text:
October 1814. Napoleon had retreated from Moscow, abdicated and gone off to Elba. In Vienna, Schubert was feverishly composing songs at the rate of at least two a day. On October 19th, he wrote Gretchen am Spinnrade. And the rest - for six weeks - was silence. Having written Gretchen, it was as if he drew back from the abyss, alarmed at what he had begun. Graham Johnson is convinced that this was for Schubert an epiphany of his own genius. "And he was simply dazzled by it." Schubert, and the Lied itself, was never to be the same again. His own swan-song, Die Taubenpost, was to come only 13 years later, but in the wake of 600 Lieder, 18 stage works, 45 pieces of church music, and more than 100 cantatas, choruses and part-songs.
Schubert's relationship with the human voice was unique in his output: he was, indeed, the fons et origo of an art form which was to rise to pre-eminence in his lifetime. And the reasons for this were manifold. Brian Newbould, in his study of Schubert, The Music and the Man (Gollancz: 1997), has rightly emphasized the importance to Schubert of an existing musical lingua franca, "based on an orderly system of tonality providing an ever-present reference point against which harmonically conceived melody achieved clarity, coherence and musical meaning." "The underlying modus parlandi," he writes, "had such a logic and energy of its own that one could speak it - like one's native verbal language - as second nature."
And if Schubert was born at exactly the right time for the human voice to rise from speech to song in a glorious efflorescence, then he was also born in the right place. The daily life of Schubert's Vienna, despite being ravaged by the winds of international politics, and oppressed by Metternich's police state, was characterized by what Johnson has described as "a miraculous combination of creativity and sociability which is without parallel in the history of music". The domestic literary and musical gatherings, and the Bildung circles which met for the purpose of self-improvement and education, provided not only the stimulus but the emotional support and warm companionship vital to Schubert's own creativity. His growing self-confidence was bolstered by the talents of friends and contemporaries who included the poets Mayrhofer, Stadler, Schober and Collin.
Across the border, the poetry of Goethe, Heine and Schiller, of Schlegel, Hölty and Rellstab was rolling hot off the presses, bringing with it imagery from a natural world 'known' by ears which, not yet blunted by the roar of the infernal machine, were keenly alert to the movement of wind and water; and eyes, as yet undulled by the light pollution of electricity, which were still awed by the luminescence of moon and stars. Tracking the body's natural rhythms, were metres in which music could, in its turn, re-create the steady motion of human footfall, a trotting horse, a racing pulse, a rushing millstream. What is more, Schubert's lack of success in opera - to which we shall return – meant that all these stimuli were to be channelled into song: the only part of his oeuvre in which he was never to know the frustration of failed performance. Almost every song Schubert wrote was performed at least once in his lifetime.
There was, of course, life and song before Gretchen - even before Schubert's own first song, Hagars Klage, written when he was 14. The predecessors of the romantic Lied, the North German ballads of composers like Johann Friedrich Reichardt, Carl Friedrich ZeIter and Johann Rudolph Zumsteeg, were good enough to stimulate the young Schubert without being great enough to intimidate him.
Schubert's earliest songs and ballads, with their ears wide open to the melodies of Italian opera, and with their deftly imaginative piano writing, show the nature of the alchemy which was already at work.
Dietrich Fischer-Dieskau's pioneering work in recording almost the entire repertoire over a period of 15 years - for him "a story with no ending" - began to reveal what was going on. In the Hyperion Complete Edition Graham Johnson was to reach those parts which even Fischer-Dieskau had disdained, illuminating the unique qualities of the shortest, most naive ditties, or the most (over-)extended ballad and melodrama.
Elly Ameling, in Vol 7, was to be charged with Minona, oder die Kunde der Dogge, and the modest Naturgenuss, totally ignored by commentators such as Einstein and Richard Capell. Marie McLaughlin, in Vol 13, brought Edward, Edward out of the Celtic twilight where it had been temporarily eclipsed by Carl Loewe's setting. And Peter Schreier, in Vol 18, was to reveal how Schubert changed the face of the simple strophic song forever.
At the start of the Hyperion project, Johnson determined to include at least one little-known ballad on each disc. Now, little by little, these works are beginning to make themselves heard on the concert platform too. "In order to understand the very greatest of Schubert's songs," Johnson told me ten years ago, "we must know and perform the rest. Sometimes his plainer children have been neglected at the expense of his more obviously beautiful creations. It isn't that he loves them less, or gave them less. He just decides when melody is more important than prosody and declamation, and when it is not. He rations out melody as something to be used with discretion. What is appropriate for a great Goethe lyric may not be apt for a more homely one by Mayrhofer. We have to trust Schubert."
Johnson would argue - unlike Elizabeth Norman Mackay in her biography - that Schubert's is not the creativity of a manic-depressive. "His inspiration doesn't come and go in waves, as it did with Hugo Wolf, for instance. No: there's a continuous creativity, looking after the various regions of song. He admired the North German school of Reichardt where shying away from prodigal melodic invention was considered better form. You didn't try and upstage the words: you just set them so that they could he heard - and hit the heart."
Not only has the Schubert song canon expanded in the last half century, but the songs are now approached by performers and listeners alike with fewer preconceptions and ever-changing expectations. Brigitte Fassbaender, who has made her own considerable contribution to the growth of tbe repertoire, is thrilled that the new generation of singers is eager "to discover the unknown Schubert. A young tenor called Lothar Odinius recently gave a whole evening of relatively unknown strophic songs. And the public was so enthusiastic! I sense too that there is a new type of respect for Schubert. Young singers are working in a very self-aware way - in dialogue, as it were, with the public, rather than treating the recital as some sort of holy event. It is for them a part of daily life - full of life, full of love - everything Schubert wanted!"
Graham Johnson, too , picks up on "a new sense of deference to the score - and a real sense of awe. Young singers are asking what they can do for this music, rather than what it can do for them. Even in gigantic performing personalities, with huge fantasy, like Matthias Gorne, there's a sense of modesty." Johnson is acutely aware, too, of the often subconscious influence, over the last 30 years, of the early music movement.
"Singers of Fischer-Dieskau's generation knew a Viennese Schubert. The distance between him and Brahms was perhaps not as great for them as we feel it to be now. We hear tempos that are faster, articulation which is cleaner. Even in the playing of Gerald Moore, we hear less and less pedal. And then we get to Charles Rosen who states unequivocally in The Romantic Generation (HarperCollins: 1995) that, until 1830, the pedal was used entirely for colour and atmosphere - not to connect the movement of the fingers". Johnson, of course, rejects the dogma of authenticity-solely-through-the-fortepiano. 'That belonged to 20 years ago." But he acknowledges the assimilation, as if by osmosis, of its particular timbre and strength. He plays increasingly with the lid up, "to create more clarity and more brilliance..."
Nowhere are the shifts in performance practise more sharply focused than in the song-cycles. The sophisticated stylization behind the simplicity of Wilhelm Müller's verse in Die schöne Müllerin stimulated Schubert to compose what Johnson has called a "highly-wrought parable". After more than 37 recordings, the cycle continues to drive a mill-race of commentary and criticism.
As early as 1979, Johnson and his Songmakers had reinstated into one of their live performances the poems by Muller which Schubert had not set - if only for the opportunity this afforded for some respite in a cycle even more exhausting to perform than Winterreise. Fassbaender's was the first recording to include a reading of the unset poems in between the songs. The practice, later taken up in the Hyperion Edition when Fischer-Dieskau read and Ian Bostridge sang, was important to Fassbaender in helping her find the right tone.
"When you look closely at the spoken Prologue and Epilogue, you realize the sense of irony in the work. You begin to understand that it is playful too." The establishing of a tone, a register, was particularly necessary for Fassbaender as the first woman to have performed the cycle complete. "Of course it is meant for a tenor, and the rapid fluctuations in mood which belong to an adolescent male. It is hard for a woman to identify with that world. This was the greatest challenge of all to me: greater than either Schwanengesang or Winterreise.
"Winterreise's themes of love and death, after all, have the same meaning for a woman and for a man. Though it takes everything from you; and if you're not prepared to give everything, then you shouldn't sing it. As a woman, I always start with a certain sense of distance, of abstraction from the persona of Winterreise. But it doesn't last. After the fifth song, I'm deeply involved. And for me, this is not the experience of a young man. It seems to me the desperation of a mature person. I can 't understand how young singers start so early with Winterreise..."
Christa Ludwig was one of the first women to sing Winterreise in its entirety, after Lotte Lehmann, and after extracts recorded by Elena Gerhardt, Maria Ivogün, Elisabeth Schumann and Kathleen Ferrier. Ludwig chose Winterreise for a remarkable farewell recital at the Wigmore Hall in October 1993 and, within a still perfectly controlled contour of line and tone, conveyed the torture of ever-present pain within a sense of existence outside time. Earlier she had told me: "You grow into Winterreise, passing through its different stations in a search for tranquillity. When we reach 'Der Leiermann' at the end, we are faced with the Wheel of Life, turning on and on with no end. The question 'Shall I go with you?' expresses the same desire as in Mahler's 'Ich bin der Welt abhanden gekommen'. We are into Nirvana, into a space where nothing counts any more. There is no question of woman or man."
Even within the male experience of Winterreise, more than 60 years of recording have revealed an extraordinary range of responses. As distances and levels of recession shift between performer, persona, and those resonant emblems of the weathervane, the crow, the charcoal burner, the organ-grinder, so there has been a journey through the attitudes of romantic heroism, psychopathological intensity, and on to stoicism and ironic distance. Ian Bostridge is preoccupied with precisely this dilemma of distance.
"It's very difficult to sort out to what extent the singer becomes the persona, or is a commentator. Each time I find one's integration with the text changes. At the moment I feel there's a sort of Heine-like protagonist. When Schubert responds to Müller's deliberately ludicrous imagery, he emphasizes the fact that it is used self-consciously - in 'Der Krahe', for instance. The recognition of self-deception is very important. This persona is self-knowing. And in singing Winterreise, you're mimicking the process the protagonist himself is going through. You're being self-obsessed in performing the cycle! I remember something Fischer-Dieskau wrote in one of his record notes. He asked whether this was a cycle we really ought, morally, to perform in public at all..."
Winterreise certainly continues to provoke extreme reactions. In 1983 David Wilson-Johnson and David Owen Norris decided that we had really got it all wrong: Winterreise should exist as a cycle of songs sung in the poet's own ordering, not that in which the songs were finally published. Wilhelm Müller published his first 12 poems in 1823, and Schubert set what he thought to be a complete cycle. He then discovered that Müller had later published 12 more poems, some of which were interspersed between the lyrics he had already set. If Schubert had wished his first part to correlate with Müller's, he would have had to interpolate four new poems: ("Die Post", "Der greise Kopf', "Die Krahe" and "Letzte Hoffnung"). And he would have had to shift four songs already composed into the (as yet uncomposed) second half. Schubert did not make such a last-minute revision; and Graham Johnson argues cogently, in The Songmakers' Almanac: Reflections and Commentaries (Thames Publishing: 1996), why it was that Schubert did not "retrace his steps, pick up the baggage of which he has already divested himself, and transport it to new realms, where it had no place". Schubert instead began his second part with the unset poems, and went on to the end, omitting the poems he had already composed.
Wilson-Johnson, though, feels that Müller's order reveals a stronger, more consistent story line, a significantly changed character. "This is a man very much in control of his fate. He's afraid of commitment. He likes the open-air life, the force of the elements. He's never so happy as when there's a storm brewing. He's aware of his own image and, in songs like 'Letzte Hoffnung', pokes fun at it. This character is firmly established in the first 12 songs, and Müller rearranged the complete cycle to reinforce it. The publisher then made nonsense of the arrangement. If, for instance, you move from the exhilaration in the storm in 'Einsamkeit' straight on to 'Mut' you have an astonishing juxtaposition. There is a more aware, assertive, aggressive character..."
Wilson-Johnson's wanderings seem only gently aberrant in the light of Hans Zender's peregrination. In the autumn of 1994 in London's Queen Elizabeth Hall (and a year later on disc: RCA, 9/95), Zender presented a "composed interpretation" of Winterreise: a re-creation which, he claimed, did no more than take a characteristic set of responses - in matters of tempo, transposition, nuancing - to their 'logical conclusion.
In grafting on to Winterreise an introduction and bridge passages, and in transforming Schubert's "sound ciphers" into overt sound effects in the throats and instruments of Ensemble Modern, Zender's recomposition ranged from an act of virtuoso imagination to the banal. He flashed back to the Biedermeier and fast-forwarded to Bruckner, Wolf and Mahler - and all in order "to reinvigorate the initial impulse, the existential force of Schubert's original".
It had to be only a matter of time before Winterreise was fully staged. A year later Hans Peter Cloos brought his Opera Comique 'production' of Winterreise to London, and Martyn Hill, with a little help from an installation by Christian Boltanski and the ghostly choreographed presence of a pair of Polish twins, set out on his journey - along a particularly sinister stretch of German railway track...As Benjamin Britten said, on the occasion of receiving the Aspen Award, "Every time I come back to Winterreise, I am amazed not only by the extraordinary mastery of it...but by the renewal of the magic: each time the mystery remains... "
The Doppelgänger installation cannot be far away. Curiosity in the cryptic significance of Schubert's most chilling Schwanengesang has been kindled by observations in Werner Aderhold's notes to the recording of Schubert's Masses by Bruno Weil (Sony Classical, 5/97). He points out that Schubert reused what he sees as the cruciform C-B-E nat-D motif from "Der Doppelganger" in the Agnus Dei of the E flat Mass - for "a man stands there too and stares aloft, and wrings his hands in an excess of grief..."
Brigitte Fassbaender is intrigued but bewildered by the 'cross' reference. "I feel the motif was simply there in Schubert's subconscious. He often wrote in a trance - we know that - and afterwards he could barely recognize what he had written. I don't honestly feel it matters from the point of view of interpretation. 'Der Doppelgänger' comes from a schizophrenic mind, and is one of Schubert's most modern songs. For me, Schubert has never been a romantic composer: I would call him a 'classic expressionist'. His music points out far into the music of our century. And I always wanted to perform him in such a way that we can understand him with our feelings."
If the solo Lied was never to be the same again - and Bostridge feels that, in the very act of composing his cycle, Schubert was making a statement about the new pre-eminence of song - then neither, indeed, was the partsong, in its metamorphosis from sentimental homespun, or rumbustious tavern-song, to an artefact of extraordinary sentience and sophistication. No one is more acutely aware of this than Graham Johnson who has done so much to reactivate, against all odds, the creative spirit of Schubert's own time.
The part-song grew from the Lieder-Tafel of late 16th- and 17th-century Germany, in which camaraderie and alcohol would mingle in taverns and coffee-houses. "By Schubert's time," says Johnson, "it was far less of a spontaneous activity. But there was a craze for four-part songs in Vienna, and he was asked to write them again and again. He got sick and tired of it: he knew there was a limit to the medium. But he poured himself into them - as he did with everything he wrote. There are no short cuts in Schubert."
The Hyperion Complete Edition is rowdy with the patriotic songs and choruses which are Schubert's tribute to his poet-friend Theodor Körner who died at 22 on the battlefield of Gadesbusch in North Germany, fighting with the Lutzow volunteers. "The aggressive soldier-boy of the Leyer und Schwert ('Lyre and Sword') settings", wrote Johnson, "is Schubert himself as an adolescent Walter Mitty." And Vol 22 bubbles with the early Trinklied, Punschlied and Lob des Tokayers, the latter written in August 1815, a musical evocation of that fragrant late-summer glow which can still be experienced in the small, vine-garlanded border villages of the Neusiedlersee.
And then, suddenly, the exquisite Das Leben ist ein Traum, D269, one of two three-part choral settings with piano, each voice drifting in and out of the consciousness of the other. And the five virtually unknown settings of Das Grab, one of the poems which meant most to Schubert, and which he set for male quartet, unison male chorus and four unaccompanied parts. The starry cover of Hyperion's Vol 26, with its 1826 Schubertiad, encloses the haunting Seidl chorale, Grab und Mond (D893), prefiguring the dark ambivalence of the late solo Heine settings. And then the Nachthelle (D892) which tracks the stars in their courses, as a high, silvery tenor who haunts so many of the partsongs (and was undoubtedly Schubert's friend Ludwig Tietze) rises above a gently echoing chorus. Listening to Nachthelle, reflects Johnson, "is like watching a young god at play, rearranging the constellations for pure pleasure".
More wonders are to be disclosed in Hyperion Vol 28, released as an 1821-2 Schubertiad. For Johnson made an exciting discovery of his own. "Let me show you something!" He crosses his study and returns with a long, slim album of heavy, fragrant paper, exquisitely bound. "This is the music-book of Johann Karl Unger, professor in the history of law at the Theresien-Academy in Vienna. He recommended Schubert as a tutor for the Esterházys in Zseliz. His daughter, Karoline, was the first mezzo in Beethoven's Ninth, and Schubert taught her the role of Dorabella. Nice old boy - and something of a poet and composer too. What an indication of the culture of Vienna at that time: that someone who was not a professional musician should have taken such pride in making his own musicbook!" Johnson turns the crisp pages to a song called Die Nachtigall, its dactylic rhythms dancing over the pages and issuing in a black stream of trilling notes. "Well, Schubert saw the poem in this very book, and made his own setting of it for male quartet. I'll play it for you..."
It was precisely the Schubert of the Schubertiad - the convivial musician, loyal companion, warm and often naive friend - who was to be at odds with Schubert the opera composer. Although it was undoubtedly his visits to the opera which inspired him to start writing Lieder at all, and although it was his dearest ambition to be recognized as an opera composer, Schubert surely lacked the entrepreneurial steel, the pragmatism, the energetic drive for self-promotion, vital then as now in making a career in the theatre. At the premiere of his one-act farce Die Zwillingsbrüder (D647), the only one of his operas he ever saw staged, Schubert, embarrassed by the loud support of his friends, refused to take a bow, and his baritone friend Johann Michael Vogl had to announce from the stage that the composer was absent. When the opera fell out of the repertoire after six performances, Schubert, typically, made no attempt to revise the score or to raise further interest in the work.
There are plenty of frequently rehearsed reasons for Schubert's lack of success in opera: a paucity of good librettists, a court theatre in dire financial and artistic straits; and, as Brian Newbould has shrewdly observed, the fact that Schubert was moving consistently towards an ever more epigrammatic means of expression in his writing as a whole. Drama was being distilled into song: András Schiff has famously commented that for him there is more drama in Die junge Nonne than in the whole of The Ring. By 1828 Schubert's stage was Auf dem Strom; his theatre was the landscape of The Shepherd on the Rock. In short, Schubert did not need opera.
Yet, as Elizabeth Norman Mackay points out, his operatic scores reveal that he was in the very forefront of the development of music theatre, way ahead of his contemporaries, "creating forms and orchestral sounds which anticipated the musical world of Wagner". Fischer-Dieskau went as far as to say that Wagner actually came too early. Were it not for him, Schubert would have had a much more profound influence on the 19th century.
Schubert's vocal writing constantly erupts with operas-manques - from the melodramas of Ossian, to the dramatic scenae from Faust, to the Heine settings of Schwanengesang, and on to Der Hirt auf dem Felsen and Auf dem Strom. The finest example of Schubert's innovative drama-in-music, though, is surely Lazarus. Such is the visionary quality of its musical invention that Brian Newbould, puzzling like many before him on the significance of its unfinished state, was moved to ask, "how does one play the game through to a successful conclusion when the goalposts have just been moved?"
Schubert's Lazarus knows no resurrection. For the three-act poem by Niemayer on the death, burial and resurrection of Lazarus, Schubert provides only a first act and part of the second - all in an extraordinarily pliable and expressive arioso which points far ahead to the through-composed operas of the late-19th century. Einstein claimed that Lazarus surpassed both Tannhaüser and Lohengrin as music drama. Edison Denisov's completion of Lazarus at Helmut Rilling's suggestion (Hanssler Classic, 4/97) makes no attempt at stylistic continuity. In RW's words this is Schubert "refracted through a 20th-century prism": the light spectrum radiates in the shifting colours of post-Mahlerian expressionism, 12-tone writing, and bold rhythms and orchestration.
Above all, Lazarus has taunted scholars with teasing metaphysical questions as to the possible reasons for Schubert's abandoning the work. Was he, perhaps, unconvinced - or daunted - by the concept of resurrection itself? Aha, they cry; and no resurrectionem mortuorum at the end of the Credo in Schubert's Masses either! Scholars have been muttering for years about Schubert's excision of certain liturgical Father/Son relationships, and references to one Holy, Catholic and Apostolic Church. The arguments about whether Schubert was acting as pragmatist, practical musician, wounded son, amateur theologian or esoteric mystic turn and turn again. But for Wolfgang Sawallisch, who has recorded all the church music, one thing is sure. The Masses, he believes, show a harmonic depth and sense of experiment unique in Schubert's oeuvre, and comparable to the visionary daring within the sacred works of Beethoven and Bruckner.
Schubert's church works, though, should not be confused with his sacred works. "I have never," wrote Schubert, "forced devotion in myself." When it comes over him unawares then, he knows, "it is usually the right and true devotion". And , of course, it is constantly, continuously, coming over him unawares. Die Götter Griechenlands provided Schubert with yet another Pantheon. And the countryside which spread out around him, and resonated in his soul through the neo-Platonic Romanticism of contemporary poets, created for him a theology of immanence. Das Lied im Grünen was written during Schubert's last period of bucolic refreshment; Die AIlmacht emanates the fragrance of his Steyr holiday of 1825. In Ganymed spiritual ecstasy reaches its apotheosis.
Those with ears to hear will surely sense in the last lines of Die schöne Müllerin and Der Hirt auf dem Felsen - that broad blue sky. and that renewal of the soul's wandering in another ever-renewing spring - the reverberations of another resounding soul and soul-mate who, similarly, fears no more the heat o' the sun. Graham Johnson has the last word. "What I didn't know, when I began the Hyperion Edition - and I do know now - is that Schubert is as great a songwriter as Shakespeare is a playwright. Because, of all the Lieder composers, he is the one who is infinitely adaptable in performance to every different human being. Just as Shakespeare is infinitely flexible in the type of productions he can receive. All the singers I have ever worked with have a Schubert which is true to each one of them. His music contains multitudes... "
This article originally appeared in the June 1997 issue of Gramophone. To find out more about subscribing the Gramophone, please visit: gramophone.co.uk/subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.


text:
Spare Parts For Washing Machines
What you should know about spare parts.
Domestic appliance replacement parts are available in two forms, that of the "Original" or as an "Equivalent".
Equivalent Spares
An equivalent spare part is the alternative or comparable part to the original but at a lot less cost. Often these parts are made by the same manufacturer as the original. Their electrical specifications are the same but their physical specification may vary slightly.
Equivalent spare parts are perfectly adequate as replacement parts and are on offer for sale, where possible, along side the original part.
Should I buy Original or Equivalent part?
It very much depends on how you view things. The first point we should accept is that no appliance is built to last forever. Once we have adjusted our way of thinking to accept this principle, we can then consider certain things about the faulty appliance.
Take the washing machine for example, it is common for a good quality one to last 6 or 7 years, doing 5/6 wash loads per week (less time if wash loads are in excess of this) before wear and tear renders it faulty. At this point you may ask: Is it worth fixing?
Speaking as an engineer, if the washing machine falls into the above category and the repair cost is not excessive, repairing may be a good option. I would then ask the questions: How satisfied have I been with this washing machine? Can I guarantee that the machine will last another 6 or 7 years? Can I reasonably expect a bit more life from it if I was to fix it?
Answering those questions and comparing cost between Original and Equivalent replacement parts may help to decide if you should buy an "Original" replacement part or an "Equivalent" replacement part.
Premature failure (failure in the early days of its life) may also have a bearing on "Original" or "Equivalent" replacement part. The current economical climate may also have a part to play in your choice.
Whatever you decide, we give you the choice of "Original" spare parts or "Equivalent" spare parts.

subset: commoncrawl


text:
Bolton: US will use 'any means necessary' to protect the US and Others from ICC war-crime charges
The United States on Monday warned the International Criminal Court against prosecution of US or Israeli officials for war crimes in the Middle East.
White House National Security Adviser John Bolton called the Hague-based rights body "unaccountable" and "outright dangerous" to the United States, Israel and other allies, and said any probe of US service members would be "an utterly unfounded, unjustifiable investigation."
In remarks to the conservative Federalist Society in Washington, Bolton said: "If the court comes after us, Israel or other US allies, we will not sit quietly… The United States will use any means necessary to protect our citizens and those of our allies from unjust prosecution by this illegitimate court."
While "in theory, the ICC holds perpetrators of the most egregious atrocities accountable for their crimes, provides justice to the victims, and deters future abuses," he said, "In practice… the court has been ineffective, unaccountable, and indeed, outright dangerous.
"For all intents and purposes, the ICC is already dead to us," he stated.
Bolton added that "While the court welcomes the membership of the so-called state of Palestine, it has threatened Israel, a liberal, democratic nation, with investigation into its actions in the West Bank and Gaza to defend its citizens from terrorist attacks."
He noted recent suggestions "that the ICC will investigate Israeli construction of housing projects on the West Bank" and said "The United States will always stand with our friend and ally Israel."
Israel last month lodged a formal protest with the ICC for launching a campaign to reach out to "victims of the situation in Palestine," an unusual step which Jerusalem officials charge casts doubt on the court's ability to treat the Jewish state fairly.
Bolton said the State Department's decision to close the Palestinian Liberation Organization's offices in Washington reflected "congressional concern with Palestinian attempts to prompt an ICC investigation of Israel.
"The Trump administration will not keep the office open when the Palestinians refuse to take steps to start direct and meaningful negotiations with Israel," he added. "The United States supports a direct and robust process, and we will not allow the ICC or any other organization to constrain Israel's right to self-defense."
Bolton also threatened to arrest and prosecute judges and other officials of the International Criminal Court if it moves to charge any American who served in Afghanistan with war crimes.
The ICC, which is based in the Hague, has a mandate to prosecute war crimes, crimes against humanity and genocide.
President Bill Clinton signed the Rome Statute that established the court, but his successor, George W. Bush, renounced the signature, citing fears that Americans would be unfairly prosecuted for political reasons.


text:
Lee Strobel
3-DVD Box Set Including:
- The Case for Christ
- The Case for Faith
- The Case for a Creator
Based on the Award-Winning Books!
3 DVDs: (1st) 71 minutes, (2nd) 79 minutes, (3rd) 60 minutes
12 in stock
Lee Strobel
3-DVD Box Set Including:
Based on the Award-Winning Books!
3 DVDs: (1st) 71 minutes, (2nd) 79 minutes, (3rd) 60 minutes
12 in stock
These life-changing DVDs will affect your look at the world and your faith in God.
Based on the New York Times best-selling and Gold Medallion winning books that have sold over eight million copies.
The Case For Christ: Retracing his own spiritual journey, Lee Strobel, award-winning former legal editor of The Chicago Tribune, cross-examines the religious experts from Cambridge, Princeton, and other universities with tough, point-blank questions. This remarkable documentary is a riveting quest for the truth about history's most compelling figure.
The Case For Faith: Despite the compelling historical evidence, many people grapple with serious concerns about faith in God. Strobel turns his tenacious investigative skills to the most persistent emotional objections to belief – the eight "heart" barriers to faith. The Case for Faith is for those who may be feeling attracted to Jesus but who are faced with intellectual barriers standing squarely in their path.
The Case For a Creator: When objectively considered, does contemporary scientific evidence point toward or away from a supernatural Creator? Using interviews with scientists and scholars from a wide range of disciplines for the answers, The Case For a Creator is a remarkable film about Strobel's journey from spiritual skepticism to a profound faith in the God who has etched His indelible signature upon each galaxy and every living cell.
Lee Strobel, with a journalism degree from the University of Missouri and a Master of Studies in Law degree from Yale Law School, was the award-winning legal editor of the Chicago Tribune and a spiritual skeptic until 1981. His books include four Gold Medallion winners and the 2005 Christian Book of the Year (coauthored with Garry Poole). He and his wife live in California.
***English Subtitles on The Case for Christ & The Case for Faith only***
|0.4 lbs
|7.5 × 5.5 × 1 in


text:
We help when everything else has failed
Angry? Fearful? Can't stop a behavior? We don't ignore emotions or try to medicate them away. We take difficult cases and help most people resolve their problems, usually in 4-6 sessions!
· Psychoanalysis: 38% Recovery after 600 Sessions
· Behavior Therapy: 72% Recovery after 22 Sessions
· Hypnotherapy: 93% Recovery after 6 Sessions (American Health Magazine)
Note: 5-PATH® was developed as a result of thousands of hours of work with hypnosis and hypnotherapy clients and the integration of techniques taught by some of the master teachers in the profession of hypnotism, including but not limited to Harry Arons, Charles Tebbetts, Gerald F. Kein, Gil Boyne and others. In addition, the field of psychology and some of its greats influenced the development of the 5-PATH® process, including Franz Anton Mesmer's Animal Magnetism, Dr. Ivan Petrovich Pavlov's Classical Conditioning, Dr. Fritz Perls' Gestalt Therapy, Aaron Beck's Cognitive Therapy and others. This systematic process has been used by the many hypnosis professionals who have worked at the Banyan Hypnosis Center, as well as other 5-PATH® certified professionals around the world. 5-PATH® continues to evolve as a system with the continued experience and input of these hypnosis professionals around the world.
by Calvin Banyan, MA, BCH, CI
We focus most work on two main ideas. The first is, that all feelings are good. They are there to help and guide you. Our clients need to begin to respond to these feelings in a satisfying way, because feelings left unsatisfied do not go away. They tend to become stronger. For example, if a client is lonely, and does nothing about the condition that is causing the feeling, the tendency is to feel even lonelier over time, not less. Most of the problems that we encounter involve some kind of denial of feelings that involves distracting attention away from the feeling by doing some kind of behavior. The behavior is usually pleasant, but has negative side effects. These behaviors most often include, eating, drinking alcohol, drugs, shopping, gambling and withdrawing.
The other idea that we suggest to the client is that there is nothing wrong with the client, there never was. By this we mean that as a person, there is nothing inherently wrong with them. He or she is good enough, smart enough; attractive enough, to do about anything that he or she really puts his or her mind to (within reason of course).
Most will say that they understand this intellectually but don't feel that way inside. It is this feeling that is causing all of the problems. They may rationally know that there is nothing wrong with them, but they certainly don't feel as if it were true. This occurs because sometime in the past, some other person in authority, usually a parent, suggested either by word or deed that there was. It was accepted by the subconscious mind and sits there like a thorn generating negative feelings, causing them to avoid any uncomfortable emotion. It is known by the unconscious mind that these stronger feelings of fear lay just behind those otherwise mundane feelings of everyday life.
We start off assuming some things about our clients. Assumption One, that so far they have not been successful at making consistent (if any) gains in the direction that they want to go. At best, their successes have been temporary (e.g., temporary success in losing weight or eliminating a habit or addiction). We believe that there is a subconscious element at work, blocking their success. And, that the blockage is in large part emotional (i.e., fear, sadness, insecurity, loneliness, guilt or anger).
We recognize that the subconscious mind does not want to change. It wants to continue to keep on behaving is exactly the same way that it always has, however painful that is. We also believe that the subconscious mind believes that it is in the client's best interest to do just that. This is probably a protective function of the mind.
This is an account of my journey from existing to living – completely and happily!
Lose my mind I almost did because everything that could go wrong was going wrong in my life and I tried looking for answers wherever and from whomever. Every suggestion that came my way, I tried, but to no avail. I was defeated mentally, physically and emotionally. I was on the verge of giving up on living a normal happy life, and like on cue, one faithful day I was introduced to Manjeet Kaur in Bangsar Village. She was there giving a talk on Hypnotherapy and NLP and within the first few sentences from her I was intrigued.
After months of thinking about it and looking at other possibilities, I finally googled her and made an appointment. That small move, I was not aware that day, would shift my entire life to a plain that was only dreams before.
The whole experience of hypnotherapy, I discovered is nothing like what it is made out to be in the movies. One is completely aware of what is going on; the mind is awake and alert, it is only the body that goes into a deep slumber. The control of the situation is entirely with the one under hypnosis as one is able to draw oneself out of this state anytime one desires.
The sessions I went to opened up a completely new world to me, its many facets: surreal existences within it and the multiple probabilities. I saw myself, my true self and the reasons to my maladies that keep reappearing in different forms and characters but with the same bitter results. I have been blind with my eyes open all these while. It was there all the time for me to see but I was too caught up trying to control everything around me to avoid changes within me. It was always easier to blame somebody else then yourself because if you did then you have to do the inevitable; acknowledge your true self and the many sides to it.
All the other methods I tried to make my life better only provided temporary solutions. It was like taking painkillers that numb the pain for a while and when it wears off the reality of the ailment and its pain return to preoccupy the self. Hypnotherapy on the other hand goes to the root of the matter and clears all existing conditions and leaves one with a pure self that is almost reborn.
I cannot thank Manjeet enough for these transformations within myself which has by design transformed situations and people around me. Now by being true to myself and loving me for what I am, I am receiving the well-deserved treatment and respect from the people in my life. My surrounding is going through an amazing transformation too. My life from a scenario of continuous bleak winter is seeing springtime in full blossom.
I am glowing inside out and I think everyone deserves a view of life from this side too. Once you have understood yourself truly, your potentials became more apparent and the level of CONFIDENCE just skyrockets.
You become YOU as it should be!
Vel , Malaysia 2010
スーパーコピー財布 スーパーコピー時計 スーパーコピーブランド cheap valentino cheap air jordans


text:
Leading Ayrshire businessman Alan McLeish has been named one of the UK's top entrepreneurs in an evening of major success for Scottish businesses in London.
Mr McLeish, Managing Director of the QTS Group, was last night (Monday 7 October) named the Ernst & Young Entrepreneur of the Year in the 'Business and Consumer Services category of the prestigious Ernst & Young Entrepreneur of the Year Awards where four of the ten categories were claimed by businessmen operating north of the Border.
[Pictured: Alan McLeish (left) receives his award from Ian Dembinski representing award category sponsor Credit Suisse.]
Sponsored in the UK by Credit Suisse, Ernst & Young's Entrepreneur of the Year programme celebrates the achievements of those who build and lead successful, growing and dynamic businesses across the country. It is the world's most prestigious business awards scheme for entrepreneurs, with programmes in 135 cities in 50 countries, and has been running in the UK for 15 years.
Mr McLeish's award recognised the significant growth in QTS, as well as the company's ambitious growth plans in Scotland, the rest of the UK and globally. Alan established his business in 1991 with a £300 loan, and QTS is likely to record turnover figures in excess of £70 million for the current financial year in the competitive rail and utilities sectors.
Award judges praised Mr McLeish's "amazing personal business story", and added that he had "pulled himself up by the boot straps" to build one of the UK's leading specialist businesses.
Mr McLeish said he was absolutely thrilled to pick up the award. "The past few years have seen major progress and development for QTS across our business in the UK and worldwide and I am thrilled to see that recognised with such a prestigious award," he added.
"To pick up this award in such prestigious company is the stuff of dreams and obviously a major personal highlight. Hopefully, it also in some way repays the faith my mother had in me when she loaned me that £300 to set the business just over 20 years ago.
"The whole QTS team put their heart and soul into the business and the huge investments in time, commitment and money we are making here in Scotland will help us grow right across the world.
"There are major opportunities at home and globally for our rail services business and we have set ourselves challenging goals for the next twelve months including doubling our turnover to £50 million."
The QTS Group company, which employs 140 staff, is earning a reputation as one of the most dynamic and innovative companies in Scotland with a commitment to providing real opportunities for apprentices and other staff through industry-leading training.
The company is best known for the innovations that have made it a leading "one stop shop" service to the rail industry, with specialist road/rail machinery to meet all the challenges in the infrastructure, building stations, rail platforms and footbridges elements of the business.
Other Scots winners at the event hosted by the BBC's Jeremy Vine, included Simon Howie, CEO of the Simon Howie Group, David Lamont, CEO of Aberdeen-based Proserv and Carl Hodson and Duncan Skinner of Glencraft. Their success marked Scotland's most successful night at the awards ceremony.
James Lambert, chairman of R&R Ice Cream, whose brands include Fab, Skinny Cow and Kelly's of Cornwall, was named the EY UK Entrepreneur of the Year at the gala event which was held at London's Park Lane Hilton Hotel.
QTS is committed to supporting local organisations such as schools and charities, and are the major sponsors of Kilmarnock Football Club. QTS's fleet of distinctive orange, white and black vehicles have become a well-known feature on UK roads as they work on some of the most complex railway infrastructure projects around Britain.


text:
The Covert 10.5 excels as a solo boat. Whether you need a little extra float, want to take additional gear with you for multi-day trips, or just want a more relaxed feel to your whitewater canoeing - the 10.5 will deliver time and time again!
Proven on a huge variety of water types around the world, the Covert 10.5 solo is fast becoming a firm favourite.
Length - 3200 mm / 10'6"
Width - 775 mm / 30.5"
Depth - 420mm / 16.5"
Ash gunwales - 26.75kg
Duratough is a thickness optimised single layer hull which is made of the toughest and most durable polymer we can find.
It is maximised for impact resistance and stiffness which is continually tested, both in the lab and by our highly abusive brand ambassadors around the world ensuring it is the best it can be.
We then feed this research back to our polymer company, who work with us to continually improve Duratough's resilience.
Every shell is cooked to the perfect temperature by our in-house computer controlled ovens, and then undergoes extensive testing to ensure it is up to the rigours of modern OC1 paddling.


text: The Early Bird Catches the…Summer Internship Posted on December 20, 2014 by Elizabeth Kubert Reply Summer is still a long way off…right? You still have an entire semester to get through before summer vacation takes hold and frees you from academic responsibilities. But, believe it or not, it's not too early to start thinking about staying ahead of the summer internship planning curve – and


text: Background Studying the relationship between strategy and Management Control Systems (MCS) is not a new phenomenon. The main purpose with the MCS has long been to attain the strategic goals that have been set for the organisation. Scholars have therefore argued that MCS should be adapted in harmony to the strategy employed by the company. There exists however little empirical evidence to support this claim. Problem Recent studies shows that the largest problem companies' face today is that their MCS doesn't focus enough on the organisations' critical success factors. This made us question whether companies choose MCS that support their strategy. This study focuses on Management Control Measures (MCM) as one dimension of the companies' total MCS and on the companies' business strategy. Purpose The purpose was to investigate whether companies' choose MCM that support the companies' employed business strategy. Since measuring strategy and MCM at one point of time may result in that some companies may be in an adaptation phase of either strategy or MCS, where the MCS or MCM doesn't support the business strategy. We were therefore also interested in investigating if the lack of adaptation between the companies' MCM and their business strategy could be explained by changes in business strategy and/or MCM over the past two to three years. Method A further developed strategy typology based on Porter's typology was used to classify the studied organisation's business strategy. Cluster analysis was used to create categories (taxonomy) for the companies' use for MCM. Effectiveness of different combinations of business strategy and MCM group were measured to determine if companies chose MCM that support their employed business strategy. Conclusions The general conclusion is that companies choose MCM that support their employed business strategy. The study shows that a Traditional use of MCM best supports the Cost leader strategy. Among the differentiation strategies an Intense use of MCM is the most effective use of MCM. The second conclusion is that we can't explain the lack of adaptation between the companies' MCM and their business strategy by changes in their business strategy and/or MCM over the past two to three years.


text:
Orders & Exchanges
General shipping/delivery information:
Please allow 7 to 10 business days to receive your order. Orders placed before 4:00 PM EST will be shipped the following business day, subject to availability.
We ship via USPS or UPS for expedited service. The shipping charges may be billed separately on credit card orders.
We are not responsible for any delays caused by the shipping carriers. Indrawear is also not liable for any lost or stolen goods delivered to a residence.
Payment Information:
We accept the following credit cards: Visa, Mastercard, American Express, and Discover.
Exchanges and Store Credit:
At this time, we do not offer any refunds. We only allow for exchanges and store credit.*
In order to be eligible for an exchange or store credit, you must return the original, unworn item you received within 30 days after you receive it. This means that the return needs to be post-marked 30 days from your original receipt of the merchandise. All returns must also include a completed Exchange Form and the customer is responsible for the return shipping costs. You will not be charged additional shipping when we send the requested exchange item(s) to you.
We will not accept exchanges or offer store credit for any items that have been worn, altered, laundered, or modified in any way.
*Please note: all sale items are final sale items and are not eligible for an exchange or for store credit.
Damaged Items
If any item arrives damaged, is defective, or there has been an error in your order, we will be happy to replace the item and ship it back to you at no cost. Please send us an email to firstname.lastname@example.com and we will send you an email with a prepaid return shipping label.


text:
It has been a full two months since I left the day job to pursue the dream once again.
Why not. Might as well. She says.
Over the last few weeks, I reflected a lot to see which direction to take. I have consulted mentors and talked with many friends. I noted that with my female peers a pattern in our conversations was appearing: stress levels, anxiety and the pressure we put on ourselves. Our society seems to have certain values and on top of that we struggle with our own goals.
We are women of a certain age, children of the 2008 recession, unexpectedly lesser progressed in our careers despite our upbringing and educational expectations.
We are women on a cross-road, unable to see the consequences that our choices may bring: motherhood and ambition, will it be compatible? Money making or art following? What if we miss the boat? Which boat are we trying to board in the first place? How to pay the rent? Are we allowed to lean on people – does that diminish our drilled-in declaration of independence? What if we cannot do it on our own?
To quote the great Maya Rudolph in the film Away We Go: "Burt, are we fuck-ups?"
"We are infantilised."someone said today and I liked the phrase. What does it mean to be an adult? Financial independence, home ownership, parenthood? What we have learned we should have/be/want as an adult, does not line up with reality. Perhaps that is why we don't give ourselves the credit of being adults and we are trapped in uncertain limbo.
Tonight I watched "She's Beautiful When She's Angry" on Netflix about the Women's Lib movement. It was enlightening. I was blown away to realise how radical the changes were that made on issues we now too often take for granted. The movement wasn't perfect, mistakes were made, yet its journey has changed many lives and it is still ongoing.
If anything, it inspired me to be fearless: I saw women marching with children on their backs for jobs, for equal pay, for birth control, for day care. I heard testimonies about women performing illegal abortions on other women who were desperate to not become mothers.
Images of women disrupting men in meetings about female health care issues, men who laughed at the idea of Women's Lib, women who agreed that a women's place was in the home. Notions that are alien to me and the ones I associate with.
My fear subsided. I am an adult. My choices will be mine. The path I take my own. Thank goodness for the freedom and the opportunity to keep on pursuing that dream.


text:
Thursday, September 10, 2009
A Fun Evening with the Skirted Round Table
14 comments:
Can't wait to listen!ReplyDelete
Love listening to those girls. I will tune in this evening with a glass of wine.ReplyDelete
Thanks for being one of the go-to Atlanta folks; and for not revealing all the secrets of why it's so nice here.ReplyDelete
Terry- Thank you! And our secret is safe with me :)ReplyDelete
Great fun getting to know more about you-it sounds like I'm Deborah Kerr in the King and I.ReplyDelete
I so enjoyed you on the skirted round table, just wanted to say ,"Hi".ReplyDelete
Looking forward to listening!ReplyDelete
Jennifer - thanks so much for joining us at SRT - we had a lot of fun with you as this weeks guest!!ReplyDelete
Jennifer -I've never had a desire to listen to the SRT, until now. You were absolutely charming and endearing. I've been a fan of yours for years, and will continue to follow you in any future endeavors.ReplyDelete
All the best,
Scott - come back and listen next week! You might enjoy it again!ReplyDelete
Jennifer - it was so much fun having you this week! Thanks again for doing it!!!
Look forward to listening this weekend!ReplyDelete
I listened last night and you were great! So interesting in your points about many things. So good to finally hear your voice!ReplyDelete
I was able to listen to it during lunch. Being a consultant/historian for Tiffany would be perfect for you one day in addition to writing!ReplyDelete
oooh how very fun! I will be clicking over to listen:-)ReplyDelete


text:
|Noha El-wassefy
Faculty of Dentistry, Mansoura University, Egypt
|Dr/ Noha El-Wassefy is an assistant professor of Dental Biomaterials at Mansoura University, Faculty of Dentistry, Egypt. She obtained her B.SC. in 1997 ranked the first on her colleagues, Noha got a master degree and a PHD in Dental Materials, her PHD thesis was nominated as one of the best thesis in Mansoura University. She was funded for six months post-doctoral fellowship in Minnesota Dental Research Center For Biomaterials and Biomechanics from the Egyptian Ministry of Higher Education. Noha researched many Dental materials including; Ceramics, Cements, Composites, Biodentine, Bioglass, Implants and mini-implants Her expertise in dental research includes; Mechanical testing machines, Hardness, Scanning Electron Microscopes, Energy Dispersive Spectroscopy, Ions release, X-rays Diffraction and Atomic Force Microscopy. She also conducted in vitro and in vivo studies. Noha reviewed papers for the Journal of Mechanical behavior of Biomedical Materials. She has got commitment and enthusiasm, which set her apart from anybody else.
|Research Interest
|All Dental materials including; Porcelain, Ceramics, Cements, Composites, Biodentine, Bioglass, Implants and mini-implants Testing includes; Mechanical testing machines, Flexural strength, Bond strength, Hardness, Scanning Electron Microscopes, Energy Dispersive Spectroscopy, Ions release, X-rays Diffraction, Micro CT, Contact angle measurments and Atomic Force Microscopy. Remineralization studies, Surface modifications of Implants, Plasma reactivity.


text:
Big Pink Link 91!
It was a bumper week last week and we were so thrilled to get the year off to a flying start! It was lovely to see some familiar faces and some new ones as well.
Lovely Laura from Five Little Doves and I are your hosts again this week. We loved reading your posts last week and look forward to more of the same next week. Please don't forget to tweet us so we can share your posts, @pinkpearbear and @fivelittledove5 using the hashtag #bigpinklink
My Wows for last week go to Nursery Whines for her marvellous ideas for the toddler oscars. I can just imagine the amount we would have on our shelves if these were real!
My second Wow is unsurprisingly food based as it's January and everyone is talking about healthy eating! This is the perfect antidote to all that dieting, Shank you very much and her amazing walnut and chocolate cookie recipe. Nom!
Laura's WOW!
I love Dawn's post so much. As Mum to four very fussy eaters I totally relate to this age old problem and as always she made me laugh out loud!


text:
VLAN Trunking 2
Question 1
The 802.1q frame format is same as 802.3. The only change is the addition of 4 bytes (32 bits) fields. That additional header includes a field with which to identify the VLAN number. Because inserting this header changes the frame, 802.1Q encapsulation forces a recalculation of the original FCS field in the Ethernet trailer.
Question 2
Question 3
Question 4
Question 5
Question 6
Question 7
Question 8
Question 9
The "switchport mode trunk" is the most important command to identify if a port is configured in access or trunk mode. In this case because of the "switchport mode trunk" command, the "switchport access vlan 700" does not have any effect.
There is no "switchport trunk native vlan …" command so it is using the default native VLAN, which is 1.


text: IMPORTANT! ComicbookDB.com will be closing its doors on December 16th, 2019 as we look towards creating a new and improved tool for collectors to utilize. We want to make sure everyone has a chance to download their data & collections by clicking on this link after logging in. Thank you to everyone who has taken the time to contribute to the site and we look forward to seeing you again soon. If you have any questions, click here. Ms. Marvel (Marvel)(02 - Sharon Ventura) - Comic Book DB Free Services! Add New Content | Top Issues | Register | Marketplace | Forums | Request a Feature | Help | Mobile | Home Login Username: Password: Register for free Social Media: Search: Entire Site Title Creator Character Member Group Issue Name Story Arc Story Name Search by Cover Date Browse: Titles Creators Characters Groups Story Arcs Publishers Imprints TPBs/HCs Podcasts Awards Members Contributors Public Collections Public User Lists Last 10 titles added: 1. Reuse@ (2019) 2. Rocket Kelly (1944) 3. Witchfinder: The Reign o... 4. Westie's Holiday Adventu... 5. Superman Double Double C... 6. New Year's Evil (2019) 7. Star Wars Saga (2019) 8. James Bond (2019) 9. Casper's Classic Christm... 10. ElfQuest: Stagazer's Hun... View All Last 10 creators added: 1. Reuse@ 2. Karl Mostert 3. Jim Krieg 4. Chandler Ford 5. Scott Lincoln 6. Lateef Allen-McDowell 7. Qistina Khalidah 8. Oliver Goldsmith 9. James Anthony Froude 10. SPORG Studio View All Last 10 characters added: 1. Ghost (Marvel)(02 - Zelc... 2. Maelstrom, Forever 3. Brother Jacob 4. Brother Philip (Firefly) 5. Benitez, Chang 6. Crash Ryan 7. Grud, J. Hoover 8. Sapiens, Homer 9. Candyfloss 10. von Kreesus, Wanda View All Ms. Marvel (Marvel)(02 - Sharon Ventura) Real Name: Sharon Ventura Search for 'Ms. Marvel (Marvel)(02 - Sharon Ventura)' on AmazonPowers:Sharon Ventura�s natural abilities were boosted to their highest levels, and she was also granted super human strength and durability through radiation treatments. When she was exposed to cosmic rays and transformed into a She-Thing, her strength and durability were increased to the levels of the Thing before he was mutated into his spiky-hided version.Bio:Raised solely by her father, a strict military man who demanded the absolute best from his daughter, Sharon Ventura had a hard time pleasing him and his impossibly high standards. She was expelled from military school for not turning her roommate in for cheating, and her father would not tolerate her anymore so the two became estranged for nearly a year. Her father died during their time apart, and Sharon felt an extreme amount of guilt over his passing, but she was determined to show him that she could be the best at whatever she set out to do without all his rules and regulations. She spent the next several years of her life still looking for approval from her father by taking on incredible challenges, and dangerous physically active professions hoping all the while that if he were alive, her father would say that he was proud of her. It was a moment that she knew would never come. After leaving a circus, Sharon Ventura joined up with the professional motorcycle stunt team, the Thunderiders. When the Thing (Benjamin Grimm) showed up looking for her, as Sharon was a physical twin to an "ideal woman" that he fell in love with on a distant planet called Battleworld, he made a play to join the team. The Thunderiders had to decide between Ben and another rider called the Champ, and Sharon was the final vote. She thought Ben would be the perfect choice to replace her in the group. Leaving the Thing and the Thunderiders behind, Sharon went on to chase other pursuits. The Thing also left the Thunderiders and joined the Unlimited Class Wrestling Federation, and Sharon secretly attended his matches, but it wasn�t until Ben had a match against the Beyonder that she had showed herself. Saving him from a choice he would have regretted for the rest of his life, Sharon calmed Ben down before he killed the being he blamed for all his recent problems. She took Ben on a vacation to watch her as a stunt woman on the set of Devil Dinosaur, the movie, and the two of them grew close, but Sharon only wanted a friendship where she knew Ben wanted more. Still, she was by his side every chance she got including a time when the female brawlers of the U.C.W.F., the Grapplers, thought Ben was responsible for murdering one of their members. Sharon tried to help Thing against the super powered women, and her feisty attitude got her noticed by Auntie Freeze, caretaker to the U.C.W.F.�s women wrestlers. Auntie gave Sharon the name of a man called the Power Broker and told her that he could make her strong enough to join the Grapplers and the U.C.W.F. When Sharon told Ben about the Power Broker, he was only trying to look out for her when he told Sharon not to go, but Sharon refused his help and resisted his romantic advances. Sharon decided to see the Power Broker and be made physically better, but she was attacked outside his offices by three thugs. Sharon was almost able to handle things on her own, but when Lieutenant Michael Lynch showed up, he finished what she started and chased the goons away. Continuing on her chosen path, Sharon agreed to the Power Broker�s terms and completed her phase one radiation treatments given by Dr. Karl Malus. When it was time for phase two�s chemical injections (which would have addicted her to a drug the Power Broker supplied, thus placing her under his control, as he had previously done to most of the U.C.W.F. wrestlers), Sharon changed her mind and used her new-found strength to break free from her restraints. She fled throughout the compound looking for an escape, and if not for the timely arrival of the Thing and Lt. Lynch, she might have been recaptured. Ben stayed behind to hold off the Power Broker�s men while Sharon and Lt. Lynch made their way back to Auntie Freeze�s hotel room. Auntie made a costume for Sharon resembling the costume of Ms. Marvel, so that is the name Sharon adopted for herself, but soon Auntie and the Grapplers turned on Sharon when the Power Broker put a price on her head. The Thing found out from Demolition Dunphy, another U.C.W.F. wrestler who got his powers from the Power Broker, that Sharon was in big trouble, and the Thing had to save her one more time. During a brawl with the remaining U.C.W.F. wrestlers, Thing began to mutate further and Ms. Marvel managed to get him to a hospital. The She-Hulk eventually found out about Ben�s recent problems and went to help, but Ms. Marvel tried to stop her, knowing how bitter Ben felt towards the Fantastic Four at this time in his life. Even though she had super strength, Ms. Marvel was no match for the She-Hulk, but her athletic prowess and wrestling skills kept her from being beaten. The two women decided to call a truce, but it was too late to help Ben as he ran away from the hospital only wanting to be left alone. Sharon felt guilty thinking it was partly her fault Ben left like that, but it wouldn�t be the last time she saw him. Ms. Marvel and her new boyfriend, Lt. Lynch, had set out to destroy the Power Broker for getting so many people addicted to his drug-related experiments which she had been lucky to avoid all together, but Lynch sold her out. Again a prisoner of the Power Broker�s mad scientist, Karl Malus, Sharon was not only a victim to his experiments in an attempt to take her powers away, but she became a victim to his henchmen who subjected her to unspeakable tortures while in captivity. However, Captain America soon stood by her side, and together they brought the Power Broker to justice. Even though she accomplished what she had set out to do, the nightmares of her abuse would stay with her forever. Traveling to New York, Ms. Marvel happened to be in the right place at the right time to save the Thing and the rest of the Fantastic Four from being killed at the hands of Diablo and his Elementals. With her new hatred of men, she almost killed the villain, but Ben stopped her and offered her a place on his team. Diablo used a potion to heal himself, and turned the hospital he was brought to into a castle full of deathtraps to slay the Fantastic Four. With Mister Fantastic and the Invisible Woman on sabbatical, it was up to the Thing�s new team including Ms. Marvel, Crystal, and the Human Torch to take care of business. The Fantastic Four held their own, but it was Ms. Marvel who defeated the villain once again. The teams next threat would come in the form of a living television image named Fasaud, and with this new villain would come a new change for Sharon Ventura. Having to travel into space to destroy a satellite responsible for Fasaud�s teleportation abilities, the Thing and Ms. Marvel used a shuttle which would become damaged by an attack from their new foe. Rocketing uncontrollably toward Earth, the shuttle, and its occupants, was bombarded with the same cosmic rays that gave the Fantastic Four their powers and upon crash landing in Wakanda, both Ms. Marvel and the Thing had mutated. Ms. Marvel now resembled Ben Grimm when he first mutated into the Thing so many years ago, and she was horrified by her transformation. The two were attacked by an android called a Trans-Human Robot, and Ms. Marvel tried to get it to kill her, but the Thing wouldn�t allow that to happen. When the Black Panther showed up he shut down the android and stopped the fight. Doctor Doom was also in Wakanda since he was expelled from his country of Latveria by the imposter Kristoff Vernard, and he offered Ms. Marvel a chance to join him in destroying Reed Richards and the Fantastic Four in exchange for curing her, but she violently refused. Returning home, the Fantastic Four soon found themselves at odds with Doom, but with the combined help of the Black Panther and X-Factor, Doom was defeated and Ms. Marvel accepted her new form. Standing side by side with the Four, she found herself in battle with menaces like the Frightful Four, Master Pandemonium, Graviton, and Kang. She�s been to distant planets, subterranean lands, and even to the Negative Zone. Sharon eventually rethought her position about starting a relationship with the Thing now that they had similar forms, and they finally found love. Eventually, Ms. Marvel became the only �Thing� on the team, when Ben was transformed back to his human self. Sharon eventually went to Dr. Doom for a cure but Ben followed, and ironically she was cured while Ben was again transformed into a Thing. Sharon remained with Ben as a normal woman for some time until Ben's old girlfriend, Alicia Masters, returned and attempted to resume that relationship. Uncomfortable, Sharon left. Dr. Doom contacted Sharon, demanding she serve him in exchange for the cure she'd been given, and she agreed, hoping to convince Doom to cure Ben as well. She was soon sent to spy on the Fantastic Four, and the trusting heroes welcomed her once more into their lives. Doom and the Four inevitable fought, and in a key moment in battle with the Fantastic Four, he commanded Sharon to turn on the team she once was so proud to be a part of. Sharon refused and attacked Doom instead, and he swore his revenge before being defeated. With her secret out in the open Ben had a hard time forgiving her, but when Sharon went missing, his feelings for her compelled him to find her. He discovered her in an alley- Doom had mutated into a grotesque form more monstrous than that of the She-Thing, and her will to live had left her again. Sharon decided to end her hopeless existence by throwing herself onto the third rail of the subway tracks. Ms. Marvel electrocuted herself, but in her mutated form, her hide was tough enough for the jolt to only render her unconscious. Mister Fantastic placed Sharon in suspended animation until he could find a way to cure her of her mutation. When Reed was presumed killed not long thereafter, the Wizard freed Sharon and recruited the confused she-brute into his new Frightful Four. In her second fight against the Fantastic Four, Wyatt Wingfoot talked her back to her senses and she quit both groups, staying with Wyatt on his Keewazi reservation while she came to grips with who and what she was inside and out. Under undetermined circumstances, Sharon eventually evolved back into her rocky She-Thing form and even attended a "girl's night out" with the Invisible Woman and She-Hulk. In this form, she amicably attended Ben Grimm's bar mitzvah on the thirteenth anniversary of his becoming a Thing. A human-looking Sharon Ventura (or someone else in the Ms. Marvel costume), was seen with a group of individuals who refused to register with the Superhuman Registration Act right before Iron Man and S.H.I.E.L.D. raided their underground base. At this time, it is unknown if this person was captured along with some of the other heroes. Notes: First Appearance: The Thing (1983) #27Other Identities: She-Thing (01 - Sharon Ventura) Favorite Characters: Ms. Marvel (Marvel)(02 - Sharon Ventura) is a favorite character of 5 users View a chronological listing of this character's appearances Issue Appearances: All-New Official Handbook of the Marvel Universe A to Z (2006) #7 - 'Victor Mancha to Phantazia' Captain America (1968) #328 - 'The Hard Way!'#330 - 'Night Shift'#331 - 'Soldier, Soldier' Damage Control (vol. 1) (1989) #2 - 'In It Up To Arrears' Fantastic Five (1999) #4 - 'The Startling Secret of Reed and Sue Richards'#5 - 'In Search of Doom!' Fantastic Five (2007) #1#2#3#4#5 Fantastic Four (1961) Annual 22 - 'Atlantis Attacks'Annual 23Annual 26#299 - 'The Best Man'#306 - 'The Marvel Rage!'#307 - 'Good-Bye!'#308 - 'Fasaud!'#309 - 'Danger on the Air!'#310 - 'Things to Come!'#311 - 'I Want to Die!'#326 - 'The Illusion'#333 - 'The Dream is Dead, Part Two'#345 - 'The Mesozoic Mambo!'#346 - '70 Million Years BC ...and then some!'#350 - 'The More Things Change...! Or It's The Real Thing...'#352 - 'No Time Like the Present! Or.. It Ain't Funny How Time Slips Away!'#353 - 'So Little Time, So Much To Do! Or... If I Could Save Time in a Klein Bottle!'#354 - 'The Cross-Time Express!'#354 (Newsstand Edition) - 'The Cross-Time Express!'#371 - 'This Flame, This Fury'#373 - 'Shattered Lives'#374 - 'Secret Defenders'#376 - 'To a Future Darkly!'#377 - 'If This Be War--!' Fantastic Four Unlimited (1993) #5 - 'The New, Nefarious, And Downright Nasty Frightful Four' Marvel Encyclopedia (2002) HC vol. 06 - 'Fantastic Four' Obras Maestras (1991) #13 - 'X-Men: D�as del Futuro Pasado' Secret Wars II (1985) #7 - 'Charge of the Dark Brigade!' The Official Handbook of the Marvel Universe Deluxe Edition (1985) #9 - 'Molecule Man to Owl' The Official Handbook of the Marvel Universe: Master Edition (1990) #14#36 The Thing (1983) #27 - 'The Thing and The Thunderiders'#30 - 'Above and Beyond'#31 - 'Devil Dinosaur: The Movie!'#32 - 'Home'#33 - 'Battle of the Sexes!'#34 - 'Dual Duel'#35 - 'Power Play!'#36 - 'Going for Broke' Uncanny X-Men (1963) Annual 14 - 'You Must Remember This' Web of Spider-Man (1985) Annual 05 - 'Warzone: New York!' West Coast Avengers (1985) #10 - 'The Search for The Thing!' What If...? (1989) #47 - 'What If Magneto Took Over the United States?' X-Factor (1986) Annual 05Video Game Appearances:Marvel Ultimate Alliance (2006) Group Affiliation(s): Fantastic Four (Marvel) Thunderiders Unlimited Class Wrestling Federation (UCWF) Famous Quotes: - Add a Famous QuoteNone. < Previous Character | Next Character > Add this character to a run of issues in a title Suggest an image for this character View the contribution history for this character © 2005-2019 ComicBookDB.com - Terms and Conditions - Privacy Policy - DMCA Special thanks to Brian Wood for the ComicBookDB.com logo design


text:
Code: PRZ-cf8468c
Situated only 200 yards from the white sandy beach of Flamands and closed to the Hotel St Barth Isle de France, villa Triagoz is a newly built beautiful 2 bedroom, 2 bathroom modern and minimalist style luxury villa rental in St Barths, equipped with all the latest technology equipment and offering a magnificent ocean view !
No doubt that you will succumb to the charms of the place as soon as you enter the villa !
Perfect place for 2 couples on vacation or for a family. (3rd room available for children).
Weekly Rental rates for 1 bedroom occupied :
Anse des Flamands Luxury Villa Rental Close to Beach - Triagoz is one of our St. Barthelemy Luxury Rentals . View Guide to St. Barthelemy Luxury Vacations
Disclaimer: Pins in map may not be accurate if Google Maps cannot find the exact address. In this case an approximation is made.
View Destination Guides: Anse des Flamands, Caribbean


text:
Tearful Lana Del Rey struggles to move on from foiled 'kidnapping plot'
Lana Del Rey broke down on stage as she performed on Wednesday night (07Feb18), just days after police foiled an alleged attempt to kidnap her.
Officers in Orlando, Florida, apprehended Michael Hunt, 43, near the Amway Center in Orlando, Florida, last Friday (02Feb18) before the Video Games star's performance at the venue that night.
Cops, who received a tip-off about a potential "kidnapping threat" to Lana, reportedly found the suspect in possession of a knife and charged him with attempted kidnapping with a weapon, and aggravated stalking.
The dramatic turn of events still appear to be affecting Lana, who struggled to control her emotions and broke down while sitting on the stage at the American Airlines Center in Dallas, Texas, during Wednesday's concert.
Video from the performance showed Lana welling up before wiping away her tears as she looked up at another man on the stage.
She didn't reference her outpouring of emotion, but as she performed in Atlanta, Georgia, on Sunday night – just two days after the man was arrested – she told the audience: "After what happened in Orlando, I just really wanted to be here with you guys tonight. I was totally feeling fine and then I just got… a little bit nervous when I got on stage."
"I just want to say that I'm super happy to be here with you guys, but if I'm a little bit feathery (emotional), bear with me."
Hunt appeared in a Florida courtroom on Sunday, smiling and laughing as the case was heard. According to local news station WESH2, after reading the arrest paperwork, the judge determined that there was probable cause for the Aggravated Stalking charge, but dismiss the Attempted Kidnapping charge.
After hearing the prosecutor's argument, including numerous Facebook posts Hunt had penned about his love of Lana, the judge decided to deny bail because Hunt could be a possible danger to the community.
"Due to the nature of the statements that there are no conditions of release that would protect the public, so I will order pretrial detention for aggravated stalking. Mr. Hunt, at this time, you are being held without bond," the judge said.
But Hunt, who had declined an attorney and chosen to represent himself, shook his head no and added: "…there's nothing in it (the Facebook posts) that sounded derogatory or mean, nothing that says I was gonna harm anybody. Did I wanna see her yes I admitted that to you, do I care for her, yes, do I know her, no, I only know her from her songs."
Hunt will now remain in custody until such time as the judge assigned to his case decides he can safely be released on bail.
Related Content
Pharrell Williams and OutKast land Songwriters Hall of Fame nominations
Kacey Musgraves tackling holiday special with Camila Cabello, Kendall Jenner
Elizabeth Banks: 'Ariana Grande really delivered as Charlie's Angels soundtrack guru'
Kristen Stewart complains she 'can't get away' from new Charlie's Angels track


text:
As I write this my voice is hanging on by a thread. Voice loss happens to me at least 2-3 times a year, it started when I fell pregnant with J in 2012 and seems to have continued ever since. We have become pretty good at coping with it, have our own version of charades and an app I use when it completely disappears (which makes me sound like Stephen Hawking but brings a few smiles to people)
I won't lie, although everyone finds it funny every time it happens (I'm known for my love of talking) it really does get me down and I just want to curl up and disappear. In the background there's someone who is also coping (albeit quietly) with my voice loss and trying to keep me upbeat. That person is my hubster
In addition to my voice, I have been shattered due to random work hours, and have not really wanted to do anything but sleep. He has kept the house clean, cooked dinners, looked after me, my girl and dog, and just been his usual amazing self. Even tonight he cooked a big yummy lasagne for us all (SW style), bathed J and cleaned and tidied up once more. It doesn't sound like much but it really meant a lot to me, he even suggested me having 2 hours sleep this afternoon to help recover
This week marked 7 years since we first met and I honestly cannot believe how quick the time has gone! We are a little older, have a few grey hairs (him, not me!), have a beautiful daughter and have been on a few life rollercoasters but no matter what we face in the months and years ahead I am incredibly thankful to have my hubster


text:
The Mountain Bike School in La Thuile belongs to the Amatuer Montain Bike Cycling Club La Thuile and began its activity in 2011 thanks to the collaboration of Funivie Piccolo San Bernardo. It is made up of 5 instructors of the Italian Cycling Federation who manage and organize all of the activity in the Bike Park. It is open from June until September every day from 9:00 until 18:00.
The school is outfitted with a program that offers classes for everyone, beginners and those who would like to perfect their skills in many different disciplines: enduro, cross-country, freeride and downhill. During July and August, with the opening of the Bosco Express and the Chalet Express that allow access to the summit at 2,200 m, and thanks to the 220 km of paths of varying difficulties (blue and red, less difficult, and black, very difficult), there are more numerous classes available.
With the opening in 2013 of the Cycling School, there will also be activities dedicated to bicycling on the road and cycling holidays.
The School Headquarters are located in the Bike Park, in the school field near the chair lifts.
Among the many initiatives of the MTB School instructors is the Bike Hour, taking place on the 14th of August. It is a bike crawl where participants visit the many restaurants and bars in La Thuile with their bicycles.
The Classes:
› Tariffe della Scuola MTB di La Thuile 2018 [PDF – 1,07 MB]
Consorzio Operatori Turistici La Thuile
Via M. Collomb, 36 - 11016 La Thuile (AO)
Valle d'Aosta - Vallée d'Aoste - Italia - Italy
Tel. +39 0165 88 30 49 - Fax +39 0165 88 51 96
Mail email@example.com - P.IVA 00657400073
Funivie Piccolo San Bernardo S.p.a.
Fraz. Entrèves, n. 149 - 11016 La Thuile (AO)
Valle d'Aosta - Vallée d'Aoste - Italia - Italy
Tel +39 0165 884150 - Fax +39 0165 884052
Mail email@example.com - P.IVA 00076340074
Capitale Sociale Versato: Euro 10.713.416,00
Società trasparente
Read reviews of La Thuile and La Thuile hotels on


text:
IbizaRef. Id: 602
- Air conditioning
- Barbeque
- Coffee Machine
- Dishwasher
- Fully equipped kitchen
- Garden
- High-Speed Internet
- Jacuzzi
- Private pool
- Terrace / balcony
- Washing machine
- Car not essential
- Child friendly
- Close to airport
- Close to historic sites
- Close to shops
- Electronic security
- Near to beach
- Off road parking
- Secure complex
- Overview
- Location
The cool interiors were designed to meet the practical needs of modern life while using the most noble materials to soothe the senses: concrete floor, bathroom made with natural stones, etc. Modern house with sea views, located in the country side and close to Dalt Vila Castle.
Situated in a quiet residential road it offers tranquility whilst being conveniently placed for easy access (5 min) to Marina Botafoch, Talamanca Bay and the historic old town of Ibiza (10 min). Also very close to Sestanyol beach. 4 bedroom, (2 single beds, 1 double bed and 1 king size bed) 3 bathroom, big kitchen, big living room, large entrance , laundry room, store room, barbecue, garden and swimming pool. Fully equipped kitchen , great living room Smart TV, WIFI (Fibre optic), A/C , safe box and alarm system, laundry room.
Outdoor hot showers for maximum poolside comfort, various terraces and areas for sunbathing. Salt system Swimming pool not aggressive to your skin. Also the infinitive pool has jacuzzi to enjoy a relaxing day
This house is located one of the most prestigious areas on the island. Enjoy the lovely view to the castle and sea view, very close to town.
Application number: 2014011232
calle orinoco talamanca


text:
Agile Frameworks - Bronze
About Agile Frameworks
Agile Frameworks is the leading provider of integrated field and lab information management systems (LIMS) for companies providing services in geo-technical, materials lab, construction, inspection, environmental, building sciences, non-destructive engineering and more. Agile's Metafield® subscription-based Software-as-a-Solution (SaaS) platform is used by laboratory technicians, project managers, principal engineers and administrators to schedule, dispatch, test, collect and assemble results to accurately deliver information to clients in real time.
Only Agile Frameworks offers capital project owners, construction, and engineering consulting firms a comprehensive multidisciplinary approach. That's because we've come from the industry and know how it works. With over 13,000 subscribers across the U.S., we're the market leader in construction materials testing and inspection software.
To learn more about how Agile Frameworks can help streamline complex workflows for greater productivity and profitability visit us at http://www.agileframeworks.com. To request a free demo call 1.800.779.1196 or email email@example.com.
Field Data Collection—MetaField enables data-driven decision making and project execution by automating the process of gathering, aggregating and analyzing data in real time. All project data is collected and managed in MetaField to facilitate efficient purpose-driven workflows, allowing users to easily prepare and respond to client requests for faster turnaround of results and reports.
Laboratory Information Management System (LIMS)—MetaField's LIMS is the only fully integrated field and laboratory management solution in the industry. The integrated capabilities provide project teams with full chain-of-custody transparency that starts as soon as samples are collected in the field. Samples are accounted for every step of the way to enable easier collaboration between field and lab technicians, and to ensure accurate analysis and reporting.
Document Management—With MetaField's document management system, AgilePort®, your clients can receive field observations, test results, reports, and other deliverables almost as soon as they're completed within their own searchable and filterable custom-branded portals.
Secure Digital Signatures—MetaField's secure digital signatures service, AgileStamp®, is powered by market-leading DocuSign Signature Appliance and offers the ability to sign and verify signatures in a non-proprietary compliant manner.


text:
Censor.NET reports referring to MP's Facebook page.
"Permanent Delegation of the Verkhovna Rada of Ukraine to the NATO Parliamentary Assembly addresses with the deep concern resulting from the activation of Russian terrorist forces in the Donbas and, particularly, shelling of the town of Avdiivka that brings to a humanitarian catastrophe threatening peaceful population.
"Since January 29, 2017, Russian occupation troops are carrying out mass shelling with the weapons prohibited by the Minks agreements, specifically, with "Grad" MLRS; 152 mm and 122 mm artillery systems; 120 mm and 82 mm mortars; tanks, as well as small arms. Violation of the Minsk agreement by the Russian party resulted in eight Ukrainian military men killed, 26 military men injured, and also in losses among civilians.
"Shelling of populated areas carries out from the residential sector of occupied Donetsk. Artillery strikes has caused de-energizing of the towns of Avdiivka and Yasynuvata, rendered inoperable water and heat supply systems, closed schools.
"Hospital of the town of Avdiivka is harmed by the shelling. The outside temperature reaches minus 25 degrees Celsius complicating the humanitarian situation," the letter reads.
"Please note that shelling of populated areas, particularly, residential districts, social infrastructure facilities (schools and kindergartens) is unlawful, groundless and extensive destruction of property not caused by military needs and is a gross violation of the Geneva Convention of August 12, 1949. The Donbas escalation repeats the Russian Federation tactic in Syrian Aleppo aimed at a complete destruction of residential settlements with their population and triggering of a humanitarian crisis to create migration waves.
"The Russian Federation continues to blatantly ignore its own obligations under the Minsk agreements with intent to disallow stabilization of the situation and achievement of any progress in the security and humanitarian spheres.
"We call upon the Russian Federation to immediately stop the warfare and fully comply with the ceasefire regime.
"We address to the NATO Parliament Assembly members with a request to inform their National Parliaments on the situation in the Anti-Terrorist Operation zone in eastern Ukraine and to strengthen political and diplomatic pressure in order to stop the dangerous escalation in the Donbas and avoid a humanitarian catastrophe in the region," the delegation adds.
Earlier, the Donetsk civil-military state administration said a permission of the Joint Center for Control and Coordination was necessary to start repair works in Avdiivka.
Governor Zhebrivskyi later noted the Russian side issued a written guarantee on cessation of hostilities from 10 a.m. to 5 p.m. However, militants failed to cease fire.
The fighting in the vicinity of Avdiivka has been underway since late Saturday, Jan. 28. Ukrainian soldiers bravely hold their lines, according to the military sources.
Three days into fighting, Ukrainian soldiers have managed to take enemy positions and improved their tactical set-up in the area. Unfortunately, casualties were reported among the military.
On Jan. 30, enemy strikes left the government-controlled town of Avdiivka without electricity, water and heat.
In the evening of Jan. 30, a state of emergency was declared in Avdiivka.
As reported by the anti-terrorist operation (ATO) Staff press center, militants carry out not stop attacks on Ukrainian positions near the town.
A regional coordination center to aid local population has been set up.


text:
Kasey to the Rescue (Hardcover)
The Remarkable Story of a Monkey and a Miracle
Hyperion, 9781401323417, 288pp.
Publication Date: November 1, 2010
Other Editions of This Title:
Digital Audiobook (11/16/2010)
Compact Disc (11/17/2010)
Compact Disc (11/17/2010)
This is a story of how miracles DO happen.
How courage and a never-give-up spirit can emerge victorious.
How an engaging little monkey helped change a family's life.
Ellen Rogers considered herself something of a tragedy snob. The single mother of five believed she could weather any storm, that she could keep her family from harm with fortitude and grace. But nothing could have prepared her for the June 2005 car accident that left her son, Ned—then 22 years old—fighting for his life.
Ellen refused to give in to despair. We'll get through this, she told herself. We have to. But love and determination can only go so far, and the road home was fraught with obstacles. Ellen and Ned took comfort in family and friends. And they prayed for a miracle.
Miracles happen to those who believe, the saying goes, but who would have believed that one family's "miracle" would weigh in at five pounds sopping wet Then Helping Hands: Monkey Helpers for the Disabled provided Ned with an affectionate and intelligent service animal with a steadfast devotion to hierarchy, a longing for "spa days," and a craving for Gummi Bears. In other words, a diva.
Life with Kasey was yet another challenge for this large and lively family, but they persevered as families do, and in time this wise and sensitive animal did more than help Ned cope with his disabilities—she turned the simple tasks of life into a life worth living. Kasey's astonishing intelligence and compassion brought hope and laughter back to a family facing its greatest challenge, and helped them see the world in a new way.


text:
Measures and Estimates
Detailed description of how it works:
Step 1: Gather input from home/work. This could be photos of the areas, paint samples, furniture fabric samples, cabinet drawers, etc. It's also important to consider what you want to change about your existing flooring. For some it maybe design, for others it is due to wear. Most of the time it is a combination of a couple factors. Knowing what you expect to get out of the floor will help identify the characteristics to look for.
Step 2: Come in and browse our many sophisticated product lines. Review project details with our expert non-commissioned consultants. Ask questions and gain expert industry knowledge. Check samples out to see in your own space.
Step 3: At this point you've likely found some options to consider. We can set up a time to come out and measure. During the measure, we generally pick the samples up to save you a trip back to the store. Typically Chris, the owner, or occasionally Bob (a veteran of the flooring industry for over 20 years) come out to measure. Our estimators will be to go over details specific to your project.
** Note: if you would simply like a ballpark estimate over the phone or via email we are happy to provide you with one. We'll need a few moments of your time to gather some information regarding the project, the usage, and the performance expectations.
Please feel free to contact us below with any questions or comments.
Thank you for your time and have a great day!We are pleased to provide you with our estimating service.
Just fill out the form and we will contact you with no pressure, honest feedback and answers to all of your flooring questions. Thank you and we look forward to talking with you soon.


text:
Teacher resources and professional development across the curriculum
Teacher professional development and classroom resources across the curriculum
Civil War Photography >>
Gallery of Alexander Gardner Photographs >>
Questions to Ponder
The Civil War was a lethal affair. Hundreds of thousands were killed or wounded as they confronted the new technologies of war with older styles of fighting. After the battles, photographers took pictures of the mangled bodies left waiting to be buried.
1. There are many more images from Northern than from Southern photographers. Why might that be and what, if anything, does the difference suggest about the two regions during the Civil War?
2. In his memoirs, U.S. Grant commented that "Wars produce many stories of fiction, some of which are told until they are believed to be true." How might photographs, most of which were not contrived in the way that Gardner's Home of a Rebel Sharpshooter was, have shaped the stories told about the war?
Program 11 Home | Civil War Photography | Key Events | Map | Transcript | WebographyA Biography of America Home | About | Credits | Help | Search | Site Map
© 2000 WGBH Educational Foundation. All Rights Reserved.
© Annenberg Foundation 2017. All rights reserved. Legal Policy


text:
I am a Paleo convert. As such, my breath smells like road kill mixed with rotten apples. I need help, so I ordered Thursday Plantation's Tea Tree Chewing Sticks, which are supposed to help with keto breath. Chewing sticks are "Renewable Birchwood with Tea Tree Oil". Be warned, they are actually high quality flavored toothpicks.
I tested using one chewing stick, my horrible breath and my poor son's nose. After an hour with a toothpick hanging from my lips, my son tells me that I do not have bad breath. I call that a win.
The flavor is strong, pleasant and lasts a long time. I've been at it an hour and still feel the buzz of Tea Tree Oil. For anyone growing up in the 70s, think Harmon's - Hot Cinnamon Fire, but with flavor that lasts a long time. I miss Harmon's toothpicks. I used to live on the things during summer as a kid.
This post is also posted at my new Paleo blog, Joe Eats Paleo. I'm trying to use the Paleo diet to get healthy and lose a bunch of weight in the process. Join me if you are interested.


text:
Artifact Details
TitleLLNL Computer Museum -- NCC exhibits
Catalog Number102675119
TypeStill image
Date1984 ca.
PublisherLawrence Livermore National Laboratory
Place of PublicationLivermore, CA, US
Dimensionsoverall: 8 1/2 in x 11 in
DescriptionColor image of some Lawrence Livermore National Laboratory's exhibits at the 1984 National Computer Conference. In the foreground are three cubicle exhibits the one on the left has an unidentified electronic briefcase . the one in the middle has a miniture systems display and the one on the right has three OCTOPUS placques.
Lot NumberX4575.2008
Related Records
|LLNL Computer Museum -- NCC AIS exhibit
|LLNL Computer Museum -- NCC Disk drive exhibit


text:
Location: Coolamon, Australia
Member Since: August 2011
Last online: August 2019
Open for read requests: Yes
Featured by author
Poem / Poetry
Poem / Other
Poem / Other
Poem / Other
Profile Information
Writing poetry is like scaling the north face of futility. Poetry is dead and stinking up my bathroom; or is that God?
Get me out of here, I'm a Romantic
This is where you can leave a short message for the writer. All Quickees are public. To leave a private message, use the private.
If you want to write a quickee (a remark or a hint for example) on this writer's profile, please sign in.