was such a long running joke behind the scenes, I thought, "Well, let's have some fun with it in the show."
Matty: When you were saying before about having empathy for the characters, the counter to that that popped into my head was Sellevision by Augusten Burroughs. That story is clearly more cynical about these character than Shoplandia is.
Jim: I had read Sellevision. I remember when I heard it came out, it was a Friday. I ran over to Chester County Book Company, bought it—that was 20 years ago or so. I took it home and I read it in one weekend, but I felt the characters in Sellevision were kind of like cardboard cut outs. Yet, I could tell they were based on friends of mine [Laughs].
They were based on some of the people that I'm friends with, and it kind of broke my heart, like the one show host who is the nicest show host I know and I'm friends with, and then how she's portrayed in Sellevision. Especially, knowing Augusten, basically was staying up late at night watching QVC and writing Sellevision. People have said that Shoplandia is almost a counterpoint to Sellevision. The characters have redemptive values. The characters are trying to make a living. They came because they wanted to work in television, and how they're caught in this 24-hour, non-stop circus.
Matty: I think that Sellevision does seem like it has more of a moral in the sense that he seems to be poking fun in order to call out the foibles of capitalism. But it does seem, from a story point of view, as if the attraction you can get from your readers by portraying characters in an empathetic and positive way, it's a whole different approach. You're drawing people in by presenting them with characters that they're going to like and want to form a relationship with —
Jim: Yeah, want to cheer them on. I think, they cheer on Dottie, Jake, and Frankie Mack. I always enjoy reading novels about characters I'm able to cheer on. One of my favorite novels is a novella by Stewart O'Nan, Last Night at the Lobster, about a red lobster in Connecticut. The parent company has decided to close it down and this is the last day of this restaurant.
The manager is a guy named Manny who gets stoned in the parking lot before his shift and before opening up the restaurant. It's basically all about this one snowy day right before Christmas. His girlfriend's breaking up with him, he has to close down this Red Lobster, so half the employees don't show up. A bus tour does show up and they're scrambling, and of course nobody's hearts in it because the restaurant is closing.
But Manny, you just feel for this guy, and he is trying to make sure the last day ends with dignity and it's kind of heart-wrenching. Even though it starts off with him getting high in his car before his shift, you really feel for this guy, and what he does by the end, he's a hero.
Matty: I'm going to have to look that up, that sounds fantastic. So what was the timing between your involvement with Story Slam and the publication of your books?
Jim: Basically, in the summer of 2009, I was listening to a podcast, The Moth, which is storytelling out in New York City. I listened to the podcast and I just sent a tweet, "I love The Moth. Is there anything like that around West Chester?"
A couple friends replied, "No, but you should start one and we'll come."
So I held one in my living room in November 2009. Basically, I just went through my Facebook page and I looked for people that I thought would be able to get up on stage and tell a story, so I did have a QVC show host there, a couple people that were producers at QVC, a couple of friends from my writers group, Brandywine Valley Writers Group.
We had so much fun each telling five minutes stories. I think we heard 13 stories. Then I went to a local pub and asked if we could do West Chester Story Slam there and we started in January 2010. I had no idea that was going to turn into something so big. When Elephant was published, around 2011, Story Slam had just started but it hadn't grown into what it is today.
I just felt storytelling is kind of like cross training for writers. Mainly, storytelling is nonfiction—at least, the type we do at Story Slam—so it's people telling real stories, true as you remember, five-minutes long, something that really happened to you. It's different than writing fiction, obviously. But I am one that believes everybody has stories. When I get in conversations with people, they tend to tell me incredible stories now. It's just been an amazing thing to reach a larger audience.
Matty: One of the things that I had misunderstood about the idea of Story Slam when I first heard about it is I pictured that people would go in cold and be given a topic and then instantly they would have to come up with a story, and that's not the case. They know the topic in advance and they can prepare. I'm assuming that notes are either not allowed or discouraged.
Jim: Notes are not allowed. We get a couple different types of people that come to Story Slam. By December 1st, I'll have the themes and the dates for all of 2017 announced. Some people will scour ahead and they have certain stories that they're going to write down, polish, and prepare, and they know they're going to come in May for this one topic or whenever.
At every Story Slam, we'll get five or six people that come and they sign up right away, they know they want to tell the story, but we also get people that aren't too sure. They're thinking about the theme, they have a couple beers, and then in the intermission they sign up. What happens during that first half is they see a couple story tellers and it strikes them that the classic story that they've told to friends in bars for the past 15 years, or the story they tell in the Thanksgiving dinner table, they should tell it. Here's their chance to get up on stage and tell it in front of an audience and have it recorded for posterity on YouTube.
Sometimes they get up there and they know it's an incredible story. You can see they know when they're going to get a laugh. They know when to pause for effect. They've really have rehearsed it but they've never written a word of it down. It's probably been embellished over those 15 years a little bit. But it's true as you remember, but if anybody tells a story about college, you're going to make jokes and add a little bit and have fun with it.
Matty: I can imagine many novel writers are saying, "Well, yeah, sure. That would be fun to go to but I would never get up in front of a group." But it sounds sort of like a book pitch. The one time that I think that a fiction writer needs to be able to give, maybe not five minutes, but maybe it's 30 or 45 seconds pitch, without notes, in a compelling way is if they're pitching their book to someone—the proverbial elevator pitch.
In the time that you've been hearing all these stories being told, are there tips that you've picked up, that you would then advise either for yourself or others could apply in their own fiction writing to their benefit—not so much about the elevator pitch, but more generally in their writing?
Jim: I would say that seeing what has happened to Story Slam has transformed how I do book readings. It's amazing. You know, I've done book readings over the years and gone to many. I'll go to book readings and there may not be a large crowd in the bookstore. We know how tough it is for bookstores these days. I've gone to readings where three or four people show up for a reading.
Also, let's face it, a lot of writers are introverts. They're maybe not comfortable in front of an audience and they get up there and their heads are down in the book doing the reading for 15, 20 minutes, whereas at a Story Slam, we get a packed room in a bar, 75 people, it's rowdy, when anybody gets up to tell a story, all they have is the microphone. There's no notes. You're making eye contact with the audience. The audience is feeding off you and it becomes like a loop. It's so much more engaging.
What I have started doing a few years ago was, if I'm going to a book reading and I'm expected to do 20 minutes, I'll plan on telling a quick story about QVC, a real story, and then doing a five-minute reading and then telling another real story at QVC and say, "And that story I just told you kind of inspired this." So for that 20 minutes, I'm doing a couple readings. I'm reading a couple of chapters or a couple portions of chapters but I'm also engaging with the audience. It's eye to eye and telling them some of the funniest stories that are in some ways more incredible than the stories in the book. I get a really good feedback about doing that.
Matty: That's a great tip because it is brutal sometimes to go to a reading and the person just opens the book, reads for five or ten or fifteen or twenty minutes, and then shuts the book and they're done. It's very hard to get engaged to as an audience member in that kind of experience.
Jim: I've had a really interesting experience. Tim O'Brien, who wrote The Things They Carried, which is a short story collection, very revered, about the Vietnam War. I saw him speak at West Chester University. I had just read the collection. He got up on stage and he basically told one of the stories in the book but he told it in first person, as though it had really happened to him, and he told the story for like 10, 15 minutes and then he ended by saying, "Now, that didn't happen to me. But all those feelings and emotions that were in that, I experienced when I was drafted for Vietnam," and I knew he was basically paraphrasing a short story in the book. But if somebody had been there and had not read the book, it was believable that that had happened to him.
He conveyed all the emotions and that's what you do in fiction—you're trying to convey emotions, as though they really happened to you. To make it authentic is the key to powerful writing.
Matty: Do you think that there's a benefit of people describing material that they're never intending to necessarily read in any form—maybe someone just never wants to do a reading of their book—but to tell the story out loud to sympathetic listeners to help formulate the story for their fiction work? I'm wondering if there's a way you could capitalize on that kind of energy that you're talking about by just relating the story to a group of people or even a single person who might be part of your target audience.
Jim: You know, it would probably be a good way to gauge some kind of feedback for the topic of the story and if it captures people's interests. I think obviously, if you're going to be writing, you have to have a closed loop in getting your writing out there after a couple drafts. In my view when I'm really in the writing process, I have a couple small private critique groups I go to and I get feedback almost as if it's a focus group. Then I might take a draft, take it to a group, get feedback from them, tinker with it, take it to another group, see what feedback I get there. That's what I really like to do for writing.
Because if the same comments come back and they're unrelated groups, then this is something you need to address. About telling stories like that, I think if you're writing a book, it's probably more important to focus on what the written word is in the development process.
Matty: Are you working on new fiction work now?
Jim: I have drafts of a couple novels that I don't know what I'm ever going to do with them. I had done NaNoWriMo twice and basically did a 60,000 word rough draft in a month and then spend the next eleven months revising. The one was close to going over the goal line but I'm still not happy with it and that's four or five years old, a very dark novel.
Then another one is just kind of a crazy… Imagine if the Hardy Boys were in an updated movie directed by Quentin Tarantino.
Jim: It's really different than anything I've written—
Matty: I think that's different than anything anyone has ever written.
Jim: [Laughs] I think it's a very picaresque, in the way because they're traveling across country with different types of scenes or different chapters in different states.
I went to a nonfiction seminar in Lancaster in August, HippoCamp it's called. I've been writing a lot of short things that are creative nonfiction, that I haven't really been publishing but just writing them and sharing them with my group. I really haven't been out there trying to get any short fiction published lately. I have so many things that are 80%, 90%, that I need to just go back and finish.
Matty: When you were talking about HippoCamp you mentioned something that seems to be very much a trend in nonfiction writing, to pose it in the context of a story in order to engage people in a way that traditional non-fiction does not.
Jim: You know, what really has been amazing with Story Slams is somebody gets up and tells a story and it's a personal story. It's something that happened to them and you understand their point of view. It can change people's politics in a way.
I've heard stories that are just really heartfelt that give you a perspective. We had a woman get up on stage and talk about her transgender son. As her child was young and was this adorable little girl and was dressed as a bridesmaid for her sister's wedding and the mother liked to do girly things with her, 'girly' being a word she used.
Then, as her child came to her mom and said, "Mom, I think I'm gay" and then "I think I'm bisexual," and then, a year later, "I think, I'm transgender"—the mother told this story so eloquently and it was just such a shocker to us that she got up on stage and told this. But she told the story about how she loves her son and she's been supportive of everything.
But you also realized, she's mourning the loss of her daughter, and it was amazing. We've heard some other stories. We just heard some stories about people having really intense personal issues, whether they were growing up being bullied or whatever, and it makes you think about the civilization we live in. It's really amazing—they're personal, they're touching, and then the next story is hilarious.
Matty: Well, I think you will probably have won over some fans for Story Slam if people haven't already experienced them, so tell people where they can find out more about Story Slam and also more about your writing.
Jim: For Story Slam, there's WCStorySlam.com—West Chester Story Slam, if you Google. We have a website, it has the news, the upcoming events. You do have to buy tickets because the event sells out every month. We just had our Grand Slam where the winning storytellers tell stories and that sold out—there were 270 people in the audience.
The new season starts in January. On YouTube you can watch videos of some of the stories. There are several hundred posted. We also have a podcast that's available on iTunes. We also have Lancaster Story Slam, which is an event held at Tellus 360. Google Lancaster Story Slam. We have a Grand Slam coming up and then the new season will start in January.
My personal website is JimBreslin.com and that lists all my projects that I work on, including storytelling, books I've published, and other shenanigans I've done. Having been a video producer I play around with different things. It also has a list of different links to different short stories I've written.
Matty: Great—thank you so much, Jim. That was very helpful.
Jim: Great. Thanks, Matty.
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You would never know it by looking at her, but Julienne Desjardins is tired. "I've been taking care of a sick child all day," she laughs. Despite this, she's still hustling about on a busy Tuesday evening, pouring beers, shaking shots, and getting everyone nice and tipsy at the Wild Geese Tavern in Pearland (9721 West Broadway St.) all while wearing a big, friendly smile.
Julienne has been bartending for over eight years now, but only the last two of those have been in the Houston area. "I'm well traveled," she tells us. Born and raised in Detroit, she also moved around to Kansas and Colorado before heading back to Michigan and finally settling in our great city two years ago. Where has she enjoyed living the most? "Houston is my favorite of the all the places I've lived so far," she smiles. Good answer, Julie.
An excellent bartender, Julie knows how to get you plastered while still enjoying the taste of your drinks. The first thing she made for us was a huge green goblet that she created and titled "The Green Hornet." A mixture of 151 Rum, Malibu rum, peach schnapps, Midori, Blue Curacao, sweet n' sour, and Sprite, the Hornet tastes like a fruity snow cone, while still managing to make the world delightfully warm and fuzzy. She also made us a Johnny Vegas shot, which cleverly used Watermelon Pucker and Red Bull to cover up the bite of Cuervo.
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Come try one for yourself Tuesday through Friday nights when she's working. Every day brings a different drink special, and Friday nights boast hourly shot specials, making it perfect for trying something new.

subset: commoncrawl


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Huntington's Chorea (kuh-ree-uh refers to the spastic, serpent like movements associated with Huntington's Disease (HD).
A professor once described HD as a combination of Alzheimer's, Parkinson's and Schizophrenia all rolled up together.
In past times, it was considered a psychiatric disorder and many people who suffered from HD were institutionalized in mental hospitals once the Huntington's Chorea started to appear.
In third world countries, these spastic movements are sometimes seen as possession by evil spirits. These people are often ostracized by family, friends and the social community. They do not live long with no one to care for them.
The chorea movement is difficult to explain. The video below is a couple of examples of what Huntington's Chorea actually looks like. Although it is in German, it is a perfect example of this hallmark muscle movement disorder.
The distinctive movements are caused by damage to certain areas in the brain controlling movement, balance, coordination and control.
These movements are not voluntary and the person suffering from this condition has little to no control over their body. Due to mental changes that occur at the same time, they may not even be aware they are making these movements or the limitations they have due to chorea.
As the damage to the brain continues, the movements typically become more pronounced and cause more complications.
Injury, both physical injury and injury from aspiration into the lungs, are the most common complications associated with chorea.
Other complications include weight loss, fatigue, severe pain, incontinence and increased appetite due to caloric demands of the abnormal movements.
In 2008, the FDA approved the very first drug for treatment of the movement disorder associated with HD. The drug is called Xenazine and has shown some success in treating the spastic movements. It is not effective in all cases and does have some very serious side effects.
For more information on Xenazine, go to
Xenazine Usa.
Research continues to find a cure HD. Some research is focused on stem cell therapy to repair damaged brain cells and nerve cells.
Current research is also focused on other pharmaceutical options to control symptoms.
Other treatments focus on preventing side effects, including physical and occupation therapies, the use of adaptive equipment, massage and acupuncture.
Return from Huntington's Chorea to Dementia Causes
Go back to Huntington's Disease
Go to Elder Home Care Help Home Page
Amazon.com Widgets


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LocationKalispell, MT
PO Box 958
Kalispell, MT 59903
New 2018 Jayco Octane 260 SUPER LITECLEARANCE PRICED !
Jayco Octane Super Lite toy hauler 260 highlights:
- Indoor/Outdoor Table
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Take your family and a few big toys to the playground of your choice with this 260 Octane Super Lite toy hauler travel trailer by Jayco! With 12'6" of cargo space on one side and 17'6" of cargo space along the door side, there is so much room for a dirt bike or two or an ATV. Load all of your equipment easily thanks to the 7' ramp door with spring assist. After you reach your destination and unload your gear, set up the two rear convertible sofas and table for a great spot to enjoy a cup of coffee or your meals. The table is an indoor/outdoor table, so now you can move it outside and enjoy your meals in the fresh air!
Check out Jayco's Octane Super Lite toy hauler travel trailers! They are sure to impress! The tires are Goodyear tires so they are sure to get you where you need to go and they will last you a long time. A couple of the exterior conveniences for your vacation are the Sani-Con waste system so you can focus on other things like having fun and there is also an enclosed battery storage box, keeping the battery safe from the elements. Inside you have Chocolate Maple cabinets and stainless steel making your unit feel more like home!
Great Assistance from Service DeptA week into our 6000 mile trip, we had a concern about one of the tires on our 29 foot travel trailer. On our way to Glacier National Park we stopped at Gardner's RV where Mitch and Boone in the Service Department explained the problem and offered to put on the spare. They had us on the road in less than an hour and salvaged our dream trip. Thanks, guys! Really appreciate your help! - Mark
Stock# OCT50142
Exterior Color: GRY
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|30 ft 5 in
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|Exterior Color
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|770 lbs
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|3830 lbs
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|96 gals
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|45.4 gals
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|45.4 gals
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|Double Door Stainless Steel
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|8 cu ft
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|0 ft
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|6 gal
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|20' Manual
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|30 amp
Jayco, Inc. was founded in 1968 by a man of strong faith and vision. The late Lloyd J. Bontrager, family man and inventor, felt he could build the world a better RV. He longed to create a company of his own, one that clearly reflected his ideals: a company where everyone would be treated as "family".
With encouragement from his wife Bertha, Lloyd started Jayco on their farm--in two chicken houses and a barn! He developed his own prototype camping trailer and a unique lifter system for fold-down campers, the basic design of which is patented and still in use today. By the end of 1968, his fledging company of 15 employees had sold 132 fold-down camping trailers.
Today, Jayco's "family" of employees has grown to nearly 1,500 people, while more than 25,000 people join our "extended family" of customers each year.
At Jayco, our mission statement is: Committed to being the most respected name in recreation vehicles. We will consistently build a high quality, high value, competitively priced product at acceptable margins, treat every situation with the highest level of integrity in a timely manner, and continually work to reduce total cost to achieve acceptable returns.


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GREENSBORO, N.C. -- Like it or not, Syracuse Men's Basketball Coach, Jim Boeheim, is about to get what you could call a 'care package' from Greensboro!
Our State Magazine plans to send the coach an Our State subscription and some of their favorite barbecue.
It's one example of how businesses are rallying around the Gate City after Coach Boeheim said, "There's no value to playing in Greensboro. None."
Read: City Of Greensboro Fires Back At Syracuse Coach Boeheim: Twitter War
The City of Greensboro responded to Boeheim's comments on Twitter saying, "We kindly disagree. But I guess you can lose in the 1sat round anywhere. At least it's a quick ride home."
The tweet has more than 6,000 retweets and 9,000 likes.
.@AdamZagoria @ACCSports We kindly disagree. But I guess you can lose in the 1st round anywhere. At least it's a quick ride home.— City of Greensboro (@greensborocity) March 8, 2017
The Greensboro Grasshoppers are rallying around the city as well with a "Jim Boeheim (No) Value Night" on Tuesday, April 11. The Grasshoppers decided to use kindness allowing all fans with a valid Syracuse, NY Driver's License to get a free ticket, $20 in food and beverage voucher before the game against the Delmarva Shorebirds.
Just want to show our friends in Syracuse a little southern hospitality 🙃https://t.co/z6yxGmIOwu pic.twitter.com/WeBTnuomKk— GSO Grasshoppers (@GSOHoppers) March 9, 2017
"Contrary to what Jim Boeheim thinks, Greensboro is a great place and we want to show off our city, our ballpark and our southern hospitality to our friends from Syracuse. We know that not all of them are whiners and grouches like their basketball coach," said Grasshoppers Team President and General Manager Donald Moore.
However, the Grasshoppers will honor Boeheim with a "Whine of the Game"
Boeheim did a radio interview Thursday afternoon on the Scott Hamilton Show on WSJS 600 out of Winston-Salem. LISTEN HERE
"We may invite the coach to attend, although his presence will bring us no value, none," Moore continued. "I suspect he may already have plans to be at a game in New York, Washington, or Atlanta that evening and unable to come."
The Grasshoppers open their 2017 season on Thursday, April 6 against the Hickory Crawdads.
Read: Liz Crawford's Take On Jim Boeheim's Bash Of Greensboro
Coach Boeheim said in an interview today on WSJS "Greensboro is a great place, in my opinion, I may be wrong that this tournament is served better in a big city."
My new sounds: .@TheRealBoeheim talks the #ACCTourney and @GreensboroCity with @ScottH_WSJ @600WSJS @ESPNTriad https://t.co/fo3nWCfvQL— Scott Hamilton (@ScottH_WSJ) March 9, 2017
The Greensboro Swarm, UNCG, and the City of High Point as well as, other local businesses also stood by Greensboro.
We couldn't be more proud to call this great basketball town home @greensborocity @VaughanNancy— Greensboro Swarm (@greensboroswarm) March 8, 2017
We agree with @greensborocity. We're proud to call Greensboro our home. #letsgoG https://t.co/ZPjN4iAa4r— UNCG Athletics (@uncgsports) March 9, 2017


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Friday, December 9, 2011
Always Learning--Speaker's Storyboard
Every year I despise TV programming just a little more.
It started when I was in my late teens (late 1960's) while I was watching a rerun of Star Trek (the original TV series). I began to sense that it was all mindless & useless. Every once in while I'd find something that was mentally stimulating but, like foods you find in a grocery store that are later discontinued, those shows usually disappear. For a while I liked programs featuring the sciences. But lately, most of that seems to focus on UFOs, and now "USOs". And how does EVERY episode end?.... "We really don't have any hard evidence, we may never know in our lifetime." So, while many refuse to believe in the Bible which has tons more evidence than UFO research has, it almost seems you'll find more people "believe" in UFOs.
So, I turn off the TV. Once or twice in a month I'll find a movie that my wife and I enjoy and we'll record it and watch it later....so I don't have to put with another mindless feature-commercials.
So at age 60 what in the world could possibly be left to learn? Plenty! I enjoy public speaking. For several years (on and off) I was a member of Toastmasters, which is an international organization dedicated to helping professionals develop their speaking skills. I am also active as a religious teacher/tutor. Learning how to teach effectively, so as to keep the student's interest, is an art-form in itself. Of the various "hats" I wore at AT&T, one of them was the officially designated instructor in a group of 200-400 people. It was during that period that I came across Nancy Duarte's books, "Slide-ology" and "Resonate." (These books are available on Amazon.)
I am the sort to pick books apart (figuratively) and piece them back together in a way that becomes a helpful reference for me. Although nothing that she wrote was new, it was very inspiring. With it, I started pondering afresh something I've struggled with for years--is it possible for speakers to use the concept of storyboarding (http://en.wikipedia.org/wiki/Storyboarding) in quickly fleshing out a speech? I am happy to say that it is. Although what I named the "Speaker's Storyboard" is nothing like the original concept, the end result--that of being able to quickly conceptualize the progress of a speech--is the same.
Here is what I did to create this storyboard:
Get a large posterboard. The color doesn't matter, but a single flat-color is easiest on the eyes. Using MS-Word's textbox feature, I created several small "tiles" that I printed on regular paper and then affixed them to the posterboard. I divided the posterboard into 3 main sections. The bottom section, which is used first, I have tiles for "facts, reasoning points, illustrations, experiences and other bits of info. I placed these tiles as headings across the bottom-3rd of of the board. Then, when developing the speech, I use one sticky-note for each piece of data. If I have 3 facts, I make one sticky note for each and place it under the "Fact" tile.
The top-3rd of the board is for the actual speech development. The 3 main tiles there are "Intro, Body, Conclusion." The "body" section gets the bulk of the top of the board. To use this section, I first review all the tidbits of sticky-notes I accumulated and look for two or three main points to drive home. I write those main points on separate sticky notes and place them under the body section. Based on those, I now know exactly what I want to teach the listener(s) and therefore I write the conclusion. Then, having the conclusion in mind and the main teaching points, I start moving all the tidbits from the bottom of the board under the main points. If a tidbit doesn't fit, it doesn't get moved up. Finally, after seeing the speech unfold in front of me, I write an introduction to raise the audience's interest and anticipate the points I want to convey.
(In the middle section, I've reproduced some graphical illustrations that demonstrate the development of a speech that touches peoples imaginations and hearts. These are mere mental joggers and only intended keep me (the speaker) focused on the creative process.)
As a personal challenge, once a week I prepare a speech, whether or not I am assigned to deliver it. This keeps my mind sharp and enjoying an artform (speaking) that can refresh the minds and hearts of others. You will find two of those speeches in this month's (Dec.2011) blog writings.
So, TV can continue to dull the senses of everyone else (like the people in the animation WALL-E), but I for one, treasure this brain of mine and will continue to challenge myself to use my pastime for learning.
See also: http://bartreflect.blogspot.com/2012/02/smart-writers-start-at-end.html
Addendum 2014-0605
I finally got around to creating a couple videos to show the actual storyboard I created. I divided this into two videos. In the first video, I show the actual storyboard and explain its features. In the second video, I explain the auxiliary information on the backside of the storyboard.
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I have been told in the past that I am great friend, caring, will do anything for my friends, loyal, fun, always there if you need me…a bit like a labrador really!!
Since having kids though, I am 'just a bit crap'.
Here a few of the things that define my slight crap-ness;
- This year, I bought some really beautiful Christmas cards that you colour in yourself. But then I didn't get round to colouring them in. So I didn't give anything out at all. Crap!
- I say; "I'll call you back." and then I don't. Sometimes for weeks. It genuinely isn't that I don't love and care for you, it's just that the minute I put my phone down, my brain is instantly swamped by whatever reason I hung up for, kids running too close to the edge of the road, massive fight beginning, juice river across the table and I just can't retain as much information as I used to so I totally forgot what I was doing before said incident. Today I forgot that I was halfway through an online order for about 10 minutes as I got distracted!
- I don't text people back for the same reasons as above. it's also so damn hard to reply to texts out and about, not that we use the buggy much anymore but trying to text and steer one handed was a nightmare with the buggy veering off left right and centre, and now it's traumatic trying to stop one or the other child meeting certain death in the road on their two wheels of doom! Then by the time I get home, I've forgotten!
- I often forget to post things for birthdays, including cards, and Christmas. I forget to order things even. And occasionally I forget to simply text. I am SO sorry. I absolutely promise you it's not that I don't love you dearly and it's not that I'm not thinking about you, it's just that I'm thinking about something else at that minute, and I'm finding that my brain is getting more and more useless at retaining multiple stands of information. What this week's show and tell is going to be takes up far more space then it should! (Although I'm often still a bit crap at that, on week, for A and D, I chucked a key ring at her on our way out the door, it was A Dog!)
- I often forget things. Really important stuff like significant dates, job interviews, children's milestones. I always feel terrible when I see something flag up on my whatsapp or facebook and all these super organised remember-y friends posting messages of support or congratulations and feel extra crap. Especially if I'm checking my fb late at night and my crapness is by then so obvious! Then I vow to send a card to make up for it. And we all know what happens there!!
This is by no means a comprehensive list, there are many more ways in which my crap-ness shines through but hopefully now that the kids are getting older and not requiring so much care and attention, I will be back to the land of the labradors, and thank you so much if you've put up with this and stuck with me so far, you know who you are, I promise to make it up to you. You know, on some unspecified date in the future!!
The good news is that I am finally emerging, slightly stunned and blinking in the light of normalcy. I've even bought a diary, and for once in forever, I'm actually writing stuff in it. And then actually looking at it! This is enormous progress.
Now I just need to find that birthdays book I had and transfer them all to it. I am sure I saw it recently. Within the last year anyway. Or at least since we moved house. Didn't I?! 😀
So in conclusion, I am just sorting out my shizzle, but if I'm still a bit pants, I'm so sorry, I will be back one day. Properly back, with all the cards on time and everything! Except maybe not Christmas, I've always been a bit rubbish at getting them out on time! I've decided I'm going to start colouring those gorgeous ones in now, they might get done then!!


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With media insurance plan about celebs "returning" designed for more medication rehab, some for the last or lastly time, most people are buying the idea that will rehab wouldn't really job. Some individuals are beginning when you consider that people funding meant for drug rehabilitation programs is really a waste about tax $ $ $ $. The in order to, lifelong rescue from drink and medication addiction will be a confidence when substance rehab is performed right.
The public's loss of trust on drug rehabilitation programs is creating some precariously bad strategies, such because putting people hooked on alcohol and / or drugs on other drug, and also worse, legalizing medication. These aren't solutions, they can be problems masquerading when solutions. The letter for legalization in drugs may be the most entertaining evidence the fact that drug rehab is really a hit-or-miss failure in a great many, if never most, surroundings. This is definitely total submit, an entire capitulation towards the power in drugs. They says, "Okay, medication. You earn. Come at in as well as rule a lot of our lives because there is nothing we is capable of doing about anyone. "
Putting heroin junkies on methadone can be another testament to your failure on most approaches that will rehab. Methadone "replacement therapy" is definitely entrenched country wide and all over the world. Addicts remain enslaved by a "legal" drug rather than an unlawful one. Is an excellent getting free from drugs offers simply been recently abandoned. Prospect process leading to it non-solution can be, "Drug rehab won't work, and it will be too a good deal trouble to try and save this unique person nevertheless. At least they will not share dirty needles they usually might acquire some of its life lower back. Of lessons, they're enslaved by this pharmaceutical now, but just what exactly else may we do regarding this? "
A further example with "replacement therapy" is definitely putting meds addicts, plus especially alcoholics, on addiction-blocking drugs just like naltrexone. This pharmaceutical prevents the actual brain's receptors from answering and adjusting opiate drug treatments and alcoholic, and is proven to work for a little bit to slow up the craving in the substance. Noises good, perfect? The challenge is, naltrexone obstructions all happiness responses. Life just simply turns grey and is not actually worth residing. And even worse, it can boost the possibility connected with an opiate overdose that may be fatal.
In all of these kinds associated with situations, we're also simply buying and selling one substance (and frequently a latest addiction) meant for another. The following makes a pharmaceutical businesses happy, but this doesn't achieve any type of rehabilitation for any addicted individuals. So the key reason why are all of us not adding unfortunate drug-dependent families through narcotic rehab packages? The respond to be obvious – a lot of programs need abysmal victory rates. They cannot have all of the elements into position that could make drug treatment successful.


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Budleigh Music Festival is gaining a reputation for virtuoso performances by internationally recognised artists, as well as young and talented musicians.
However, we do not receive regular public funding so our supporters are critical to the continued success of the Festival. By becoming a Friend of the Festival you have a personal stake in this exciting annual event. Through the generosity of our Friends we can attract critically acclaimed musicians and create a wonderful week of music.
We would be delighted to welcome you as a Festival Friend for a modest annual donation (attracting Gift Aid):
£18 for single membership
£25 for two people at the same address
As a Friend you have a special relationship with the Festival and enjoy the following benefits:
A priority booking period for the July Festival before tickets go on sale to the general public
Discounted Tickets
Early entry to all evening concerts
Invitations to exclusive social events
Regular newsletters about forthcoming plans and events
Help us make beautiful music in Budleigh!
Download a Festival Friends membership form here
Please also consider helping the Festival by becoming a Benefactor where a donation (attracting Gift Aid) can make a real difference. Details here.


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Technical Support Engineer
Technical support engineers, also known as computer support specialists, review and troubleshoot software and hardware problems. This may include installing equipment and training others on new programs. Additionally, technical support engineers may also monitor computer system performance to help end users with software issues.
Full-time schedules are most often required of computer support specialists, though shifts may include evenings, nights and/or weekends to provide technical systems the support they need around the clock. They may be employed by one company or by a firm that provides technical support services to a range of clients. As technology advances, the possibility of being able to telecommute increases, allowing some technical support engineers to work from home.
Career Requirements
|Degree Level
|Bachelor's degree
|Degree Field
|Computer science, electrical engineering, or related field
|3-5 years
|Key Skills
|Interpersonal, problem-solving, and listening skills; familiarity with operating systems, backup and database software, and use of equipment like mainframe computers, computer tool kits, and network analyzers
|$62,250 (2015 median salary for computer network support specialists)
Sources: U.S. Bureau of Labor Statistics, O*Net, CareerBuilder.com (January 2013)
Becoming a technical support engineer requires a bachelor's degree in computer science, electrical engineering or a related field. At least 3-5 years of experience is required for most positions, and voluntary certifications are available. Key skills for this position include interpersonal skills; problem-solving skills; listening skills; familiarity with operating systems, backup software and database software; and knowledge of and ability to use equipment like mainframe computers, computer tool kits and network analyzers. In 2015, computer network support specialists earned a median annual wage of $62,250, stated the U.S. Bureau of Labor Statistics. Now let's check out the career steps for technical support engineers.
Career Steps
Step 1: Complete a Postsecondary Degree
According to the U.S. Bureau of Labor Statics, computer support specialists often need a bachelor's degree, though some employers may hire those with an associate's degree. A survey of positions indicated a strong preference for applicants holding bachelor's degrees.
Common programs include computer engineering, computer science, information systems or a related field. In addition to computer programming languages like C+ and C++, core requirements in the program cover topics in operating systems and database administration. Students also learn to use algorithms in programming, design computer architecture and analyze system performance. Programs may also offer electives in Web design, Internet applications and Java development.
Success Tips
It is important to choose an accredited program. Prospective students may consider programs that are approved by ABET, Inc., formerly the Accreditation Board for Engineering and Technology. This organization was accrediting programs in computer engineering, computer engineering technology, computer science, information engineering technology, information systems and information technology.
You may also want to complete an internship. An individual may participate in an internship with a local telecommunications business or other organization. Internships allow students to get experience with computer applications, networking and technical support in a professional environment. Additionally, these opportunities may be applied as credit towards earning a degree.
Step 2: Earn Voluntary Credentials
The Computing Technology Industry Association (CompTIA) has several certifications available in installing and troubleshooting computer systems, hardware and applications. Aspiring technical support engineers may consider earning their CompTIA A+ credential that shows their proficiency with computer systems and may increase employment opportunities. Certification requires successful completion of a qualifying exam.
Step 3: Find Employment
Technical support engineers may find employment with software manufacturers, product developers and technical support departments in businesses, schools and organizations. New hires often begin by assisting experienced technical engineers with modifying computer systems, installing hardware and performing regular maintenance on system applications. As new hires gain experience, they may begin answering telephone inquiries from internal computer users or responding to e-mails from external customers. Additionally, these professionals may also monitor computer systems for efficiency, ensuring that applications, programs and hardware are performing at optimal levels.
Step 4: Gain Continuing Education
According to CompTIA, those earning their credentials must be recertified every three years. Certifications may be renewed by retaking and passing the certification exam or completing CompTIA approved continuing education units. For individuals who hold the CompTIA A+ credential, they will need to complete 20 units. Credit is given for completing approved coursework, attending seminars and publishing papers, among other activities. Individuals must also pay an annual fee. Maintaining certification may give candidates a competitive edge when pursuing advancement opportunities.
To recap, with a postsecondary degree and experience, as well as voluntary certification, a technical support engineer can make about $62,000 a year to review and troubleshoot software and hardware problems.


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Though many Florida residents know that it is often a topic of conversation that few discuss frequently, domestic violence has been the subject of much more conversation as of late. As there has been growing concern in local communities about the increase in reports of domestic violence, some people are taking action. It was the subject of some recent workshops that were held for medical professionals at a medical center.
It is not clear how much more domestic violence is, in fact, occurring. This is due to the fact that it is often not reported by its victims. Regardless, the number of reports has been increasing. For example, a program that was created to assist the victims of domestic violence helped 912 survivors, which included 783 adults as well as 129 children in 2014, up from 840 survivors the previous year, according to the program's director.
As there is often a stigma attached to being on the receiving end of domestic violence, it is often under-reported. However, most experts agree that it is happening much more frequently than they know. They also know that it is happening at all socio-economic levels.
Domestic violence may be on the rise, and if an individual or a loved one has cause to believe that they or someone in their life has been involved in domestic violence, help out is available. Victims of domestic violence often seek legal assistance once they are safely extricated from the dangerous relationship. Contacting an experienced divorce attorney in Florida who handles domestic violence cases is often one of the first steps people conduct to help bring justice to their situation.
Source: pantagraph.com, "Domestic violence cases rise; community responds", Paul Swiech, July 17, 2015


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While it's probably not the coolest to be named after a geographical term, Kyle has been a very popular name in modern times. It hit its peak in the 90s where it was in the top 20 for most of the decade. While it's been dropping in ranks since its heyday, you'll still find plenty of parents naming their babies Kyle.
Kye, Kiley, Kyrell, Kyler, Kylen, Kylar, Kylan
Exotic, Nature, Place, Surname
Kyrell, Kyler, Kylen, Kylar
Actor Kyle MacLachlan, Actor Kyle Chandler
Son of Clint Eastwood, Son of Matthew Fox, Son of Marcia Clark, Son of Howie Long, Son of Rick Fox, Son of Natalie Cole


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