text:
No Members yet
My Rating
Michael Anderson
Thomas Clyde, Douglas Fairbanks Jr.
Matyas Seiber
Richard Todd, Anne Baxter, Herbert Lom, Alexander Knox... more
Thriller, Mystery
May 06, 1958
Chase a Crooked Shadow is a Thriller, Mystery english movie, directed by Michael Anderson, starring Richard Todd, Anne Baxter, Herbert Lom, Alexander Knox along with others. Here, on the movie page, you will find every thing that you need to know. Check out what others are saying about the movie on twitter.
Copyright 2010-2013: Gomolo. All Rights reserved. | Terms | Privacy


text:
Latitude at River Islands, located in the beautiful master planned community of River Islands, will offer 3 spacious new home floorplans in single and two story designs that range from 3-6 bedrooms and approx. 1,813 – 2,584 sq. ft. Homes will feature First Floor Master Suites, oversized Great Rooms, Bonus Rooms, spacious Master Bedroom Suites, beautiful and functional gourmet Kitchens, and Van Daele's signature indoor/outdoor California RoomsRead Less
Our Story, Our Promise, Unlike Any Other.
Every company, every homebuilder, and just like you, every family has a story. We believe you will agree that since buying a home is one of the most important things you will ever do, it is essential that you know who you are buying it from.
Our story is different from most homebuilders. We are not a national, publicly held corporation led by a Wall Street management team living on the other side of the country. Instead, Van Daele Homes is a family owned home building company located in California. Our management team is comprised of Van Daele family members as well as some of the most respected and experienced homebuilding professionals in the industry. Together, since 1987 we have created exceptional new home communities for more than 15,000 families.
Because we take great pride in having our family name on your family's door, it is only natural that we care more deeply about your entire home purchase process. We are intimately involved every step of the way; from the land we buy to the design of every detail in every home, to the superior Buyer Friendly attention we give you both before and after you move in. The Van Daele family team confidently makes this simple promise to you… You'll feel good about your new home!Read Less
|public (K-8 )
|1.44 mi.
|public (K-8 )
|3.97 mi.
|public (K-8 )
|4.51 mi.
Have you been to this community? If so, help other home shoppers and leave a review for Latitude at River Islands.

subset: commoncrawl


text:
DUFAY Lament for Constantinople & other songs
This isn't the first recording of Dufay's chansons to appear since the Medieval Ensemble of London's complete survey nearly 40 years ago (L'Oiseau-Lyre, 12/81), but it's the most rounded and satisfying view of him to be had from a single anthology (in that Cantica Symphonia's 2006 Glossa survey focused on the early songs). I was happy to be reacquainted with a few personal favourites (the early ballade Mon chier amy, the late virelai Malheureux cueur and rondeau Vostre bruit and the cheeky drinking-song Puisque vous estez campieur), but having listened several times through I'm struck by several that had not quite done so before, which now speak very eloquently: Pouray je avoir, Belle, que vous ay je mesfait? and the understatedly perfect Par le regard. Like so many of the individual songs, the recital grows in stature with repeated listening.
The reason is that the Orlandos are so experienced in this repertory that, nearly always, the choice of tempo and tone is spot-on (and tempo is perhaps the most important decision, given that absolute tempos are never indicated), which maximises the music's communicative potential and more than compensates for the occasional vocal blemish (that this is fiendishly exposed singing cannot be overstated). The programme takes a while to get going: the choice of O tres piteulx as an opener is curiously muted and downbeat, and thereafter En triumphant de Cruel Dueil, which seems to me a touch slow given the voices involved. I imagine some may find the Orlandos' overall approach corseted and overly cautious, as though hearing Dufay through the prism of their recent Machaut recordings. I can understand this, but in singing of such insight there is so much to learn. And as to the music – did I mention it earlier? – Dufay is simply astonishing.


text:
Product Line Overview
With an international team and a flexible production network, the Performance Fuels business provides solutions to customers worldwide.
Combustion fuels were activities of the legacy companies; Haltermann and Carless, both founded in the 19th century, and continue to be a strategic core business of the Group. Read about our story here.
The Performance Fuels Product Range
For more than 30 years, we've been developing test, reference and motorsport fuels. With the complementary addition of race fuels expert ETSP in 2014, we now offer a comprehensive portfolio of test, reference, high performance race fuels, special grades for first-fill or two-stroke engine applications as well as reference lubricants.
All of these activities support the Automotive and Oil industries in producing more sustainable, clean and low emission engines, fuels, lubricants and additives.
We have the skills, the technical expertise and experience to maintain extensive close development work with global engine and vehicle manufacturers, Original Equipment Manufacturers (OEMs), and test facilities, to produce performance fuels to the highest quality required.
As such, the name Haltermann Carless stands for reliability, quality and flexibility and the HCS Group has the resources to meet the market requirements, both for today and in the future.
The laboratory of Haltermann Carless in Germany is accredited according to DIN EN ISO/IEC 17025:2005. Please find the respective certificate for download below:
Dr. Bruno Philippon
Senior Vice President
Business Unit Mobility
Email: email@example.com
Sales Contacts
Bill Bovensiep
Sales Director – Performance Fuels, North America
Mobile: +1 313 919 8468
Email: email@example.com
Lutz Reichenbächer
Sales Manager – Performance Fuels, Germany
Phone: +49 40 333 18 316
Mobile: +49 151 270 403 85
Email: email@example.com
Iciar Irigoyen
Head of Performance Fuels Sales, UK
Mobile: +44 7880 192076
Email: email@example.com
Yann Labia
Business Development Manager – Performance Fuels, France
Mobile: +33 6 80 45 73 36
Email: email@example.com
Akiyama Hisakazu
Business Development Manager – Performance Fuels, Japan
Tel. +81 80 3344 8802
E-Mail: email@example.com


text:
Watch Videos
The Secret Sisters
Vinyl: $22.98 PRE ORDER
As we age, we face obstacles that are beyond our control. Some forces are internal: insecurity, anxiety, fear. Some are external: the loss of loved ones, an unjust system and the fragility of time. Yet the mark of maturity is how you respond when you realize you�re not in control. Where do you find your resilience?�
This album is a reflection of us coming to terms with how to find our power in the face of an unfair world. These songs lead listeners past �where happy man searches, to a place only mad women know.� We question our purpose, our relationships, our faith. Trading the fears of our youth for the dread that rages within us as mature women.
With SATURN RETURN, our hope is that women can feel less alone in their journey through the modern world. We need each other more than we ever have; the less competition and the more inclusiveness and understanding, the better. We are southern women in the 21st century, convicted by our beliefs.
Beach Bunny
Vinyl: $22.98 PRE ORDER
Honeymoon is the excellent debut album from Beach Bunny, the four-piece band out of Chicago. Recorded at the iconic Chicago studio Electrical Audio with producer Joe Reinhart (Hop Along, Algernon Caldwaller), the nine songs on the LP burst with energy that capture their vital and life-affirming live shows. Songs like the swooning and anthemic singles 'Dream Boy' and 'Ms. California' encapsulate the highs and lows the exiting the honeymoon stage of a relationship. The long-awaited debut LP 'Honeymoon' from Beach Bunny follows their breakout hit on Tik-Tok, 'Prom Queen' (65 million global streams, 518K+ TikTok videos). Honeymoon will be released on February 14th, 2020 following a major market tour with festival plays.
Nada Surf
Vinyl: $19.98 PRE ORDER
With their ninth album, Nada Surf: Matthew Caws, Daniel Lorca, Ira Elliot, and Louie Lino continue pursuing their humanistic vision of the world through hooky, catchy rock songs with sharply drawn, yet tenderly felt lyrics. Never Not Together, is a compact, yet wide-ranging collection of songs that revel in the quartet's ability to evoke and reflect grand and intricately wrought emotions, whether through sweeping guitar solos or hushed-whisper vocals. Never Not Together was recorded at the Coach House Studio in Wales' Rockfield Studios, where artists like Echo & the Bunnymen, the Flamin' Groovies, and Dumptruck recorded albums. "I've been seeing the name on albums for so long," says Caws. "It's a working farm, and the founder/owner, Kingsley Ward, would come in and tell us stories when he wasn't farming. I'd walk into town every morning and listen to the sheep talking as I walked by them."That openness to listening to their fans, to each other, to the world has helped inform Nada Surf's legacy as down-to-earth rock stars musicians who can command festival stages around the world while connecting to audience members on a personal level, conscious of the shared humanity every step of the way.
La Roux
Vinyl: $21.98 PRE ORDER
Grammy-winning and BRIT and Mercury-Prize-nominated artist La Roux returns with her first new material in five years - 'Supervision' out February 7th 2020 on her own label Supercolour Records. From cover to contents, this is unequivocally the album Elly Jackson always wanted to make - a claim that with some artists might ring alarm bells, but in this instance simply means that �Supervision� sounds precisely, unmistakably, gloriously like La Roux.
La Roux shot to worldwide fame with her debut self-titled album in 2009 selling over 6 million singles worldwide and - in addition to collaborations with the likes of Skream, Kanye West, and Major Lazer � helped reshape pop as we now know it. Elly�s second album, 'Trouble In Paradise', was a critically-adored reinvention, topping the Dance/Electronic charts in the US and landing La Roux her second top 10 album in the UK.
When We Stay Alive [Limited Edition Crystal Clear LP]
Vinyl: $25.98 PRE ORDER
When Poli�a's Channy Leaneagh fell off her roof while clearing ice in early 2018, she smashed her L1 vertebrae and battered her spine, leaving her in a brace with limited mobility for months. Yet Poli�a's fourth album, When We Stay Alive, is not about one debilitating accident. It's about the redemptive power of rewriting your story in order to heal, and reclaiming your identity as a result. When We Stay Alive possesses a new confidence in its sound, reflected in its fierce, determined songs and anchored by the heavy synths and punctuating beats of Poli�a co-founder and producer Ryan Olson. Over the last several years Olson and Leaneagh have widely collaborated with musicians from all over the world: both with Bon Iver, and Leaneagh individually with Boys Noize, Lane 8, Sasha, Leftfield, and Daniel Wohl; Olson with Swamp Dogg in addition to countless musicians from the Aaron Dessner and Justin Vernon's 37d03d collective. As a result, When We Stay Alive features one of the largest musical casts of any Poli�a record to date. To create the album, Olson brought his favorite collaborators into his studio for all-night sessions. He'd then send Leaneagh the files to write lyrics to while recovering at home, which she'd record alone or with engineer Alex Proctor. Drummers Drew Christopherson and Ben Ivascu colored the songs with a new approach ' drastically changing the rhythmic dynamic from previous efforts by creating an indistinguishable hybrid of live and electronic instrumentation--and bassist Chris Bierden provided a melody-laden low-end as well as more layered backing vocals than ever before. On Poli�a's first three albums, Leaneagh focused on restructuring the world and her relationships within it. On When We Stay Alive, she realizes the power in restructuring her inner self. The album's title references the idea of moving forward through life ' our experiences, both good and bad ' and what happens next with the strength we find. 'I had been living unconsciously in past trauma,' Leaneagh says. 'I don't want to deny something happened ' this is not about repression ' it's about taking the power back from the past, holding the power in the present, and creating a new story for myself.'
Andy Shauf
Vinyl: $19.98 PRE ORDER
ANDY SHAUF is becoming one of the most important songwriters of his generation. His songs are tuneful vignettes of small moments and big hearts. On his latest, The Neon Skyline, Shauf intertwines stories of a group of friends who frequent a local dive bar, and through them, makes poignant observations about human nature with a novelist�s detail and melancholic humor. The songwriting is down to earth, yet sophisticated and inventively melodic. The Neon Skyline is a creative leap for this already acclaimed artist.
THE APOLLO [Documentary]
THE APOLLO: Original Motion Picture Soundtrack [2LP]
Vinyl: $24.98 PRE ORDER
THE APOLLO: Original Motion Picture Soundtrack is the audio accompaniment to the HBO documentary released November 6. Helmed by Oscarr and Emmyr-winning director Roger Ross Williams, THE APOLLO chronicles the unique history and contemporary legacy of New York City's landmark Apollo Theater. The soundtrack album is produced by the film's music supervisors, Grammy-nominated Dondi Bastone and TunesMap founder G. Marq Roswell, and mastered by Ian Sefchick at Capitol Studios.
The Slim Shady LP: 20th Anniversary Expanded Edition [3LP]
MP3 Album:
The 20th Anniversary of�The Slim Shady LP�is set to release on 3LP 180 gram vinyl and 2CD on 13th December, 2019 in an updated Expanded Edition including�bonus tracks, rarities, a capella�s, freestyles, and instrumentals.
Originally released on 23rd February, 1999�The Slim Shady LP�turned Eminem from an underground rapper into a high-profile celebrity.�The album featured production from Dr. Dre, the Bass Brothers, and Eminem himself.�The Slim Shady LP�is his first album with a major label after his first album�Infinite�was released on an independent label in 1996.�The majority of the album�s lyrical content is written from the perspective of the rapper�s alter ego Slim Shady, whom the rapper created on the�Slim Shady EP�(1997).
The Slim Shady LP�went on to be certified quadruple-platinum by the Recording Industry Association of America (RIAA) and has sold over 18 million copies worldwide.
Peaky Blinders [TV Series]
Peaky Blinders Original Music From The TV Series [3 LP]
New Vinyl: $53.98 Buy
Peaky Blinders is a British crime drama television series primarily set in Birmingham, England following aftermath of World War I. Starring Cillian Murphy as �Tommy Shelby� � the gang�s leader, the show follows the exploits of the Shelby crime family. The fictional gang is loosely based on the Peaky Blinders, a real urban youth gang who were active in the city from the 1890�s and early twentieth century. The show is known for its dark and dramatic soundtrack. The soundtrack is a window into the mind of Tommy � a tortured ex-soldier with a sensitive side who appears to be suffering from PTSD after fighting in the trenches during World War One.
This 2CD & 3LP set will feature music and key clips of dialogue from all 5 series the show, the 5th series aired late 2019 to critical acclaim. The album will feature Nick Cave�s title opening track Red Right Hand and PJ Harvey�s cover recorded exclusively for the show. Other artist�s music featured on the show and set to appear on this release are The White Stripes, Laura Marling, Arctic Monkeys, Royal Blood, Radiohead, The Last Shadow Puppets, Queens of the Stone Age, David Bowie, Foals, Black Sabbath, Idles, Joy Division and Ricard Hawley who has covered Bob Dylan�s �Ballad Of A Thin Man�.
Tenacious D
Blue Series: Don't Blow It, Kage [RSD BF 2019]
New Vinyl: $8.98 Buy
The prophesy has come true! Tenacious D's Kyle Gass and Jack Black team up with Jack White on production to create a brand new one-sided single.
A1 �Don't Blow It, Kage"�
Marconi Union
Starting with the following year�s Under Wires And Searchlights, they�ve created an explorative body of instrumental work that�s shifted between electronica, dub, minimalism, avant-jazz and ambient music. Along the way they�ve collaborated with the likes of Jah Wobble, remixed Max Richter and V�k and provided soundtracks for art installations and other visual media. They�ve also had their own music remixed by Biosphere and Japan�s Steve Jansen, among others.
The new album offers ample evidence of a band in its prime. Marconi Union still sound vital and original, enthused by the possibilities that music has to offer. �We�ve never wanted to repeat ourselves,� states Talbot. �We�ve made ten albums and have been going for 17 years, but it still feels fresh. That�s been so important for us all the way through. We�re looking to do new things all the time� co-founder Richard Talbot says.
Indeed, the exquisite Dead Air bears only a passing resemblance to its 2016 forerunner, Ghost Stations. The trio have dispensed with beats, brass and guest musicians this time around, opting instead for a more intimate and textural approach, a constantly evolving soundworld of tones and sensory impressions. Dead Air also bears little resemblance to the trio�s initial vision for it. �The album we set out to make had far more of a rhythmic element,� explains Talbot, �but fairly late in the process, we decided to completely change direction.� This is entirely in keeping with Marconi Union�s guiding methodology. Ideas remain fluid throughout the writing process, until Talbot and bandmates Jamie Crossley and Duncan Meadows ultimately settle on what feels right to them.
As such, Dead Air is a sublime testament to their collective instinct.
Marconi Union�s most successful album to date is Weightless (Ambient Trans- missions Vol. 2). �Weightless is widely considered to be �the most relaxing track in the world�
The Band
The Band: 50th Anniversary [Super Deluxe]
New Vinyl: $149.98 Buy
This Super Deluxe limited edition package features a new stereo mix of the album by Bob Clearmountain from the original analog masters. The package also features the previously unreleased complete �Live At Woodstock� performance from 1969, the Classic Albums � The Band documentary, and thirteen bonus tracks. Bonus tracks include six previously unreleased outtakes and alternate versions. The exclusive book features a new essay by Anthony DeCurtis and classic photos by Elliott Landy.
Idina Menzel
Tony Award�winner Idina Menzel has a career that traverses stage, film, television, and music and in time for the holidays she releases an album of traditional and brand-new songs featuring Ariana Grande, Billy Porter, Josh Gad and her husband, Aaron Lohr. Timed to coincide with the release of Disney�s Frozen 2, which includes Idina�s unforgettable voice in the title role of Elsa, this new album is sure to bring friends and family together throughout the holiday season.
The Beatles
The Singles Collection [7in Singles Box Set] [23 Discs]
New Vinyl: $229.98 Buy
Collectible Boxed Set presents 23 180-gram vinyl singles in faithfully reproduced international picture sleeves. Includes exclusive double A-Side single for �Free As A Bird� and �Real Love� plus a 39-page book.
JD McPherson
Socks [Indie Exclusive Limited Edition Snow Globe Colored LP]
JD McPherson presents A Christmas Album, SOCKS. Featuring 11 original tracks written by JD McPherson and his friends. SOCKS is an album of Holidays songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , "All The Gifts I Need" and "Every Single Christmas." Or, burn the cookies to "SOCKS" and "Ugly Christmas Sweater." There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, "Bah Humbug".
Ben Lee
Quarter Century Classix [Blue & Pink LP]
"In January 2019 I found myself stuck in a Chicago hotel room during the �Polar�Vortex�. I was performing there with my duo Radnor & Lee over a few nights when�temperatures dropped, leaving me unable to do much outside my hotel room for 4 days.
Chicago is a city that holds a special history for me, and I found myself spending�a good chunk of time staring out my hotel window, reflecting on my first trip there in 1993 to�record my debut solo album� Grandpaw Would at Idful Studios with Brad Wood. But more�than the details of that trip, I was struck by how vividly memories started flooding back tome of being a 15 year old mega fan of music, and in particular, indie rock. I LIVED for the�records that I loved and the bands who made them. I�m not sure you are ever a fan of bands�the way you can be as a teenager. It�s pretty sacred.
I started re-listening to some of my favorite songs from that period in that hotel�room, by the Beat Happening, Pavement, Fugazi, The Breeders, Guided by Voices. It struck�me as crazy that these songs and the feelings that accompanied them were now over 25 years�old. It started seeming odd to me that for some reason, indie rock hasn�t been canonized the�same way �60s and �70s rock has. After all, Dinosaur Jr were my Led Zeppelin, Sonic Youth�were my Grateful Dead and Built to Spill were my Steve Miller Band. These were my classics!
I always travel with my portable studio gear, and I immediately sat down and�started learning and recording a collection of my favorite songs. I spent my 4 days of the�2019 Polar Vortex creating the blueprint for what would becomeQuarter Century Classix.�When I got home to LA, I invited my friends Julianna Barwick, William Tyler and Mary�Lattimore to my home studio to add their magic to my recordings as I knew they grew up in�reverence of the same records I did. These three genius musicians became the �band� who�you can hear framing these covers and I am eternally grateful for their talent and generosity.�Later, Maria Taylor, Mike Watt, Petra Haden and Joey Waronker all showed up to play too.
To some people these songs are just footnotes in pop culture history. But to me,�they are the essence my own personal history. I wanted to make this record a tribute to these�bands, to these songs, and to the irreversible way music can touch and transform the life of a�young person. I hope you enjoy
Quarter Century Classix. - Ben Lee
Big Band of Brothers
A Jazz Celebration of the Allman Brothers Band [Peach LP]
In honor of the 50th Anniversary of the Allman Brothers debut album, New West Records is proud to present, Big Band of Brothers: A Jazz Celebration of the Allman Brothers Band. This record is a true collection of big band jazz interpretations of Allman Brothers classics. The record features guest vocals by Marc Broussard and Ruthie Foster. Big Band of Brothers also features Jack Pearson on guitar, who has performed as a guest of the Allman Brothers Band on numerous occasions, and actually joined as a member of the band in 1997. Together with Dickey Betts, he completed the band�s archetypal guitar duo for nearly 3 years. Wycliffe Gordon (of Jazz at Lincoln Center fame) is also featured as a soloist. Gordon is consistently ranked among leading trombone players in the Downbeat critics poll.
Danny Brown
New Vinyl: $21.99 $18.99 Buy
uknowhatimsayin� marks a buoyant new chapter in Danny's career, a transitional and celebratory moment. His profile has grown since Atrocity and now armed with a cable TV show and a co-sign from one of rap's icons, we will look to solidify his positioning as a ubiquitous entertainer, independent rap hero, and one of the essential cultural voices of this era, while still retaining the edgy, maverick style that makes him a fan-favorite. The album is executive produced by Q-Tip, and features production by Q-Tip, JPEGMAFIA, Flying Lotus, Paul White, Standing on the Corner and more.�
Lily Kershaw
Imagine the mind�s farthest wanderings made physical, formed into worlds that represent our internal and external expressions. Mythologically speaking, people have been naming this duality for ages: utopia and dystopia, heaven and earth, Olympus and the underworld. Now imagine this concept distilled in an eleven track, thirty-six minute album, and you arrive at Arcadia, the latest offering by songstress Lily Kershaw. Weaving warmer analog sounds like organ, harpsichord and guitar with cinematic force, Arcadia is Kershaw�s most intimate release to date. But the strongest tool Kershaw wields is her voice, both in the simmering ferocity it carries and the poetry it speaks. Though the concept behind the record is epic to say the least, Kershaw is ultimately telling a story of acceptance, both of herself and the great mystery that is the universe
Hollie Kenniff
New Vinyl: $22.98 $19.98 Buy
The Gathering Dawn is the debut solo album from Hollie Kenniff. The album, which is her first ambient proclamation, displays a sprawling looseness in sharp contrast to her works as one half of Mint Julep with husband Keith Kenniff (Helios, Goldmund). The Gathering Dawn wistfully utilizes glacial synths, blurred out guitars and Hollie's melancholic vocal plumes as a basis. The album finds Hollie effortlessly folding classic ambient motifs in with a minimal modernist brushstrokes.


text:
A couple weeks ago, T, her boys, and I were invited out to Cozy Cove for supper with our friends. It is so quiet and peaceful out there...perfect for relaxing, amazing food, and sweet fellowship. We went out to the dock at the lake, where Russell was absolutely fascinated by all the water. I'll let you hear the story from the boy himself!
Oooh, I wonder what the water would feel like...
Haha, Mom...you can let me go!
Oh? Huh? Is that a bird?
It is! I see a bird, Mom!
Or wait...that might be a sailboat, actually.
Ooooohhhh, tadpoles!!!
Let me see, Mom! I wanna get close....
How's your grip on my waist, Mom? Pretty good huh...I know, I know--I'm a really fast mover! Well, I don't want you to have a heart attack, so let's move back to the middle :D
I see you!
Okay, enough of that...I want to check out the water again :D
What? What do you mean, "you're done"? Mom...please.....
Oooh, look...the dock is moving every step!
Pretty cool, eh Mom?
Look at what I found! It appears to be chocolate...
...Scratch that...no sweet taste here!
Can I still keep'em?!
Why'd you all stick me in this tall grass?
I'd rather be out on the water, not stuck in the middle of these itchy things!
Ok, you got your pictures...now can I come out?
Hahaha.....THIS is what I'm talkin' about!!
I had a really good time with my friends, Auntie, Mom, and baby brother Andrew {you'll see pictures of him later....he was not enjoying his pictures being taken, lol} Anyway, thanks for hanging out with me!


text:
It is well known that individuals with Down Syndrome (DS) develop Alzheimer's at a much higher rate than the general population. This research study will test whether an investigational vaccine can affect Alzheimer's-related brain changes in DS. Our clinical research site is looking for individuals who meet the following criteria:
The 3 Star Study
Diagnosed with Down Syndrome
between the ages of 35 to 45
must not have any other serious illness
Have a caregiver/informant who can answer questions about you
The study is a randomized, placebo-controlled, double-blinded study. This means that study participants will be randomly given either the active investigational vaccine or a non-active placebo that looks like the active drug; neither the participant nor the study personnel at the clinic will know who is receiving which one.
The study will last 24 months, during which study participants will visit the study clinic 21 times. At each visit, participants will be asked how they are feeling, and at some of the visits they will undergo medical exams, memory tests, blood tests, lumbar punctures (optional), ECG and brain imaging scans. The investigational vaccine and research visit procedures are free of charge. Travel costs will be paid.
Academic Medical Centers and Specialty Clinics Participating in the 3 Star Study
|Barrow Neurological Institute
|Phoenix, AZ
|Sandy Quintanilla
Study Coordinator
Barrow Neurological Institute
|University of California, San Diego
|San Diego, CA
|Asmaa Al Hamdani, MAS
UCSD: Adult Down Syndrome Program


text:
In 2010 there was an explosion on the Deepwater Horizon oil platform. British Petroleum ('BP') leases the platform, which is situated in the Gulf of Mexico. Global investment is BP's target audience and the company communicated about the disaster via its website and the press, among other channels. On the ... Read More »
Category Archives: Damage and insurance liabilityFeed Subscription<
The International Comparative Legal Guide to: Insurance & Reinsurance 2019
April 12, 2019
Some takeaways from Dutch insurance law & Dutch litigation: please be referred to the contribution of Dirkzwager (contributors: Daan Baas and Niels Dekker) to the Netherlands chapter of The International Comparative Legal Guide (ICLG) to: Insurance & Reinsurance 2019. Download pdf Read More »
Grab the Spotlight in Haste, Repent in Leisure
April 19, 2018
Buried on the third and fourth pages of The Wall Street Journal and my local newspaper recently, I found two interesting business stories. These stories followed much more prominent stories. In the first, the WSJ reported that Duke University had recently settled (on confidential terms) with a male student it ... Read More »
Insurer Acts Reasonably & In Good Time
November 17, 2017
In Olga Despotis Trust v. The Cincinnati Insurance Company, a tornado destroyed a building leased as a medical imaging facility in Missouri, owned by the Trust and insured by The Cincinnati Insurance Company (CIC). Approximately one and one-half months after the loss, the Trustee forwarded a completed Proof of Loss ... Read More »
Football Practice
October 2, 2017
In Elias v. Davis & Edwards, Elias, a 16-year-old high school student in the North Kansas City Missouri School District played varsity football. Edwards and Davis were coaches. In October, 2010, the two coaches decided to have a full-grown adult dress out in full football gear including helmet and padding ... Read More »
Two insurances do not cover water damage – recourse pursuant to Book 7, Section 961 of the Dutch Civil Code unsuccessful
July 20, 2017
Water damage at the Erasmus Medical Centre, which occurred after the 2004 refurbishment, was only covered under buildings insurance and not under CAR insurance because the contract documents did not include a maintenance obligation for the main contractor. What was agreed in the dealings between the main contractor and the ... Read More »
New ICC arbitration rules
June 29, 2017
The International Chamber of Commerce (ICC) has amended arbitration rules as of March 2017. The most important change is the introduction of an accelerated arbitral procedure, referred to as the 'expedited procedure'. A few comments on this are given below. The ICC's website contains more information about the recent changes ... Read More »
Satisfaction with personal injury claims handling
June 22, 2017
Recently, outgoing minister Blok (Safety and Justice) answered Parliamentary Questions by member Van Nispen (SP) on the stance of insurance companies to personal injury claims. In his answers, the minister referred to the Code of Conduct for Handling Personal Injury Claims [Gedragscode Behandeling Letselschade (GBL)] and indicated that it functions ... Read More »
Reliance on limitation period remains possible in 'asbestos cases'
April 21, 2017
On 24 March 2017, the Supreme Court ('Hoge Raad') ended the debate on the impact of the Moor/Switzerland ruling on the Dutch absolute prescription period in proceedings concerning compensations in connection with an asbestos-related illness (usually Mesothelioma) by means of its ruling in the Maersk case. The Supreme Court held ... Read More »
The Dutch Supreme Court on the commencement of the short prescription period: awareness of the possible role of the party responsible for the damage is not (always) sufficient certainty pursuant to Article 3:310 paragraph 1 of the Dutch Civil Code
April 19, 2017
The Supreme Court rendered an opinion in its ruling dated 31 March 2017 (ECLI:NL:HR:2017:552) concerning the moment the short prescription period provided for in Article 3:310 paragraph 1 of the Dutch Civil Code commences. The Supreme Court ruled in particular on the question when an injured party may be considered ... Read More »
Directors' liability of a second-degree director: piercing the corporate veil 2.0
March 21, 2017
On 17 February 2017, the Supreme Court delivered an important judgement stating that Article 2:11 of the Dutch Civil Code (the piercing of the corporate veil liability to the natural person behind the legal person-director) applies in all cases where a legal person in its capacity of director is liable ... Read More »
Professional liability lawyer, please pay attention to your case!
March 16, 2017
If a lawyer who actually carried out an instruction but who is not the contracting party of his client, is personally held liable on the basis of an unlawful act, the successful reliance on this does not require that he or she can be personally seriously blamed. Introduction 'This case ... Read More »
Lost chance and medical liability: the Supreme Court expresses itself (for the first time)
March 14, 2017
Introduction In its Judgement of 23 December 2016, the Supreme Court expressed itself for the first time on the doctrine of lost chance in a medical liability case. The direct object was a child who, despite treatment by the Erasmus MC, became blind shortly after birth. After more than 13 ... Read More »
A banned substance in animal feed can be reason to impose an administrative fine
March 3, 2017
If the inspectors of the Netherlands Food and Consumer Product Safety Authority (NVWA) discover a banned substance in animal feed, the State Secretary of Economic Affairs, Netherlands Enterprise Authority (RVO) can impose an administrative fine on the basis of the Animals Act (Wet dieren). On the basis of sections 2.17 ... Read More »
Commercial Drone Insurance – Now a Reality
February 2, 2017
As new Drone laws and regulations start coming into focus, the market for commercial drone insurance is also becoming more standardized and readily available. This is not surprising—and in some respects mirrors the development of auto insurance 125 years ago (the first auto insurance policies, written in the 1890s, were ... Read More »


text:
Dearest Bruce,
Today, a resurrection.
On Tuesday, as you recommended, I went to Light Industry to see Lyn Blumenthal and Kate Horsfield's 1984 conversation, or portrait of, Craig Owens, part of Video Data Bank's incredible interviews with artists and writers. This was some six years before he died, age thirty-nine, of—I rehearse the intolerable boilerplate—AIDS-related complications.
Eighty black-and-white minutes. Owens sits in a director's chair in front of a makeshift backdrop—the zigzag of a wrinkled moving blanket. He talks and talks, always smoking. Or… he's not really smoking, just lighting cigarette after cigarette and then mostly letting the lit cigarette sit on his lap so that the smoke blooms up into the frame. It looks like his crotch is on fire. The camera sits still, sometimes zooming in on his face, then pulling out to show his dark, formica sweater. The blanket and the sweater and the video's poor contrast makes his face so white.
It's a real performance. We start in early childhood, when Owens is ten or eleven years old, reading Variety in isolation in suburban Pennsylvania. I guess this was 1960 or so? He draws designs for houses for TV stars, including one for Gale Storm, which he sends to her.
More bio: His father takes him to New York to see the Sound of Music. He's accepted to Haverford College as a junior in high school. He directs many plays. In May of 1970 he's working on a Noël Coward comedy when the US invades Cambodia. The National Guard murders four students at Kent State. He goes to Washington, but "politicization never happened for me." External events annoy him. All that matters is the work.
He moves to New York in 1971, does theater. He sees the stage version of Yvonne Rainer's Film About a Woman Who….
He hears about Robert Wilson, Vito Acconci. His passion for commercial theater flags.
For six months, out of financial desperation, he moves to Philadelphia to work at the Al Paul Lefton advertising agency. Another Rainer twist: He comes across—how?—Annette Michelson's germinal 1974 Artforum article on Rainer. This, he thinks, is serious criticism. He begins to read Roland Barthes, Levi-Strauss, Marcuse. An "older gentleman" encourages him to go to grad school. He applies to Columbia, NYU, and CUNY's Grad Center, choosing the last simply because they let him join midyear.
The cranky coincidences of an education.
All this Rainer, Michelson stuff: I feel interpellated.
He takes classes with Leo Steinberg. Skepticism becomes admiration. Rosalind Krauss joins the faculty. Owens swoons. Krauss is beginning to carve her path out of formalism. A year later Douglas Crimp joins as a student. October dawns.
Owens wants to write about performance. He thinks he can bring his new critical tools to bear on emerging live-art disciplines. He writes a paper for class on Wilson's Einstein on the Beach. He's surprised when Krauss asks if he'd like to expand it for "the magazine." This becomes "'Einstein on the Beach': The Primacy of Metaphor," published in October's fourth volume (autumn, 1977). (Also in this issue are Krauss's "Notes on the Index: Seventies Art in America [Part 2]," Michael Snow's "Notes for Rameau's Nephew," and Amy Taubin's "Doubled Visions," on Michael Snow.)
Looking back, from 1984, Owens considers this period with amused embarrassment. He's writing what he calls "footnotes" to Krauss's own writing. "I was not equipped at that point," he says, to tackle something like Einstein on the Beach, calling his first essay an "overinflated… pretentious piece."
The Octoberites are all "carrying the torch of serious criticism," writing only for one another. The readers, if there are any, are just eavesdropping. At this time, he says, the frame of art was not an issue for him. It didn't matter, for instance, that Einstein on the Beach played not at some downtown theater but at the Metropolitan Opera House.
Things change when he becomes an editor at Art in America in… 1980? At October everything was taken care of by public funds. Suddenly he's thrown into the same market conditions as the artists about whom he's writing. He begins to consider the purpose of intellectual work, whose interests that work serves. His new mandate: "To analyze the position of your own work vis-à-vis the channels through which it must pass to reach an audience."
He begins to think of criticism as existing alongside the work. You find work with which you feel solidarity, and "the critical task is to extend… amplify… develop new terms." He begins to see the categorical debates around "modernism" and "postmodernism" as "diversionary tactics, to take intellectual energy away from feminism." (Race doesn't enter his picture.)
He zooms out. Art doesn't "change the world—it changes the terms. If we get hopeless, we'll let other people do it." Success is being able to "responsibly set the agenda."
If he had lived, where else he would have zoomed?
The punchline: at the end, a credit for the National Endowment for the Arts.
Eternal returns.
I begin with a mouthful. But I'll swallow all but this question: For whom do you write?
I don't want to talk with food in my mouth, and you've given me a lot to chew on, despite a single question.
Race hasn't entered his picture, but "gay men," whether "outlaws in feminism" or not, haven't been articulated yet either, as an impulse for theoretical pursuit.
Yet with great dexterity and purpose, he recounts how, after repeatedly turning over the sheets of his quickly finished, elementary-school writing assignments to sketch designs for dresses, teachers and parents tried to divert his talent for fashion toward a butcher design endeavor: architecture.
Talk about feeling interpellated!
I'm not sure I can answer your question (for whom do I write?) with any resolve, especially right now.
Am I wrong to interpret Owens's fatigue and/or resignation (?) at always responding, having to respond, as similar to Barthes's coming to terms with his long-harbored desire to write a novel?
Does "being able to 'responsibly set the agenda' " equal abandoning a certain mode or genre of writing for another?
However much alongside culture any criticism exists, it too often must be in response to a work. While that seems plainly obvious, this morning, rewatching Owens end the interview on this topic, I could only nod, slowly, in agreement, mouthing the words, I feel you, dude.
The frame was invisible. He learns not only to see the frame but also to draw attention to the frameworks that support it.
I've extolled to you how enthralling I found Anne Teresa De Keersmaeker's Work / Travail / Arbeid at MoMA a few weeks ago, the involutional forces of her choreographic endeavor, one that manages to be roomy, inviting, able to accommodate or, rather, unite, the movements of passersby as counterpoint to not only those of her corps but also of her musicians, who wind through the space of the dance as complement to the dancers' transit. The dance and Gérard Grisey's Vortex Temporum, in which the musicians play their instruments as percussive things and breath modulators as much as for melody, resonate with one another, sometimes in synch, sometimes discontinuous. While W/T/A seems incredibly "open," the openness exposes the choreographer's intense formal assiduity, centrifugal, centripetal, alert to every action, activity, gesture, and/or stillness of the event. How deliberately but without strenuousness the force field of her choreography clarified when and where and how rapidly any audience "in the way" as well as part of the dance would have to move and when and where they could just be darted around or leapt over by her dancers.
At what point and how does the fact that Anne Teresa is the Baroness De Keersmaeker become critically or theoretically useful?
After watching the dance for an hour-and-a-half in the Atrium, I left—hearing the music reverberating, spying it from other vantages—saw Seurat's Evening, Honfleur, 1886, with its dazzling painted frame, extending the artist's pursuits beyond the strictly pictorial, and wondered about the conversation he and the Baroness could have about frames, frameworks, duration, luminosity, points, vibration, atomization, futures.
Something meteorological, the systems of what they put into motion.
Is it like a maelström?
Like a tempest?
"If I negate powdered wigs, I am still left with unpowdered wigs," Marx stated, c. 1843.
A little later, Molly Nesbit replied:
"There must be another response besides negation.
A maelström is not a death." [Midnight: The Tempest: Essays, 81]
We are in the midst and mess of a male storm, one which might take the entire planet down; nevertheless, Madame Nesbit instructs us: "Try to think of the maelström as a swim."
With her last book, The Pragmatism in the History of Art [2013], Madame left us climbing and hanging in a large tree in Poughkeepsie, New York, courtesy of Gordon Matta-Clark—who was known to tango, darkly, on the piers—his Tree Dance. She left us, too, with this question, which seems apropos, given the Baroness, evenings at Honfleur, extension, social questions: "What if there were no limits to aesthetics?"
"The Tree Dance," she informs, "was an event infiltrated by other events: the weekend beforehand 500,000 people had marched on Washington to protest the Vietnam War; students were occupying the administration offices in Vassar's Main Building; in June the New York Times would publish the Pentagon Papers detailing the secret history of the American buildup in Vietnam. On May 31st, the Times would quote a letter from Gordon Matta-Clark urging an artist boycott of the São Paulo Bienal because 'it is now common knowledge that freedom of speech survives nowhere in Brazil.' "
The past would seem, still, to speak fluently to our possible future.
Dear Sir,
You're playing the dance card.
Tempesting me.
Tree Dance—a tea dance for heterosexuals?—was made for an exhibition, "26 x 26," organized at Vassar in solidarity with Lucy Lippard's "26 Contemporary Women Artists" at the Aldrich Museum. It was the most beautiful way for Nesbit to end The Pragmatism. It took my breath away. I couldn't really believe it.
I also couldn't really believe that it was Gordon Matta-Clark we were talking about. Because it sounds like it should be a Trisha Brown dance.
Nesbit leaves a clue: "[Matta-Clark] had asked Carol Goodden, his new partner, herself a dancer with Trisha Brown, to find him some people for this dance that was not one exactly, meaning it was not to be explicitly choreographed." [The Pragmatism in the History of Art, 84]
How much of the work is "finding some people"?
What is a dance that is not one exactly?
Matta-Clark's Tree Dance, May 1, 1971, was barely a year after the April 18, 1970 premiere at 80 Wooster Street of Brown's Floor of the Forest, in which dancers climb across—rather, through—a horizontal net of clothing, dressing and undressing themselves as they move. (The restaging of this work in Documenta 12 [2007] was one of the signal moments in the reawakening of a certain art-world fondness for dance.) At the same time, Goodden participated in the premiere of Brown's Leaning Duets, 1970, in which pairs of dancers hold onto opposite ends of a rope, lean away from each other, and walk, balancing against each other's feet. These are the early days of the Equipment Dances—Man Walking Down the Side of a Building (April, 1970), Walking on the Wall (March, 1971)—one of the most thrilling and still-underthought moments in art-making.
I want (another!) book about Brown.
I want a book about Goodden.
Why have there been no great women artists?
"What if there were no limits to aesthetics?"
It's a beautiful question, and one applied to some more than others.
But it's certainly an ideal toward which I aspire.
In the end, Matta-Clark's Tree Dance surrendered to a thunderstorm. The maelström has its own priorities. His nondance broke up. From what we can gather, this was part of the plan. And so becomes the stuff of legend.
This is different, of course, from the maelström (the Gale Storm?) of Anne Teresa De Keersmaeker's Work / Travail / Arbeid, a choreography so explicit, so rigorously rehearsed, that it can adapt to the deluge without compromise.
It makes its own weather.
I've seen it now in two places—at the Wiels, in Brussels, and in the Museum of Modern Art's Atrium. (It also traveled to the Pompidou and Tate Modern.) At Wiels, the dance took over two adjacent galleries, the dancers and musicians moving between. At MoMA, the dance conspired with the Atrium to open new vistas. You could be on the same plane as the dancers, broken up by them, or you could go upstairs and watch from above. At every angle, the dance sets its own agenda.
Break away to one of my favorite chapters in Nesbit's new book, Midnight: The Tempest Essays, "Without Walls," an expanded version of an essay she did for Artforum in April 2003. She's thinking about Malraux's The Voices of Silence. "The problem under consideration here—how to find forms that can address the vastness—has a history that is and is not an art history, that is and is not American." [118, emphasis mine]
What is this vastness? What counts as American?
"Solitude is a strong position… the position to refuse," Nesbit quotes Godard in another favorite chapter, "History Without Object." [100]
How to become a figure in the vastness, Nesbit asks.
I choose dance to connect vastness and solitude.
What do you choose?
Your question jetés to life, how to live, in a world often increasingly immiserating.
The questions of life and living, their complication by livelihood, their imitations, organize Midnight. Or as Nesbit puts it: "With whom will one walk?" [92]
Like Godard's, hers is "a practice in which the ideas become questions, not answers." [92]
With her tempest, she addresses our concerns in many ways, with many questions, perhaps most directly by way of Albert Béguin, who opened the preface of his book L'Âme romantique et le rêve, in 1936, darkness storming, with a meditation on a very particular question, "Am I the one who is dreaming?" [104]
Madame continues:
A question, he went on to say, with infinite prospects, one which touches on our very reason to live, on the possible choices one makes inside one's own limits; for it uncovers both the problem of knowing and of poetry. It is one of the few questions which abstract thought cannot satisfy, he felt, because it is the kind of question thrown in one's face by an undefinable reality, more vast than ourselves and on which we depend so heavily that we refuse it only at the expense of a diminished life. He continued to ask the question about what lives inside our selves at nightfall, no need to put politics there overtly, the times in which this was being written were looming too large in the minds of his readers. Science seemed unable to account for this dreamwork, a theatre of incoherent dancing, poor and aping, a patter in the atoms of one's own mind, abandoned to an absurd caprice. [104]
The vortex—the vortext—of your ellipsis makes me wonder how that sinuous sentence about solitude is to be read.
Swimming against the current to return to it, reaching into the mist of the ellipsis, I find this sticky goodness:
"Solitude, as Deleuze had rightly remarked, had long been Godard's private vanishing point. 'Solitude is a strong position,' like a right, Godard himself had remarked flatly, 'The position to refuse.' "
Is solitude the state of being refused or is it solitude that allows one a position from which to refuse?
Of course, it isn't ever only either/or.
With the help of Deleuze's response to Godard and Anne-Marie Miéville's Six Fois Deux, Nesbit reminds us that the philosopher who weathered many plateaus "made a point to mention Godard's solitary ways, called him one of a kind, a man apart from the usual routes taken by the cinema, and yet… Godard was always a man surrounded, working both with the people on his crew and with the worlds that lived in his mind," making for a "multiple, populous solitude that was really a crowd bound to the outside world not by a heartbeat anymore but by a stammer." [91]
It would be remiss, if not grotesque, to forget to state the obvious: One of the ones with whom Godard walks is Miéville, and she agrees to walk with him, being more than an accomplice, coconspirator, or muse, but an artist in her own right. See not only her films We're All Still Here (1997) and After the Reconciliation (2000), but her sly preface to Godard's Hail, Mary (1985)—his study of life's pulsation and plenty, wildlife—The Book of Mary (1985).
They walk AND in AND ("AND being the word upon which relations can be expressed" [92]), and they'll extend his methods of montage to "upset everything and everyone's relation to everyday life." [88]
The heart of Midnight homes in on a decade running, roughly from 1975 to 1985, in France with Godard & Miéville, in New York with Cindy Sherman, Sherrie Levine, Louise Lawler, and David Salle.
"Let us say only that by the seventies the irresolution of history itself was apparent in New York. The term postmodern was not needed to see this." [120]
The group in New York would find "their rhetoric of form" at the movies. Douglas Sirk's proleptic treatise on so much of what remained long occluded in Pop art, Imitation of Life (1959), would hold particular sway. Nesbit sketches all the film showed: "the dangers that lay in wait for every success and star—the racial segregation festering within integration, the torture of maternal love, the unbridgeable personal costs." [115]
What does it mean to feel that we are still held in the vice of so much of what Sirk lensed in that opus?
Nesbit beams no small part of her admiration on André Malraux's The Voices of Silence. "Malraux saw a great threat. It came from the formalisms and professionalism of a modern art culture keeping art from its chief and ancient business, the confrontation with the totality of experience and fate." [119]
To begin to confront via aesthetics such totality, Sherman would use thrift culture to refuse "commercial fashion" and its dictates; Levine would employ the internegative as well as the "most impersonal, least theatrical techniques of thrift to bring divinity back" [130]; Lawler would host borrowed light to demonstrate how you "have walked into a situation that has rearranged your own world and made you well aware of it." For the most part "the new New York art criticism was not concerned with the imitation of life, but only with imitation."
The debut for some of these techniques were exhibited at "Artists Space in the fall of 1978 in a group show curated by Janelle Reiring," which assembled Sherman, Lawler, Christopher d'Arcangelo, and Adrian Piper.
The essay "Without Walls" ends with a looking backward. The "interaction being imagined remains personal, full of the trace of internegativity of the old days, as if art might still be something that passed between friends," but it is now seen to be a thing of the past.
Is it? Does it have to be?
The Artists Space show emblem circled or bull's-eyed the "A" for anarchy as much as artist.
Perhaps I'll anarchize these proceedings a little with some disappearance and/or absence. Nesbit schools the inattentive to keep alert for what is not there. While we're left almost at the doors of the opening of Metro Pictures and a certain kind of business that won't be refused, recall the other ways two of the artists in the Artists Space show went. D'Arcangelo, having italicized certain removals to point to social systems and occlusions, would kill himself in 1979. For her part in the Artists Space show, Piper introduced Aspects of the Liberal Dilemma.
In 1983, Piper premieres Funk Lessons at Nova Scotia College of Art and Design. Her best friend Phillip Zohn dies of AIDS-related encephalitis. After that, her brief biographical précis concludes: "Begins design of poster, Think About It, commemorating 1983 March on Washington. Reads Toni Morrison. Goes dancing regularly and hears live funk bands from Oakland and Los Angeles at Little Orphan Annie's, Foster City, California. Watches Entertainment Tonight. Sees Brainstorm, The Hunger."
Rather than ask you any of the questions I was going to ask—where do the younger artists of today find their rhetorics of form? do they think about any such rhetoric?—I'll leave you with another beat and image of 1978, one artist's form for addressing the vastness:
I'm realing a bit here.
1. From The Fabulous Sylvester—a disco-catechism that Ryan read years ago and that I read more-or-less by proxy, anecdote by anecdote, communicated relentlessly as we walked around the city as he pushed deeper into the fairy kingdom—one particular episode has long stuck in my head. The artist "first turned forty in 1985, when he was thirty-eight. He wanted to go ahead and get that milestone out of the way while he still looked good. […] Besides, he liked to say, he was timeless." [243]
2. It might be unsurprising to hear that Piper was the first, or among the first, artists who really mattered to me. I didn't study art, at least not in school, but when Piper came and spoke to my college, I remember sitting in the auditorium trying to fathom her Funk Lessons and the ways that difference inhabited and took over our bodies, how it inhibited us from moving in certain ways. I remember being embarrassed for all the white college students who couldn't keep up.
I could always keep up.
3. Sylvester died in December 1988 of AIDS-related complications, a few months after his forty-first birthday. He left behind instructions for his funeral, held at the Love Center, where he appeared in a red kimono with flaming red hair and red lipstick—less red than peachy-orange, in the end, a small concession to his mother, who thought maybe the red was a bit too much.
He was timeless until he wasn't.
Or the time of timelessness was altered—both expanded and contracted—by the plague.
Timelessness matters most when you have no time.
4. Piper's The Big Four-Oh premiered in 1988, the same year as her fortieth birthday. (She is a Virgo, like Sylvester.) The installation has a video featuring her, facing a white wall, dancing alone to a selected playlist of funk, salsa, R&B, and rock, including the Rolling Stones's "Miss You," as well as a notebook, "forty hardballs," a "disassembled coat of armor," and "sealed jars of blood, sweat, tears, piss, and vinegar, respectively."
The three-minute clip provided on her website includes voiceover of Piper reading from the journal. I've transcribed a small portion, simply because I love it:
[…] I sweated blood to become myself and not someone else I didn't like. So many tears for what's been lost have been wrung out of me I thought I'd drown, parched, in my own grief. Under attack my fangs appear, emitting searing streams of piss and vinegar. I had to get hit in the stomach with a hardball many times before I learned to play the game. Nevertheless my forays into community are stymied by the concrete particularity of these artifacts. I don't understand their chemical structure, nor the stillness of their lives, and I can't see all sides of them at once. Embodiments of me, they become themselves; and in visual conjunction they mean other things I didn't intend and didn't anticipate. I am inspired by their imperturbability, and rely blindly on my ghost to steer me through the second half of my life with the wisdom and grace stored in unrecollected midnight dreams. I defy you to stop me from dancing.
"Unrecollected midnight dreams" will guide her through the next forty-some years.
Who gets a second-half?
Who on earth would want to stop Piper from dancing?
6. I hear these lines and trip into the final page of Under the Sign of [sic] (2013), your book, so important to me, when you, or "Pierre Menard" writes, "How do we know when we are really living?" which immediately prefaces the question of why that author (which author?) didn't "deal with" Sturtevant's Haring Tag, 1986—how this not-dealing-with also means skipping how Haring Tag "forebodes what of the inappropriable remains." [314]
There is the "disappeared," something left out so that something else may be revealed, and then there is what you can't "deal with," the inappropriable remains.
These inappropriable remains and unrecollected midnight dreams might be a way for us to take Nesbit's collected Midnight dreams, the periods in French and New York art they so magically chart, to think a way into how "younger artists"—by which I suppose I mean my friends and loved ones—might see their relationships to form, to addressing the vastness.
7. Keith Haring died on February 16, 1990, of complications related to AIDS.
On October 30, 2014, I began to take Truvada, not because I needed to, but because for my entire life I had associated sex with death, and I no longer wanted to do so. I continue to feel like those of us who aren't dying of it are still living with complications related to AIDS. Like somewhere in the time between the "AIDS cocktail" and Truvada-as-PreP, a lot of us kind of stalled out on addressing the vastness.
8. The other night Sam and I went dancing late at a club called The Spectrum. A lot of black and brown and white kids, mostly queer, mostly young, mostly moving splendidly through a haze of cigarette smoke under a canopy of thrifted chandeliers, another beat in the comforting pulse of night-places I've phased through throughout my young and then adult life. Something seems different though (and not in the way that every night can feel different), in that it might be among the first clubs I've inhabited that feels unhaunted by AIDS. Which isn't to say it doesn't have a relation to AIDS (impossible), but that its relation goes differently, not AIDS-AND, but AIDS-AND-AND.
9. I emailed Piper the other day to inquire about another, unfinished, dance video she told me about years ago. Coincidence: It's now done, and she's made it available, for rental, on her website.
"As if art might still be something that passed between friends."
I'm not ready to let go of this line.
Friends AND…?
[I'm realing a bit here.]
But isn't it part of our project to attend to the ruptures in the various dances, realings and reelings, around us?
Nesbit has Godard cut off Hegel (isn't it about time?), the filmmaker having little truck with his "grey of philosophy" or his ornithological musing that the "owl of Minerva begins its flight only with the onset of dusk" [103]. Instead, Godard's "[m]ontage will see to it that no owl, no concept, no saving philosophy will arrive, only a growing rupture in the real."
One way to convey Midnight's tempests, their temporally cross-cutting organization, would be to see it as montage.
[2. It might be unsurprising to hear that Adrian Piper was the first, or among the first…]
Funk Lessons, were "staged collaborative performances with large or small groups of people," that she conducted from "1982 to 1984"; the videotape, Funk Lessons with Adrian Piper, provides a "record of one of the more successful performances." In her lively "Notes on Funk I-IV," Piper writes: "My immediate aim in staging the large-scale performance (preferably with sixty people or more) was to enable everyone present to
Inspiring to learn that she also conducted more intimate versions of her lessons. To wit:
I would have people over to dinner, or for a drink, and, as is standard middle-class behavior, initially select my background music from the Usual Gang of Idiots (Bach, Mozart, Beethoven, Brahms, etc.). I would then interpose some funk and watch people become puzzled, agitated, or annoyed, and then I would attempt to initiate systematic discussion of the source of their dismay... This usually included listening to samples of funk music and analyzing their structures, content, and personal connotations for each listener, in a sympathetic and supportive atmosphere. Occasionally, it also included dance lessons…
N.B.: When conducted in Los Angeles, Funk Lessons went down at the Women's Building, 1727 North Spring Street, March 3, 1984, billed by the artist as a "collaborative experiment in cross-cultural transfusion"—highlighting "Music Appreciation" and "Social Dancing."
[Sylvester] was timeless until he wasn't.
Or the time of timelessness was altered—both expanded and contracted—by the plague.
Timelessness matters most when you have no time.]
Or he now can return in unexpected ways, not ghosting but coursing through the mainstream in surprisingly powerful ways, i.e., there's a lot of Sylvester in Titus Andromedon, the character played with such gusto by Tituss Burgess, written with such verve by Tina Fey, in Unbreakable Kimmy Schmidt. See his "Lemonading" in full-on homemade Bae regalia down a New York street!
[4. Piper's The Big Four-Oh premiered in 1988…]
I saw The Big Four-Oh at the Walker the last time I was in Minneapolis. What a revelation! Stop her dancing at your peril! But, as you put it, "Who on earth would want to do that?" The piece connects so deeply to Funk Lessons, a private tutorial rather than a seminar or lecture, which, as Piper writes, was itself a way to confront the "ignorance and xenophobia that surround the aesthetic idiom of black working-class culture" and that have "affected the audience's comprehension of my performance work since 1972, when I did the Aretha Franklin Catalysis piece on the streets of New York…"
I had the once-in-a-lifetime luck to watch Simone Forti take in The Big Four-Oh. Her response: "She's a really good dancer." Takes one to know one.
[I don't know why I think so, but these inappropriable remains and unrecollected midnight dreams might be a way…]
Remains functions, funkily (I can only hope) as both a noun and a verb.
We'd agreed to hold off reading the last section of Midnight until we were deep in the stank of our convo. I read it ("The Port of Calls") this afternoon. Roughly a third of the way through the text—which was written as much, or even more so, in response to 9/11 as for Okwui Enwezor's Documenta 11—there is this bit of astonishing synchronicity:
When pressed to give a form to the life she saw in New York, Jane Jacobs chose dance. She described deliveries, school students en route, shopkeepers setting up wares, taxis taking the businessmen away and back, the lunches in taverns, fire engines, drunks, a little boy sitting on a stoop to learn English. In the minds of others, these forms were not exempt from art. Merce Cunningham, for example, has often spoken of walking as being full of the movements, individual, small and large, from which dance could come. But Cunningham's dances existed, so to speak, on a sidewalk where others worked too. He and John Cage collaborated on many dance productions in such a way that the music and the dance exist side by side, not conceived together, but like two walkers, each moving along together and at their own pace. [193]
[8. [Spectrum] might be among the first clubs I've inhabited that feels unhaunted by AIDS. Which isn't to say it doesn't have a relation to AIDS, impossible, but that its relation goes differently, not AIDS-AND, but AIDS-AND-AND.]
Let art be a way of unhaunting. Shall I say that I believe Nesbit wishes the conclusions of her book to spill "into the infinite" [201]? She rallies us to embody knowledge (Piper's honey jars of blood, sweat, tears, piss, and vinegar) as much as to remain alive to what exists between bodies, dancing or walking down the street, Lemonading or Aretha Franklining. "That might perhaps," she uses Deleuze, "be the defining characteristic of art, this business of finding infinity and giving it back. Was this the plan for good life? […] Something was coming from the nothing. It seemed to inhabit the space between people." [201]
She's a really good dancer.
["As if art might still be something that passed between friends."
I'm not ready to let go of this line.]
Who on earth would want to let go of this line?
Why on earth would anyone wish to let it go?
[Friends AND…?]
No partying, no getting down together, without some expanded/expanding ampersand of friendship.
Umbrella for the storm:
A month goes by. Some travels (for art, in Europe).
Scatter art.
I'm back in time to see the opening of the Rauschenberg exhibition at MoMA. The show is a holiday; it's "professional" in the ways I like, masterful but also sly and adventurous, cueing us to track the ampersands of getting down together in (a supposedly bygone?) New York. The institution working healthily to do the memory-work we ask of it.
It's good to be back in New York. I don't feel the need to look backward at it, even as it's refreshing to have its past honored, a reminder of what has happened and thus can happen rather than a monument to our exhaustion.
Some things I think about now that I've read Nesbit's final chapter, written after 9/11, around the time that I moved to New York.
I recognize her city aflame. The danger of the market, of marketing, persists. That "Pepsi-Cola" thing, Duchamp's warning to artists obsessed with branding and integration. "There was still the danger of Pepsi-Cola," Nesbit writes, "still the vacant lot, the piece of string, the memory of a writer's phrase, the vaporized world of cubes. Difficult to subsume all that into the single horizon of publicity, difficult to call it all entertainment or fashion, impossible to contract it into the low horizon of expectation targeted by most marketers, the view of the world seen from the top down by a fifteen-year old's eyes. Difficult to see all places as non-places, or modernity as only super-modernity. Difficult to see the city simply as New York." [203]
(I wonder here only about this perspective on a fifteen-year old's eyes. Fifteen-year-olds have the best taste in ideas. But I'm a marketer as much as a critic.)
So much dancing in "The Port of Calls." Jane Jacobs and her figure of dance as the form for life in the city, her critique of separation; Cunningham's Walkaround Time and his serendipitous movements across New York's sidewalks; Rem Koolhaas inviting a "perverse modernist choreography" to describe the junkspace of airports and other schizoid switch-points. (I refer Koolhaas to Charles Atlas's Ex-Romance [1987], a beautiful film of Karole Armitage dancing with Michael Clark through airport lounges and baggage claims—more convoluted ampersands of friendship. Or to Ryan's ME3M: A Story Ballet About the Internet, an elaborate twitting of this idea that choreography can articulate a junkspace.)
Around the time Nesbit is writing "Port of Calls," the choreographer Sarah Michelson is making her dance Group Experience, which premieres at P.S. 122 in October 2001. (As the towers fall Michelson and her collaborator Parker Lutz are at Materials for the Arts, tracking down the orange carpet that would be added to the risers, attending to every tiny detail, rubbing this seductive attention against the supposed slacker MO of "downtown.") Group Experience, like all of Michelson's dances, takes place seriously, which also means with a lot of humor. Place and the people of a place, who are also its audience. She is not an anyspacewhatever artist.
Our friend Claude Wampler describes the group that Group Experience was for:
They were dancers who were working with everybody and being shared by lots of choreographers, all longtime East Village–type performers. That alone created an audience, just each dancer and all their friends and Sarah having been on the scene. She was involved with lots of work before she started making her own. I think that's who her audience was, because she was so intrinsic to the lower Manhattan dance world, just by dancing for everyone, working for everyone, helping everyone. Like being in my piece and making out in my shows. I mean, she really was all over the place, like she still is. [Sarah Michelson, 106]
In New York there is the push to be all over the place, to spread yourself thin and then recoil back into your own thing, your art, maybe. The dialectic of street and studio is strong here. I have a theory, maybe a stupid one, that the whole development of what we call "pedestrian" dance emerged from this New York groove, from the collision of sidewalks and dancespace, so peculiar to twentieth-century Manhattan geography. (So many interesting dances to be made amid our twenty-first century Manhattan abandon.)
Nesbit quoting Duchamp on Dada:
It was not intended to be a school, to be—we did not want to say we are a group of people—we were not a group—we were five friends who were having a good time during the war—and I think all these things—that's the way they are always—even Cubism was not intended to be Cubism when they started, they just painted paintings that were funny to look at and ten years later they were called Cubism…. It just happens what happened in the course of years, and some people gather together and keep those things together and call it a movement or that way. But there is no essential foundation to it that makes it go that way. Because it was a genius who did it. [188]
So strange today to hear the word "genius," and refreshing, I think. Let's keep the genius thing going. Let's keep the Nesbit thing going. I keep on with Group Experience because it's the one thing in the book I put together on Michelson that I wanted to write about but couldn't quite. A group experience for a group I was on the cusp of experiencing. Just some geniuses in a moment being together, making something for one another. Or as Nesbit says Deleuze says of that generous arc of art, "finding infinity and giving it back." [201]
we were not a group…
And yet, the group is—even if that is is only a taste: bitter or sweet.
Avital Ronell: So long as there is something like experience, it is not entirely mine.
I never saw Group Experience, not even a video. Just talk, some publicity shots. There was a lot of different kinds of dancing, from what I understand, but the strongest memory people have from the show is of the performers standing for a very long time, together, in relevé.
Standing together, until they couldn't any longer.
Nesbit tracks and prioritizes so many dialogues—between philosophers, between friends. Confidants, conspirators, we can, about Midnight, foreground "that it is in dialogue too with the words of artists… calling across positions once held. The conclusion spilled into the infinite" [201], which is, of course, no small part of why we wish to be, why we were compelled to be, in dialogue with it.
But finishing the book I was still not ready to harbor in Manhattan. I was not ready to commit to her final image-repertoire of Matthew Barney (Cremaster 3) and Richard Serra ("Torqued Spirals"), among others. Not with fifteen-year-old eyes, but looking back fifteen years on, aren't these the type of forms, myths, of "masculinity" which assist in leading us to our desolate, bloated state?
Will New Yorkers ever allow an "art history" other than one that places New York at the center? Beyond tedious, this ongoing east coast/west coast maneuvering—and yet it still dominates too much thinking, too much art history. "Act so that there is no use in a centre," recalling Gertrude Stein, who was raised in Oakland, California.
Of course, to be American is deranging. "The pure products of America," Dr. Williams long ago discerned, "go crazy—." The poem in which he reminded anyone who cared of that fact, "To Elsie," prescribes nothing dulcet nor dainty, notices "promiscuity between // devil-may-care men who have taken / to railroading" and addresses us as the "degraded prisoners" we are. Who is Elsie? The doctor's words course by like a current hard to grasp:
…reared by the state and
sent out at fifteen to work in
some hard-pressed
house in the suburbs—
some doctor's family, some Elsie
voluptuous water
expressing with broken
brain the truth about us—
Electric, that anacoluthic leap over the line break from "Elsie" to "voluptuous water," which disorients yet nevertheless conveys something powerful about Elsie's body and presence, what she has seen and knows. The poem "to" her, her truth, becomes "about" how much is not witnessed, and what remains to seeing and reporting on what is being seen. Williams concludes his furious, elegiac poem: "It is only in isolate flecks that / something / is given off // No one / to witness / and adjust, no one to drive the car."
That's something, that single-word line "something." To contribute an isolate fleck, this may be our small and yet overwhelming task.
It shouldn't be a contest, we must outmaneuver such maneuvering, but, proleptic as always, Los Angeles, didn't it situate so much of our current image-repertoire? In 1992 with the Rodney King case and the uprising that followed, events recapitulated and extended in the O. J. Simpson murder case?
Preparing for her Powerful Reversals at Galerie Hans Mayer in Düsseldorf in 1995, Sturtevant, as Peter Eleey discovered, was confronting these matters as a disturbance in aesthetics. In a draft checklist for the exhibit, Sturtevant, as Eleey writes:
included something described as "Rodney King Tape." Taken at face value, this entry suggests that the artist might have intended to show the famous broadcast tape, perhaps looped on a monitor in the gallery. The video of five Los Angeles police officers beating Rodney King after a car chase on the night of March 3, 1991, shot by amateur videographer George Holliday on his new camcorder, had by then already entered the world of art, having been included in a work by Adrian Piper in 1992 and also featured in the Whitney Biennial in 1993. Given the importance of missing and absent elements in Sturtevant's work, it is tempting to view the possible inclusion of the video as an idea aligned with Gober's "lynching" wallpaper, which Sturtevant did not repeat in her installation, and to consider the video as a horrific enactment of that scene.
Material remains.
Material remains to be thought through.
What does such thinking look like?
I don't know, but not the already soured, recently au courant mode of abstract expressionism with, as my friend Andy put it this morning, "nothing to express."
(Sturtevant, circa 1969: "Pop-art [sic] is our new folklore, our sense of nature, it is common property, so I use it and paint on the spot. I am a perfect naturalistic painter.")
With her astonishments of language, swift, fluid arguments, Nesbit demonstrates not only the relevance of linguistic relevés, but also of leaps and bounds. Midnight is a book, as so many of the best books are, with which to argue, and, certainly, there will have to be a response to Nesbit, looking east in two directions at once—to that historically imaginary "East" as well as to the east coast—something along the lines of (nodding to the midday glare of film noir, earthquakes, and Gavin Lambert): High Noon: The Slide Area Essays.
Ours is the time of no shadows.
As Blanchot anticipated, "Midnight is only a dissimulated noon."
Act as though the shadows remain.
Last weekend, on the morning of Saturday, September 9, AIDS killed another brilliant artist, Michael Friedman. He was forty-one.
When he died, our friend who was with him in the hospital said, he looked like "one of those photos."
I don't know how to, nor do I want to, find special meaning in this. Meaning isn't good enough.
Find me on the dancefloor:
Bruce Hainley is a contributing editor of Artforum.
David Velasco is editor of artforum.com and of the volume Sarah Michelson (Museum of Modern Art, 2017).
Molly Nesbit's Midnight: The Tempest Essays is now available from Inventory Press.
Craig Owens: Portrait of a Young Critic, an edited version of Lyn Blumenthal and Kate Horsfield's 1984 interview, is forthcoming from Badlands Unlimited (Spring 2018).


text:
If you're one of the million of Americans who avoid the dentist due to fear or anxiety, San Francisco cosmetic dentist Dr. Josh Bernstein can help you.
Sedation dentistry allows you to rest in complete relaxation and comfort while Dr. Josh Bernstein completes your care.
Sedation dentistry is a relaxing and safe technique offered by trained professional dentists, and approved by the Dental Board of California. The patient receives sedative medications orally with a pill, or intravaenously (I.V.) allowing the patient to have a completely relaxed and comfortable experience.
Cosmetic dentist Josh Bernstein, D.D.S., is passionate about painless dentistry, and believes in providing outstanding service so our guests receive the ultimate dental experience.
Thousands of patients have tried and enjoyed the benefits of Sedation Dentistry.
If you would like to discuss Sedation Dentistry with Dr. Josh Bernstein, please contact our office to set up a consultation.


text:
Maggie & Levi
Thinking about a wedding outside a resort? Something adventurous? In this blog, we venture off the beaten track with a wildly romantic elopement up in the Fiji highlands. Combining a holiday in Fiji with their elopement, Maggie & Levi's wedding showcases the the natural beauty of the Fiji highlands and that you don't need extravagance to have the most beautiful of weddings.
BRIDES NAME: Maggie Russell
GROOMS NAME: Levi Stanley
THE DATE: September 4, 2018
THE LOCATION: Fiji Highlands
THE NUMBER OF GUESTS: Bride and Groom (elopement)
We had a really hard time making a decision – we got engaged in March of 2017 and didn't make the decision to elope until January of 2018. We chose Fiji because it was a bucket list place for both of us…we had some inspiration from Instagram and our photographers as well.
Planning our wedding involved lots of communication with our travel agent Anita Gatley from Wedding Travel and our photographers Ropate and Gitte (Kama Catch Me). Mostly by email as we are in completely different time zones.
We worked with Anita closely and she legitimately made our experience from the moment we got on the first airplane to the time we got back to the States so seamless. I don't know how we would have planned this trip without a travel agent. She recommended we book a helicopter as our transfer from the main island to Mana and it was SUCH a good call!
This day also would never have come together if it wasn't for Kama Catch Me! Not only were they our photographer, they planned, designed, and styled the elopement. Gitte, Ropate, and Faith were all a dream to work with! We cannot thank them enough for all that they did on our day.
We were kind of traditional… Levi slept with an eye mask on the night before! I woke up and worked out then went to breakfast and texted Levi so he could go workout then eat breakfast, so we didn't see each other until the first look.
We both FaceTimed with our families. My dad had a one-on-one conversation with Levi and "gave me away". It was a really special moment/conversation that I know Levi will remember forever. I FaceTimed with my whole family together using an app called house party… It was hilarious, emotional, and just a lot of fun!
My hair & make up was done by Manshita from Totoka Hair & Make Up and she did such an amazing job!
My dress was by: Watters
The Groom wore: Hugo Boss
Our location was the Fiji Highlands.
Kama Catch Me provided the beautiful ceremony set up, decor & flowers. We wrote/exchanged our own vows.
I sent Gitte some pictures from Instagram and Pinterest as inspiration for colors and theme and she truly made my vision come true! We had a beautiful cake and champagne toast, and they even had a portable music speaker with a song for our first dance! It was amazing. The Fiji Highlands legitimately took our breath away. We've never seen anything like the views the Highlands had to offer and we are so thankful to them for choosing this stunning location.
Our photographer was Kama Catch Me, we chose them from their AMAZING Instagram photos.
We wanted shots that were candid, fun & scenic. We love everything about our photos. There are so many candid shots of Levi and I just being us. We had so much fun – they made us feel completely at ease. Not only are they wonderful photographers, but just great people as well!
Use a travel agent!!!!
Who Did They Use
Wedding Planners & Travel Agents
Boutique weddings by Wedding TravelRead More


text: Check out the latest girls available from Cherokee DAss below. Enjoy the free picture galleries and find out what Cherokee DAss has waiting for you in the members area. Watch video JoyBear Erotic Porn Threesome Making Of on Redtube, home of free Creampie porn videos and Group sex movies online. Video length: () - , views - Rating: 80% - Uploaded on May 23, - Uploaded by Joy Bear (42 Videos) - Starring Pornstars: Danny D, Michelle Moist. Watch the best selection of grannies on the web - Free and regularly updated porn content.


text:
A private garden where people, plants and animals feel at home. Conny König and Pirmin Gerber have created a true paradise.
In our garden there is a swimming pond with a native Quellstein.Ueber a wooden bridge at the jetty leads to a herbal spiral and a cozy pergola. In our raised beds, where vegetables and fruits grow, there is also a lot of fennel for laying eggs of the swallowtail, which we collect together with herbs and feed in aeraras to pupate and then they become beautiful swallowtails, which we fly into our garden. There are also several hedgehog houses for the winter, as well as special food boxes and butterfly, bumblebees and bee hotels. In addition, branches, shrubs, a berry garden and fruit tree area, a small flower meadow. In the dry stone area there is a cellar and built-in hedgehog niches, where lizards and many other insects frolic as well as in the rock gardens. In the entrance area there is a wet zone, which is fed with rainwater, which is popular with newts, salamanders, toads etc.
Since late summer 2018, the garden also bears the nature in the garden plaque.
Parking: at the carport
Accessibility by public transport: Station Erlen: about 15 minutes on foot
Visits: From April to September, by appointment
Privatgarten Conny König & Pirmin Gerber
Rosenbergstr. 5
8586 Riedt bei Erlen phone 0041 (0)71 411 10 51
Geben Sie bitte Ihren gewünschten Abfahrtsort ein. Sie können auch die Straße und Hausnummer mit eingeben, für eine genaue Berechnung der Strecke.


text:
Zenplify is an online system that helps you take your direct sales or network marketing business online by capturing your contact's interests up front. We developed it and providing support a required by our prestigious client.
What clients saySee all testimonials
"Fab Glass and Mirror is one of the fastest growing companies specializing in manufacturing and distribution of glass and mirror products. They needed a system that could help their end users by guiding them about their products and services. They finally chose Bridgestacks to resolve this problem as Bridgestacks had everything they were looking for."


text:
AS part of the activities lined up to celebrate five years of doing business in Nigeria, GOtv, last Saturday, hosted the residents of Ibadan, the Oyo State capital to moments of merriment with a Customer Fair.
The celebration, according to GOtv's management, is more iconic as Ibadan was being honoured as the city where its service was first launched on October 11, 2011.
Thanking subscribers for their loyalty, GOtv brand ambassador, Daddy Showkey, recalled that his musical career success started in the city.
The celebration started in the city by a combination of music stars and popular comedians touring neighbourhoods.
The GOtv Customer Fair was conceived to reward the Cable service's subscribers for their loyalty over the past five years of the brand's existence.
Among the performing and featured artistes at the event were Daddy Showkey, Mr. Ibu, Oritsefemi, Aki and Pawpaw and Helen Paul, who were supported by other local entertainers.
Helen Paul thrilled the audience with very hilarious jokes, while Naija FM's DJ Kentalky dished out trendy music to the delight of the guests before Daddy Showkey took the audience down memory lane with a performance of his old hit songs, such as 'Showkey.'and Oritsefemi added pep to the memorable event as both sent the audience dancing with their hit songs.
Mr. Ibu, Aki and Pawpaw augmented the event with their comedy routine. There was a dance competition, and the organizers also took the opportunity to give out free GOtv decoders and other gifts to lucky members of the audience at the event .
The organizers also set up a GOtv Clinic at the venue for that purpose for Subscribers who have difficulties with their hardware or service were attended to by GOTV Technicians and staff .
The next editions of the Customer Fair will take place in Abuja today and Lagos on November 5, 2016.


text:
Here, We are presenting a simple auto suggest input text field. Using Ajax, PHP, js and jquery, process of this code snippet follows steps given bellow.
If you visit any news link after page refresh the title should be strike-out. It's a very basic CSS tips using element a:visited.
In this tutorial, we can import Gmail contacts using PHP. Kindly follow below steps.
Here, I have given code for color picker. Please create the html file and run the code in browser.
Add a Facebook like button to your website. This will make your website user friendly and SEO friendly. Now, lets get started.
1) Minify JavaScript and CSS Minification is the practice of removing unnecessary characters from code to reduce its size thereby improving load times. When code is minified all comments are removed, as well as unneeded white space characters (space, newline, …


text:
My friend Eric, the king of soups, came up with an amazing recipe recently, which I tried last weekend and I have to share it… it's too delicious to keep for myself. It's a black bean soup, with delicious flavors such as lime, cilantro, jalapenos and spicy sausage. All the ingredients are gluten free and inexpensive, it's easy to make and only takes about one hour.
- 1lb hot Italian sausage, diced *
- 1lb bacon, diced
- Black pepper, to taste
- 1 onion, diced
- 2 jalapenos, diced
- 4 cloves garlic, minced
- 1 Tablespoon sugar
- 1 teaspoon rice vinegar
- 2 15 oz can diced tomatoes
- 2 15oz can chicken broth
- 2 15oz can garbanzo beans, drained
- 4 15oz can black beans, drained
- 1 Tablespoon fish sauce
- 1/2 teaspoon crushed red pepper
- 1/2 teaspoon chili powder
- 1 bunch cilantro, chopped
- 1/2 cup lime juice
- Cheddar cheese, to taste (garnish)
- Sour cream, to taste (garnish)
- Green onions, to taste (garnish)
*Note: Choose the hot Italian sausage carefully. Make sure to read the ingredients to avoid gluten, soy and corn syrup.
The first step is to dice the bacon and sausage. A nice little tip is to freeze the bacon about an hour before you dice it, so it's easier to work with.
Brown the sausage in a large pan. After a few minutes, add the bacon. Once it starts turning clear, add black pepper, to taste. When the bacon starts to brown on the edges, add the onion. Cook until translucent. Add the jalapenos and cook about 4 minutes for flavor. Then add the garlic and cook another minute.
In a large pot (mine is 8 quartz), mix together all the canned ingredients (broth, beans, tomatoes). Add the spicy sausage mixture, sugar, rice vinegar, fish sauce, crushed red pepper and chili powder. Bring to a boil, reduce heat and let simmer for 30 minutes. Stir often.
Wash the bunch of cilantro and coarsely chop it. Add it to the soup, mix well and let simmer another 15 minutes.
Add lime juice and let simmer another 5 minutes.
It's ready! Serve with cheddar cheese, sour cream and green onions. Enjoy this spicy, tangy, crunchy and delicious soup.


text:
In North America, these vessels are In a comparison to a less efficient natural gas fired hot water tank, Gas-fired tankless condensing boiler with hot water Types of water · History· Thermodynamics and · Water heater safetyWNS series fire tube industrial steam boiler - 45884443 Products of WNS series fire tube industrial steam boiler WNS series boiler; Fuel: lpg,gas,natural diesel oil fired .diesel Fuel .steam boilerLearn More
Our portfolio includes gas and steam turbines, distributed power, wind and renewable energy, nuclear energy, and water processing technologies.Learn More
Rheem has nearly a century worth of manufacturing innovative, efficient, air, water, and pool solutions for your home and business.Learn More
Types of Heating Systems Residential boilers generally use natural gas or heating oil for fuel. In steam The models can be fired with natural gas orLearn More
Europe & Eurasia, Middle East, North America, and South Oil, Natural Gas, Fulton Launches Vertical Spiral-Rib Tubeless Steam Boiler ValmetLearn More
Power Station Natural Gas Steam Atmospheric Pressure Fire Tube Boiler Supplier; Central Conservatory Of Music Vertical Gas Hot Water Boiler.Learn More
in South America. for Cyprus 2mw natural gas fired steam boiler company for cost for Armenia vertical wood pellet fired steam boiler supplierLearn More
such as natural gas the industrial boilers is used combined with resing Except hot oil boiler, oil gas fired steam boiler and biomass water tubeLearn More
Enter "south america" and "chess" and you'll get back words like "checkuador". Port Manteaux was created by Doug Beeferman and Sean Gerrish.Learn More
The Itaipu Dam opened in 1984 in South America this is much shorter than for gas turbines or steam (687 gal/MWh), nuclear (672 gal/MWh), and natural gasLearn More
the combustion of natural gas or methane Coal, Gas & Oil-Fired Steam & Hot Water Next article package coal fired steam boiler for sale. Name * EmailLearn More
Except hot oil boiler, oil gas fired steam boiler and biomass water WNS series natural gas fired boiler region: Africa – America(North) – America(SouthLearn More
17/05/2017· China has not yet figured out how to develop its own natural gas Greens Forgive China their Coal Plants steam turbine in addition to the GasLearn More
Each boiler has seven OEM vertical spindle in America continues 2003 about 90% of new electric generation utilized natural gas – fired combustionLearn More
such as natural gas , the industrial boilers is used combined with resing Except hot oil boiler, oil gas fired steam boiler and biomass water tubeLearn More
Diagram of natural draft gas furnace, Gas and oil-fired systems were usually are normally referred to as a residential steam boiler or residential Categories· Heat distribution· Home furnaces· Metallurgical furnacesEconomic potential of natural gas-fired cogeneration https:// potential of natural gas-fired cogeneration in Brazil: A reduction in the natural gas tariff would also enhance the For the combined cycle steamLearn More
natural gas: NC: Buck Steam Station: coal-fired power production). The coal plants owned by these 25 every 5 coal-burning power plants in America,Learn More
gas fired burner product listings on SeekPart.com Vertical Gas Fired Steam Boiler (LSS Series) North America, South America, Eastern Europe, Southeast Asia,Learn More
which use natural gas. Inspection of Fired Boilers Vertical Oil- or Gas-fired Water Tube Boiler. in South Africa price; How to Build a SteamLearn More
15/11/2018· North America, and South & Central America Oil, Natural Gas, Fulton Launches Vertical Spiral-Rib Tubeless Steam Boiler ValmetLearn More


text:
the women and men were naked. Book a guide for a private Hourly or Custom Tour or with friends here Cant join existing trips on our calendar? You can add more clubs, days or hours as needed. Never could have done this alone of without FKK Tour. Das spektakuläre Leben des Serge Gainsbourg war in Gummersbach Programm. The women and clubs took pride in offering the best possible service. Jess CA Handicapped 48 FKK Tour went out of their way to make my trip simple, fun and safe. Beware of third party payments via PayPal copycats use; theres a reason they dont have a merchant account to accept credit cards directly. We know the history, girls, club management and culture. From the outside most German FKK Clubs look like typical homes or businesses with nothing different except perhaps larger address numbers. We pick you up from the airport, train station or your hotel and transport you to the club.
Fkk cologne
No one compares to our experience or services, period. Take care when looking for a guide, quadratmeterpreis frankfurt sachsenhausen theyll promise you everything and even offer lowball prices. SEE this link FOR monthly specials Watch this video for an idea of the quality and number of women youll find at an FKK Club What do we offer? Please see our yearly calendar (Dates in Orange) for available dates. Due to the discreet nature of our business were unable to provide you with direct contact info for our testimonials. Once you arrive, one entry fee includes fine food, drinks (often free beer luxury surroundings, outdoor gardens, lavish barbecues, music, pools, Jacuzzi, massage and of course over 100 totally nude FKK Club women. Eva 3,5 km, girlsInn 50668 Köln. Zwei Verletzte : Auto landet in Lindlar-Hausgrund auf der Seite Die Insassen wurden von der Feuerwehr durch das Sonnendach befreit. Tako TY Japan Engineer 28 Company include Japanese translator which made easier for. German FKK Clubs began over 30 years ago, developed by a man who wanted something better.
Ck be men's cologne


text:
Check out Gill's site. It ends on Oct 9th & that is also her birthday.
Marlene is also celebrating her birthday & the amounts of hits on her blog. She is drawing Oct. 8th.
Renata is also offering some blog candy that ends on the 8th.
Check all of these talented ladies out.
1 comments:
- Renata van Miltenburg said...
Hi Mae,
I enjoyed going through your blog!
Thanks for visiting mine and for entering my blogcandy. I keep my fingers crossed for you! I pull out a winner this afternoon.
Good luck!
Kind regards, Renata
Subscribe to: Post Comments (Atom)