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The 2018 Hyundai Santro has been officially launched, and thanks to Laxmi Intercontnental Pvt. Ltd. Nepal Drives is right on the scene here at Hotel Taj Palace in New Delhi. The Hyundai Santro had garnered a lot of attention with over 23000 confirmed bookings prior to the launch. Considering the supreme popularity and dominance that the Santro displayed in the past, the all-new version could very well be one of the most important launches for this year. Slipping in between the Hyundai Eon and the Grand i10 it is set to go head on in one of the most competitive segments in the industry where it will have to lock horns with the likes of the WagonR, Renault Kwid, Tata Tiago and Datsun GO.
Although the tallboy design that the first Santros were famous for has been retained, the new one is curvier and more alike to conventional hatchback designs. It looks more premium too, with an overall accentuated design especially when viewed in profile. Hyundai's signature cascading grille does make an appearance on the new Santro which gives the front fascia an upmarket feel. The sweptback headlamps are halogen and there are no projectors or LED daytime running lights on offer yet. The new Santro will also only come with a set of steel 14-inch wheels with wheel covers and there are no alloy wheels on offer, even on the top-of-the-line Asta trim. At the rear, the car gets minimal lines with the wide boot-lid, large windscreen and stubby taillights.
In terms of the features on offer, the new Santro is miles ahead of its predecessor with 25 new features. It has a host of modern elements right from a touchscreen infotainment system to the option of an automated manual transmission, a first-ever for Hyundai. It is presented in 9 trims and seven exterior color shades.
The top of the line trim gets a new dual tone interior with an infotainment system and multi information display instrument cluster. The infotainment setup will also support Apple CarPlay and Android Auto, a segment first feature.
It gets a foldable rear seat which extends storage space in its boot, a spacious glove box, bottle holders and upgraded upholstery. One of the biggest plus points on the new Hyundai Santro are the rear AC vents, which not only aid to comfort for rear seat passengers, but is seen as a premium feature as well.
In terms of safety, the 2018 Hyundai Santro gets ABS and EBD as standard features along with driver side airbag, voice recognition function and rear parking camera with display on screen.
Hyundai Santro will get its power via two gearbox options – manual and AMT. Fuel options on offer will be petrol and CNG. The 1.1 liter, 4 cylinder engine offers 68 bhp power and gets mated to a 5 speed manual transmission. The CNG powered Santro will make 58 bhp power mated to a 5 speed manual gearbox. This is a factory fitted CNG kit that is offered only on the Magna and Sports trims. The petrol engine will offer fuel efficiency to the extent of 20.3 kmpl while the CNG variant will offer 30.5 km/kg.
The Santro is expected to come to Nepal by November-December of 2018.
Hyundai Santro Engine Specifications & Transmission
- Displacement (CC): 1086 CC
- No of Cylinders: 4
- Power: 68 [email protected] rpm
- Torque: 99 [email protected] rpm
- Gear Box: 5-Speed MT/AMT
- Mileage: 20.3 kmpl
- Fuel Type: Petrol, CNG
- Length: 3610 mm
Hyundai Santro Segment Firsts
- Rear AC Vents
- 64 cm touchscreen infotainment system, compatible with Android Auto, Apple CarPlay and Mirror Link.
- First in segment rear parking camera display
- First in segment Eco coating Technology
- Voice Recognition
Hyundai Santro Prices (Ex- Showroom Price Delhi)
- D-Lite: Rs. 3,89,900
- Era: Rs. 424900
- Magna: Rs. 4,57,900 | Rs. 518900 (AMT)
- Sportz: Rs. 4,99,900 | Rs. 5,46,900 (AMT
- Asta: Rs. 5,45,900


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Kashima beats Urawa 1-0 to move closer to J-League title
KASHIMA, Japan (AP) — Brazilian forward Leandro scored a late winner on Sunday as defending champions Kashima Antlers beat Urawa Reds 1-0 to move a step closer to their record ninth J-League title.
Leandro took a pass from defender Daigo Nishi and beat Urawa goalkeeper Shusaku Nishikawa with a right-foot shot in the 79th minute of the day's only match.
With three rounds remaining, Kashima is on 70 points, seven ahead of second-place Kawasaki Frontale.
Kashima could clinch the J-League championship on Nov. 18 if Kawasaki loses at home to Gamba Osaka.
Kashima's game against Urawa was moved forward from Nov. 18 to Sunday due to Reds' Asian Champions League final first-leg match away to Saudi Arabia's Al Hilal on that date.

subset: commoncrawl


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Upcoming: Ceramic Mosaics Workshop November 19, 2009Posted by claralieu in Applied Arts, ceramics.
Tags: ceramics, clay, mosaics
I'm almost finished booking Applied Arts Workshops for the spring 2010 semester. I'm pleased to announce a Ceramic Mosaics workshop coming up on Feb. 20, 2010.
The workshop will be led by Kate Oggel, a ceramicist who currently lives and works in Rhode Island. Oggel has a wonderful technique for creating handmade mosaics: she rolls out huge slabs of ceramic clay and scores them to create the shapes of the mosaics. The scored slabs of clay are then glazed with many different colors and then fired in a kiln. When the slabs of clay come out of the kiln, the fired clay is easily broken off into neatly cut mosaics. The results are beautiful and unique. Below are student examples of mosaic designs using Oggel's technique.
View the spring 2010 workshop schedule here. Registration for spring 2010 workshops begins on January 26, 2010.
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text: 24Feb2018 "One Last Cold Kiss" from Connla's latest album, "The Next Chapter" by Wooden Ship Led by Ciara's award-winning vocals, Connla have crafted an album of stunning quality. The antics in this video display the joy they bring to their music. release date April 6th Share this please:Click to share on Facebook (Opens in new window)


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Breaking Expectations: The Prosodic Techniques of T. S. Eliot's Approximated Verse
Breaking Expectations:
The Prosodic Techniques of T. S. Eliot's Approximated Verse
In "Reflections on Vers Libre," T. S. Eliot argues against the possibility of verse without meter, saying there is only "good verse, bad verse, and chaos." Eliot asserts that the best uses of verse have been those in which the meter has been so mastered as to cause a departure from strict observance. This position led Eliot to his manipulations of meter and form in works such as "The Waste Land," "The Love Song of J. Alfred Prufrock," and "Gerontion," among others. The prosody Eliot outlines in his 1920 essay is immensely valuable to the consideration of his work and its influence on the American poetic tradition. The essay explains Eliot's commitment to maintaining some "ghost" of meter behind his verse and describes a resulting loosened form to which he gives no name. Eliot's understanding of what it meant to master form allowed him to loosen or slacken his meter, resulting in two primary structural flexibilities: varied line lengths, and varied stanza lengths, both of which in turn caused the development of new prosodic techniques. T. S. Eliot's verse thus led to the development of poetic techniques that have become characteristic of contemporary free verse prosody.
To consider the development of these structural techniques, it will be helpful first to examine Eliot's meter as described in his essay, thereby gaining the necessary vocabulary to discuss his structural prosody.
Part 1: Eliot and Vers Libre
In "Reflections on Vers Libre" Eliot describes what he believed to be the liberties of a mastered form:
But the most interesting verse which has yet been written in our language has been done either by taking a very simple form, like the iambic pentameter, and constantly withdrawing from it, or taking no form at all, and constantly approximating to a very simple one. It is this contrast between fixity and flux, this unperceived evasion of monotony, which is the very life of verse. . . . We may therefore formulate as follows: the ghost of some simple meter should lurk behind the arras in even the "freest" verse; [sic] to advance menacingly as we doze, and withdraw as we rouse.
Eliot provides an example of this "evasion" or approximation of form in a poem by an unnamed poet, but I will provide an example of Eliot's own verse to demonstrate the prosody. This is a few lines from the opening of Eliot's poem "Gerontion":
Hère I àm, an òld màn in a drỳ mònth,
Bèing rèad tò by a bòy, waìting for raìn.
Ì was neìther àt the hòt gàtes
Nor foùght in the wàrm raìn
Nor knèe dèep in the sàlt màrsh, heàving a cùtlass.
Bìtten by flìes, foùght.
My hoùse is a decaỳed hoùse,
And the jèw squàts on the wìndow sìll, the òwner,
Spàwned in sòme estàminèt of Àntwerp,
Blìstered in Brùssels, pàtched and peèled in Lòndon.
The meter of "Gerontion" approximates a trochaic pentameter yet is interspersed with spondees and occasional pyrrhics. I say "approximates" because of the extent of the metrical variation in both foot type and number that creates the "ghost of some simple meter" that Eliot prescribes. The first line begins with two trochees: "Hère I àm, an." The remaining three feet are, respectively, spondee, pyrrhic, spondee. The second line has a similar combination: trochee, spondee, pyrrhic, trochee (defective, but disguised by the caesura), trochee, iamb. The last three words of the second line (which come after the caesura) and the first three words of the first line (which come before the caesura) have a similar meter: "Hère I àm" (stress, unstress, stress) and "waìting for raìn" (stress, unstress, unstress, stress) and provide a sort of framework for the first two lines. From the third line on, the first stanza of "Gerontion" makes heavy use of the trochaic, while the spondees, such as "hot gates," "warm rain," "knee deep," and "jew squats" give the trochaics lines a playful, elusive rhythm.
While Eliot's meter here approximates a trochaic line interspersed with spondees, the variation of foot type and number of feet per line gives the piece a rhythm reflective of conversational speech. This "conversational rhythm" coupled with the "ghost of meter," provides a tension central to the poem's advancement, as Eliot says in his essay: "freedom is only truly freedom when it appears against the background of an artificial limitation."
Because Eliot's verse neither holds to the strict meters of "conventional verse" nor completely abandons all use of patterns of accentual units, it seems inappropriate to term Eliot's verse either metered or free. In Free Verse: An Essay on Prosody, Charles Hartman argues that Eliot has confused meter with scansion and, lacking the former, is thus writing in free verse. Hartman defines meter as "a prosody whose mode of organization is numerical"; thus meter results from the counting and arrangement of units, in English these units being measured as accentual feet. The existence of accentual units (as Eliot argues) is, according to Hartman, not the equivalence of metrical arrangement of said units: "to seize upon the particular conventions—accents, syllable counts, feet—and discard the system within which alone these conventions have any significance, is not to account for a prosody." While Hartman's logic may be absolutely correct, to consider Eliot's verse "free" is not to account for his approximated "ghost of meter" that still lurks in the background. For this reason, Hartman cites the critic Graham Hough who applies to Eliot's verse the French term vers libéré, literally, liberated verse. For convenience in English, and for the sake of this essay, I will adopt the term approximated verse, to reflect the way in which a simple form may be "withdrawn" from or "approximated" to in the "fixity and flux" of Eliot's meter.
Part 2: Eliot's Prosodic Techniques
Abandonment of strict form for a looser though still organized structure, as exemplified in Eliot's poem "Gerontion," has two primary structural effects: (1) varied line lengths, and (2) varied stanza lengths, both of which in turn allow for the development of additional prosodic techniques. To understand the significance of varying line and stanza lengths, it is helpful to consider their traditional function as units of organization and measurement. Hartman defines meter as "a prosody whose mode of organization is numerical." In other words, lines are used for counting metrical patterns. The meter of an English sonnet, for example, can only be described by the terms "iambic pentameter," and "three quatrains and a couplet." When meter is loosened, as in the case of Eliot's approximated meter, the lines and stanzas lose, to a certain extent, their primary function and begin to serve other purposes. We will begin with a discussion of the prosodic techniques, or effects, that arise from the flexibility of line lengths, and then proceed to discuss the prosodic techniques, or effects, that arise from the flexibility of stanza lengths.
In addition to the structural effects that result from Eliot's approximated verse, there are prosodic effects having to do with the syntax and rhythms of the language itself. Rosemary Gates, in "T. S. Eliot's Prosody and the Free Verse Tradition," for example, forgoes the conventions of metrical scansion to discuss Eliot's rhythmic patterns by focusing on the syntactical accents, applying a ranking system from 1 to 4 to enumerate the stressed words in each line. And Hartman discusses the intricacies of isochrony. But these discussions involve a more complex linguistic and syntactical analysis than is available in the scope of this essay, and as a whole do little to explain Eliot's effect on the tradition of poetic prosody. I have, therefore, chosen to focus here on the structural and organizational techniques that may be observed in Eliot's approximated verse. It should be made clear that the prosodic techniques examined here, while resulting, in Eliot's poetry, from his approximated meter, are by no means reliant on such meter, but develop as meter is loosened.
1. Varied Line Lengths
Alteration of Meter. In Hartman's Free Verse there is an explanation of how breaking a single line in a variety of ways may shift the stresses and enunciations of particular syllables, thus altering the poem's meter. Lines 17 through 19 of "Gerontion" are reflective of the loose pentameter the poem has established (in the first 20 lines of "Gerontion," 30% are hexameter, 40% are pentameter, 10% are tetrameter, and 20% are trimeter) but the twentieth line disrupts the expected line length by offering only three stresses. The 21st line then returns to the expected approximated pentameter.
Sìgns are tàken for wònders. "We woùld see a sìgn!" 17
The wòrd withìn a wòrd, unàble to spèak a wòrd, 18
Swàddled with dàrkness. Ìn the juvèscence of the yèar 19
Càme Chrìst the tìger 20
In dèpraved Mày, dògwood and chèstnut, flòwering jùdas, 21
The 20th line, in its obvious departure from the expected hexameter, calls attention to itself and thereby creates extra emphases for its syllables. My scansion of line 20 includes a stress mark on all words other than the article. Consider how the scansion of lines 20 and 21 might change if the lines where re-broken as follows:
Came Chrìst the tìger in depràved Mày,
dògwood and chèstnut, flòwering jùdas,
Notice how the word Came is no longer emphasized. When the eye approaches this line (now similar visually to the lines of hexameter that preceded it), the word Christ grabs attention first. The word Came is skimmed over; Christ acts as a jumping board from which the reader is launched into the rest of the line. By not holding himself firmly to five accents per line, Eliot was able to create a line of three accents that created an added emphasis on a particular line and altered the poem's meter. This alteration of meter draws attention to itself and creates thematic or emotional resonances.
Alteration of Rhythm. In addition to altering the meter mid-poem, the short line also may alter the rhythm, or tempo, with which the poem is read. For the terms "meter" and "rhythm," I am borrowing definitions from Hartman, who defined meter as that which accords with numeric organization, and rhythm as that which accords with "the temporal distribution of the elements of language." These elements work in conjunction or in opposition to create tension. When approaching several lines of similar length, as in the lines of pentameter and hexameter quoted above, the reader develops a rhythm of speech that he or she may carry from line to line. But when an irregular line is encountered, the reader pauses; the rhythm is disrupted and the reader sits a moment with the extra emphasis. Consider lines 26 through 31 of the same poem:
By Hàkagàwa, bòwing amòng the Tìtans;
By Madàme de Tornquìst, ìn the dàrk roòm
Shìfting the càndles; Fraùlein von Kùlp
Who tùrned in the hàll, one hànd on the doòr,
Vàcant shùttles
Weàve the wìnd. I hàve no ghòsts . . .
The first four lines of this passage approximate a tetrameter that allows the reader to fall into a fairly steady, conversational rhythm. When the reader reaches the line "Vacant shuttles," however, the short line breaks the rhythm that the reader has hitherto adopted. Like varying the meter, varying the rhythm may also be used for emphasis or to heighten or lessen the emotional intensity of the passage.
Control of Emotional Intensity. Because it affects the time allotted to each line, varying line lengths also may allow for heightened or lessened emotional intensity, or shifts in tone. In section three of "The Waste Land," Eliot describes a woman receiving possibly unwanted advances from a man. This passage approximates iambic pentameter (there are frequent trisyllabic feet and line lengths vary between four and six feet per line). The movement from line to line is quick and reflects the heightened intensity of the situation described:
The time is not propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once;
Exploring hands encounter no defence;
His vanity requires no response,
And makes a welcome of indifference.
The full stanza from which this is an excerpt totals 34 lines. The long stanza serves here to drive the movement of the poem as the reader is forced quickly from line to line without pause. Compare, by contrast, a stanza that we find just 24 lines later:
The river sweats
Oil and tar
The barges drift
With the turning tide
red sails
To leeward, swing on the heavy spar.
The barges wash
Drifting logs
Down Greenwich reach
Past the Isle of Dogs.
Weialala leia
Wallala leialala
The shorter lines here actually slow down the speed of the poem. Moreover, though the lines contain fewer words, each word is placed so particularly as to call attention to itself. The line breaks also create pauses in the syntax of the sentence, and cause the reader to spend more time with each line. The tone in this passage is descriptive and contemplative, while the tone in the first passage was narrative and dramatic. There is less emotional intensity in this slow and careful description of ships than there is in the quick-paced narration of seduction.
By introducing a flexibility of line lengths, Eliot has more tools at his disposal for the manipulation of meter and rhythm, and for the creation of emotional intensity.
2. Varied Stanza Lengths
Unresolved Stanzas. To preface a discussion of unresolved tension in stanzas, I must take a moment and describe the positive of the term. In a poem that follows a conventional form, the set line and stanza lengths allow the poem to maintain a sense of cohesion and resolution. (I use the term resolution carefully, not intending to signify an end of tension, but merely an emotional completeness or wholeness in the midst of tension.) Consider, for example, the first two stanzas of Eliot's "Whispers of Immortality":
Webster was much possessed by death
And saw the skull beneath the skin;
And breastless creatures under ground
Leaned backward with a lipless grin.
Daffodil bulbs instead of balls
Stared from the sockets of the eyes!
He knew that thought clings round dead limbs
Tightening its lusts and luxuries.
In a prosody that employs quatrains, the reader comes to know what to expect and receives the expected. Each stanza functions as a cohesive unit with an individual idea or image that progresses the poem as a whole. The first stanza of "Whispers of Immortality" describes a man who sees death even among the living. The first two lines convey the image of death (skull) lurking among the living (skin). The third and fourth lines develop a second image that attributes characteristics of the living (leaning and grinning) to the dead in their graves. The image of life attributed to the dead in lines three and four provides a proper balance for the image of death attributed to the living in lines one and two. Within the single stanza a contrast and central tension is established and there exists a cohesion and sense of emotional resolution. The rhyme in each stanza also contributes to the sense of resolution. When the reader has come to expect the rhyme, the word that is presented at the end of the second line (in the case of this poem) anticipates the completion of its sound that will follow in line four. If this completion of sound did not occur, the stanza's end would hang awkwardly in the reader's ear. Emotional resolution does not require rhyme or fixed stanza lengths to exist (resolution may, in fact, be achieved through a number of prosodic techniques), but rather regular rhyme and fixed stanza lengths create cohesion and resolution.
By allowing his stanzas to be different lengths, Eliot was able to leave stanzas unresolved. When cohesion was no longer a default effect of form, Eliot's stanzas were able to reflect fragmentation. It must be noted, however, that neither fragmentation nor unresolved tension are direct results of varying stanza lengths, but rather come from establishing an expected form and then breaking it. A three-lined stanza only feels incomplete when the reader had been expecting a stanza of four lines. In the same way, an unrhymed stanza only feels awkwardly suspended if the reader had been expecting rhyme.
Contrast the cohesive and resolved stanzas of "Whispers of Immortality" to the opening of "Gerontion." "Gerontion" opens with a stanza of sixteen lines followed by a stanza of four lines. The first stanza presents the character and his reflections on his life. The second stanza shifts to a spiritual subject that is not fully explored before the stanza breaks again. Much of the opening two stanzas is quoted above, but I will repeat a portion of it here so the shift may be seen. Lines 13–16 are the conclusion of the first stanza followed by the entirety of the second.
. . .
The woman keeps the kitchen, makes tea,
Sneezes at evening, poking the peevish gutter.
I an old man,
A dull head among windy spaces.
Signs are taken for wonders. "We would see a sign!"
The word within a word, unable to speak a word,
Swaddled with darkness. In the juvescence of the year
Came Christ the tiger.
By varying the lengths of his stanzas Eliot is able to control the levels of cohesion and resolution, or lack thereof, in each stanza and thus in the poem as a whole.
Structural Shifts. When the length of the stanza varies, then the stanza's traditional prosodic purpose of measuring lines is obsolete. The poet must find a new function for the stanza entirely and the possibilities are endless, ranging from thematic organization to a desire for ellipsis. In the second part of "The Waste Land" Eliot opens with a clearly demarcated stanza of 33 lines followed by 33 lines of dialogue. There are, in the section of dialogue, several line breaks that may possibly be considered stanza breaks. Yet even with these breaks it is unclear how these stanzas of dialogue function any differently than would prose paragraphs of dialogue.
"What are you thinking of? What thinking? What?
I never know what you are thinking. Think."
I think we are in rats' alley
Where the dead men lost their bones.
"What is that noise?"
The wind under the door.
Shifting Content. By varying the length of the stanza, Eliot is also able to spend only the time and space desired on a subject without the need to provide cohesion for a set stanza length. Eliot's "Prufrock" opens with an invitation to visit an unknown place but just as the reader expects to find out the aim of the journey, the rhyming couplet changes the subject.
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question . . .
Do not ask, "what is it?"
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
It may be assumed that the room from which the women come and go is the place to which the poet and reader have journeyed together, but no sense of what is found in the room or the significance thereof is offered. The poem continues and changes subjects again:
The yellow fog that rubs its back upon the windowpanes,
The yellow smoke that rubs its muzzle on the windowpanes,
One may imagine that the windowpanes described in lines 16 and 17 are windows of the room the women come in and out of in lines 14 and 15, but this is just conjecture. And even if the windows are of the same room, neither the image of the room nor the image of the fog at the windowpanes does any work to advance the theme of the poem's opening invitation. Eliot's ability to vary his stanza lengths allowed him to devote more time to one subject and less time to another subject, denying the reader a sense of cohesion that would have begun to emerge had Eliot been forced to spend an entire stanza describing the women, and the same amount of time describing the fog. The danger in my argument is blurring the lines between content and form, for two lines about women and two lines about fog could very easily be imbedded into the strictest of meters. My argument merely aims to convey the loss of thematic cohesion that is one possible technique resulting from flexible stanza lengths.
When the stanza is no longer used for counting out lines, its function and form may vary, allowing content to vary as well. The combined effect is a loss of cohesion allowing for a fragmentation of image and theme.
Part 3: Examples from Contemporary Free Verse
The structural techniques resulting from Eliot's approximated verse have largely come to characterize the prosody of contemporary free verse. (I limit my use of the term "contemporary" to refer to poetry published within the last twenty years.) For instance, in the poem "Circle Drawn in Water" by Franz Wright, it may be seen how one contemporary poet is able to vary his stanza lengths to create tension and thematic effect. The first two stanzas of the poem set the reader up to expect tercets. What would be the third tercet, however, is broken into two stanzas, a couplet and single lined stanza:
I think somewhere there is a room
in which I am living
an old man
in the future,
in a windy
room where I'm sitting and reading
trying to make out
bent over a three-legged table
these words I'm now writing—
When the reader reads the first two stanzas, she is able to fall into a syntactical rhythm. Each stanza is a complete thought or unit of speech. When the reader comes to the third stanza, however, the pattern is disrupted. The object of the first line is not stated in the couplet, allowing for the tension of an incomplete idea. The couplet closes with the particularly harsh words "three-legged table." The stanza is jarring and abrupt in both form and content. In Free Verse, Hartman describes how the working of syntax across lineation serves to create a central tension of the poem. In this case, the syntax is working across the stanza break. When the idea finds its resolution in the single line that follows the couplet, the complete image of the old man bending over the table to read retains the emotion supplied by the break.
A flexibility in form and purpose of the stanza has also become very characteristic of contemporary free verse. In "War of the Foxes," Richard Siken resists lineation altogether and writes in what resembles prose paragraphs. These paragraphs are interspersed with dialogue formatted according to a theatrical script.
Two rabbits were chased by a fox, of all the crazy shit in the world, and the fox kept up the chase, circling the world until the world caught up with them in some broken-down downtown metropolis. Inside the warren, the rabbits think fast. Pip touches the only other rabbit listening.
Pip: We're doomed.
Flip: Oh Pip!
Pip: I know where you can hide.
Flip: Are you sure?
Pip: Yes. Here, hide inside me.
While the innovative form of Siken's poem may be an extreme example of what the stanza may be stretched to, this incredible flexibility of structure resulting from Eliot's abandonment of numerical organization has come to be characteristic of contemporary free verse prosody.
While quoting only two contemporary examples is limiting in what may be illustrated, these examples do convey the extent to which Eliot's prosody has been developed and adopted by the contemporary movement. Wright's poem, like many contemporary free verse poems, makes use of the stanza's ability to count lines but breaks it when and where needed to create the tension desired. The example of Siken's work shows extreme liberties of form that, though considered experimental or occasionally termed "cross-genre," have resulted from the stanza's use for organization in ways other than the numerical.
Eliot's prosodic developments may be boiled down to an awareness of and manipulation of reader expectations. When Eliot creates a poem that approximates iambic pentameter the reader comes to expect something that is not fulfilled. Eliot uses this tension to create the effect he desires.
Reader expectations may come either from a prosody the poem has established itself (and thus the reader comes to understand by reading it) or from a prosody of conventions about which the reader has prior knowledge. It is appropriate to consider both sources. In Wright's poem, the reader came to expect tercets because the poem began with two tercets and let the reader fall into the rhythmic and syntactical pattern of that organization. In each instance of these structural techniques we have discussed, Eliot anticipated his reader's expectations of verse and numerical organization, and then experimented with breaking that expectation. Eliot's first readers expected the cohesion provided by stanzas of three or four lines. Eliot broke those expectations and wrote stanzas of dialogue. This attitude towards breaking expectations creates tension that may be the very root of prosody as even a meter imposed over a syntactical line can create and challenge expectations. The prosodic techniques that developed from Eliot's use of approximated verse did not change the essence of prosody but merely provided more avenues for the poets who have followed him to create and break expectations.
Works Cited
- Eliot, T. S. "Reflections On Vers Libre." New Statesman (London, England: 1913) 8. (1917): 518-519. Humanities & Social Sciences Index Retrospective: 1907–1984 (H.W. Wilson). Web. 28 Nov. 2012.
- Eliot, T. S., and Frank Kermode. The Waste Land and Other Poems. New York, NY: Penguin, 1998. Print.
- Gates, Rosemary. "T. S. Eliot's Prosody and the Free Verse Tradition: Restricting Whitman's 'Free Growth of Metrical Laws.'" Poetics Today 11.3 (1990): 547–578. Web. 19 Nov. 2012.
- Hartman, Charles. Free Verse: An Essay on Prosody. Evanston, IL: Northwestern University Press, 1980. Print.
- Siken, Richard. "War of the Foxes." In War of the Foxes. Port Townsend, WA: Copper Canyon Press, 2015. Print.
- Wright, Franz. "Circle Drawn in Water." In Walking to Martha's Vineyard. New York, NY: Knopf, 2005. Print.
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15:20 09 Jun 19
My bifolds that were installed by the previous house owner had broken. With one quick email to Steve he was round the next morning and had them fixed right away. He even made them work better than they had done before! Excellent honest and knowledgable service. He went above and beyond as was only happy when they worked perfectly! Could not recommend enough.
Lucy M.
06:32 23 Apr 19
Visited us the day after our enquiry and spoke with the builder to ensure everything was in-place and ready to go. Did an amazing job and we're really happy with them.
Paul H.
11:48 13 Mar 19
Steve was very helpful and we went to site visit to doors installed in 10 days. They're amazing quality and we couldn't be happier.
Lucy Rose Louise H.
14:03 04 Feb 19
We did a good amount of research before getting our bifolds. Steve was by far the most knowledgeable of everyone we saw. We visited the Origin department in Warrington, and even they said they never have any problems with Steve's installation.Always been honest, accurate and reliable. Would definitely recommend him.
Adam F.
17:45 11 Dec 18
Well what can we say about these guys?About 18 months ago we had an extension built and we called Steve @ NW Bi folds to fit our doors with integral blinds fitted inside the glass.For the first 16 months the blinds were great until they became somewhat stiff and hard to use.We contacted Steve and he was out to inspect them straight away, After we and Steve had contacted integral blinds to raise are concerns not much was done,they at integral tried to put the blame on NW Bifolds or anyone else for that matter. Integral blinds must have the worst customer service we have ever come across, and as far as they are concerned our blinds still don't work properly. Now as for Steve and his son,they took it a lot more seriously and sorted our problem, Steve contacted another of his suppliers Hi Tec blinds, payed for and fitted at our new blinds at his own expense. That's what you call customer service .Well done NW Bifolds you went above and beyond your duty,Quality through experience.
Paul W.
20:23 21 Sep 18
Contacted NW bifolds about our bifold doors installed some time ago and with a different company. Steve was very helpful and came round within a few days to look at the issues. Fixed them straight away and was very knowledgeable on the doors. Would highly recommend using NW bifolds and I would do so again without hesitation.
Jon R.
17:52 09 Sep 18
Had two sets of Origin bi-fold doors supplied and fitted by North West Bifolds. Price was very competetive. Quality of the doors and their installation is excellent. Doors were installed within 7 days of paying deposit ( no other company could beat 4 weeks). Highly recommended.
Tim C.
17:46 07 Sep 18
I had my windows fitted 2 years ago by this company excellent service and quality. I have returned again to have my front door replaced. After an excellent consultation and a visit to the showroom we decided to have an Endurance solid secure door along with the ring CCTV door bell fitted. The options to customise your own door are excellent. Once again superb work completed. Highly recommend this company for their windows and doors. From beginning to end the company is professional,honest, trustworthy and extremely proud of their work. They are a great team of fitters who get the job done and are very clean and tidy to. Extremely happy customer thanks again .
simon N.
22:09 12 May 17
Friendly service, well priced and great installation, the Origin door really stands out for looks and quality.
Gary N.
09:18 16 Oct 15


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Alaska Film Archives
1 to 7 of 7 Objects
- This footage shows the aftermath of the 1964 Good Friday Earthquake. Scenes include the severely damaged Government Hill Elementary School, businesses and homes, a yellow house sitting at an angle after the ground had fallen away, damage at the Alaska Sales and Service car dealership, and crushed cars.
- In this video, host Pete Carran of KAKM-TV talks with John Havelock, director of legal studies for the Justice Center of the University of Alaska in Anchorage. Havelock gives an overview of the history of cameras in the courtroom and discusses issues relevant to the Williams v. Zobel case. Reporter Carroll Hodge of KAKM-TV interviews State Supreme Court Justice Jay Rabinowitz about cameras in the courtroom. Plaintiff Ronald Zobel is interviewed about the case he and his wife Patricia have brought before the court. Judge Ralph Moody is shown and quoted. An assistant attorney general for the state is interviewed. The Zobels' attorney, Mark Sandberg, is interviewed. Counsel for the State, Avrum Gross, is interviewed. Governor Jay Hammond is interviewed. John Havelock discusses each of the justices of the State Supreme Court: Chief Justice Jay Rabinowitz, Justice Edmund Burke, Justice Roger Connor, Justice Warren Matthews, Justice Robert Boochever, and former Justice Diamond as photos of the judges are shown. Counsels for the State, Assistant Attorney General Susan Burke and former State Attorney General Avrum Gross, present arguments for the State of Alaska during a live broadcast of the court proceeding.
- In this video, counsel for the State Avrum Gross finishes delivering the State's rebuttal, and the court is adjourned. Host Pete Carran of KAKM-TV discusses the proceeding with John Havelock, director of legal studies for the Justice Center of the University of Alaska in Anchorage, as highlights from the proceeding are shown. Reporter Carroll Hodge of KAKM-TV interviews: Mark Sandberg, attorney for the Zobels; plaintiffs Ronald and Patricia Zobel; and Counsels for the State Susan Burke and Avrum Gross.
- AAF-13918 was filmed in 1964 and is labeled, "Earthquake Anchorage, Santa Claus House, and Liberty Campground." The film contains scenes of the Matanuska Glacier, aftermath of the 1964 Alaska Earthquake in Anchorage, a damaged Mt. McKinley building, damaged homes and a damaged school, cracks in the ground, Alaska scenery and moose, a family camping and fishing, and the Santa Claus House in North Pole.
- AAF-13898 is from a film identified by the filmmaker as dog mushing in Anchorage on Cordova Street with mushers George Attla and Roland "Doc" Lombard, circa 1969-1971. The full 16-minute reel was made from five smaller reels labeled by the filmmaker as follows: no label; "dog races Lombard and Attla;" "porky camp robber;" "dog races;" and "fur [illegible]." The films contain scenes of crowds watching sled dog races in downtown Anchorage, a cat train, aerial mountain views, a porcupine, a man hiking with a large pack, men at a cabin feeding a Gray Jay or "camp robber," sled dog teams in Anchorage navigating a corner, and mushers and sled dog teams at the start line.


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The Copyfree Initiative owes a debt of gratitude to the community as a whole, many members of which contribute in numerous and largely invisible or unmeasurable ways to the advancement of copyfree policy. This page lists a number of noteworthy people for reasons of particularly recognizable contribution or significant blame.
The following people are Copyfree Initiative members with, to varying degrees, official titles and responsibilities.
Chad Perrin
Chad has done a wide range of things in his life, many of them chosen according to a belief in the importance of freedom, even when his choices have been misguided in retrospect. Co-founding the Copyfree Initiative is one that has withstood time and hindsight well, and for which he has only pride, and no regrets. He is a fierce autodidact and advocate for individual initiative and principled rationality in directing one's life. His professional experience involves both physical and information systems security, both software and content development, and both hardware and software maintenance and support. He has been (and in some cases still is): an independent IT consultant, a maintainer of Ruby gems and FreeBSD ports, an employee of the Wikimedia Foundation, a network administrator for rocket scientists, a private volunteer programming tutor, and the most prolific contributing writer (and open source advocate) for TechRepublic.
In his full-time dayjob, he does software development as employee number four of a rapidly growing software consultancy, and his supplementary job is the unpaid position of Director of the Copyfree Initiative -- a job that actually costs him money.
Everything that goes wrong with day-to-day management of the Copyfree Initiative and its efforts is ultimately his responsibility.
Copyfree Initiative Founder and Director
By preference, Chad runs DragonFly BSD and FreeBSD on his laptops as well as on his servers, and OpenBSD on his firewalls. He favors vi-like keybindings not only for editors, but also window managers, browsers, media players, and just about any other software he uses, though for some types of software there are still not a lot of options in that regard. He provides more information about his tool choices on his personal website, at chadperrin.com.
Lester L. Martin II
Lester is a professional IT problem-solver and programmer, and a technology enthusiast. He works diligently on things about which he is passionate, including supporting the Copyfree Initiative and community, clients, and his regular employer. As a system administrator, he has worked extensively with network administration, firewalls, virtualization, encapsulation, storage, management, deployment, and probably a dozen other things that didn't make it into this list.
Copyfree Initiative Sysadmin
Lisa Joy
Copyfree Initiative Database Administrator
Kbenjamin Sauerhaft Coplon
Kbenjamin's interest in copyright reform peaked while following the advocacy efforts of Rick Falkvinge of the Swedish Pirate Party and similar writers, and ultimately became a copyright abolitionist. Further investigations led him to the Copyfree Initiative and the copyfree community, where he quickly began offering help collecting and organizing informational resources for use on the CI website and the rest, as they say, is history. Apart from debating copyright issues, he also enjoys fencing, and the ancient Chinese strategy game Go.
Copyfree Initiative Community Project Co-ordinator
Contributors are community volunteers who have invested effort in supporting the Copyfree Initiative's operations but are not regular members of the staff.
Christian Oaksford
Technical Assistance


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Our purpose is to provide a full-day school and extended day-care program that will give your child the opportunity to be with other children in a setting that will enhance mental abilities, and encourage social relationships, provide appropriate play experiences that contribute to your child's development, give guidance in your child's emotional and spiritual growth, and enable parents to grow in the understanding of their child's development through a series of planned programs.
We place strong emphasis on the family-school relationship and would be pleased to serve a partners with you in caring for your child.
Copyright 2016. Faith Christian Preschool. All rights reserved.


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Water Damage and Mold Removal Yonkers
If you have recently had water damage on your property, then you should have the water damage Yonkers techs of 911 Restoration of Westchester over to thoroughly eradicate any fungus that grew from the premises.
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Meaning : Diminutive Form Of Audrey, Diminutive form of Audrey,
Origin : English,
If you have information about this name, share it in the comments area below!
Numerology information Audrina:
Name Number: 5 Meaning: Motion, Change, Freedom, Diversity, Liberty, Choice, Interest, Search, Risk, Danger, Fear
Additional information Audrina:
English Meaning: The name Audrina is an English baby name. In English the meaning of the name Audrina is: Nobility; strength.
Definition funny of Audrina:
1. Awesomeness! 2. A nerd that is made from complete Awesomeness. 3. Sexy and Smart.
That's so Audrina! or Man you're such an Audrina!
Expression information Audrina:
People with this name are excited by change, adventure, and excitement. They are dynamic, visionary and versatile, able to make constructive use of freedom. They fight being restricted by rules and conventions. They tend to be optomistic, energetic, intelligent, and to make friends easily. They may be changeable, restless, untidy, and rebellious.
Soul information Audrina:
People with this name have a deep inner desire for travel and adventure, and want to set their own pace in life without being governed by tradition.
Songs about Audrina:
Audrina Patridge, You are So Darn Beautiful by Papa Razzi and the Photogs from the Album Songs About Great Literary Giants (And Other Very Important People)
The Audrina Song by The Guy Who Sings Your Name Over and Over from the Album Fun With Names Songs, Vol. 14
Audrina Theme by Platinum Themes Pro from the Album Platinum Themes Pro, Vol. 1
Audrina, My Sweet... by Ancient from the Album Proxima Centauri
Happy Birthday Audrina by Birthday Song Crew from the Album Happy Birthday (Hillbilly) Vol. 2
Happy Birthday Audrina by The Family Party Song Singers from the Album Happy Happy Fun Fun Fun!!!
Happy Birthday Audrina by Birthday Song Crew from the Album Happy Birthday (Jazzy) Vol. 2
Books about Audrina:
My Sweet Audrina by V.C. Andrews (May 24, 2011)
My Sweet Audrina by V. C. Andrews (1982)
Mi Dulce Audrina by V. C. Andrews (Mar 1986)
My Sweet Audrina by Andrews Virginia (1993)
Audrina's Angel by Patricia A. Giebel (Apr 4, 2013)
Maxim Magazine Stacy Keibler November 2008 Issue (Audrina Partridge, Seth Rogen, Oliver Stone) by Maxim (2008)
Maxim October 2009 Audrina Partridge of The Hills on Cover, Jessica Alba, Kim Kardashian, Marisa Miller, Seth... by Maxim Magazine (2009)
Movies about Audrina:
Audrina Season 1 2011 TV-PG CC -
Wiki information Audrina:
Audrina Cathleen Patridge is an American television personality, television presenter, actress, and model. In 2006, she rose to prominence after being cast in the reality television series The Hills, which chronicled the personal and professional...
Audrina is an American reality television series that originally aired on VH1 from April 17, 2011, until June 19, 2011. The series aired one season and focuses on the lives of Audrina Patridge, who came to prominence as a cast member on The Hills,...


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BASKERVILLE: A SHERLOCK HOLMES MYSTERY (Walnut Street): Ken Ludwig's version turns the story on its head
An ancestral manor, a family curse, a fiend: Ken Ludwig's version turns this Sherlock Holmes story on its head.
An ancestral manor, a family curse, a fiend: Ken Ludwig's version turns this Sherlock Holmes story on its head.
The lights show a bare stage; the set is two dilapidated buildings with scaffolding. The curtains intermittently change from day to night with a transient light. The place is Verona,…
1776 will make you laugh, might even make you cry, and will most certainly be more enjoyable than the lectures of your middle school history teachers.
A rocking, irreverent look at the birth of our nation wrought with lively, believable characters.
An outstanding ensemble recounts the backstory of Peter Pan in a madcap prequel with music.
The Philadelphia debut of a popular musical is filled with humor, wonderment, and sentimental recollections of a child's Christmas in 1940 Indiana.
David Mamet's amusing A LIFE IN THE THEATRE uses the simple interplay of two actors backstage at a repertory company, to talk about life outside the theater.
Based on the 2003 hit film of the same name, ELF, this year's annual Christmas-time extravaganza at the Walnut Street Theatre, offers popular feel-good entertainment for the whole family. The amusing musical comedy is filled with magic and spectacle for the kids, wry jokes and innuendo for their grown-ups, and a familiar sentimental moral that is relevant for all ages. It's a cute and snappy start to the holiday theater season that could make even the meanest Grinch smile.


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24 March 2013
NMB48's TV show [NMB48 Geinin!] Gets 2nd Season
It was announced that NMB48's TV show [NMB48 Geinin!] will get a 2nd season. The new season will start on April 3 on NTV. Season 1 of this show was brodcasted July to September last year on the same channel. Just recently a movie, called [Geinin! THE MOVIE Owarai Seishun Girls] had been announced, which will have its first showing on March 25, at the 5th Okinawa International Movie Festival.
Like the first season and the movie, the second season is set in a high school comedy club. The regular members for [Geinin!! 2] will be Yamamoto Sayaka, Watanabe Miyuki, Ogasawara Mayu, Yamada Nana, Kotani Riho and Yokoyama Yui, the same members who also form the main cast of the movie. Just like Season 1, the comedy duo Football Hour is also part of the cast.
NMB48 Geinin!! 2
Official Website: http://www.ntv.co.jp/geinin/
TV Network: NTV
Air Time: Wednesday 25:29 ~ 25:59
Broadcast starts: 3rd April 2013
Cast: NMB48, Football Hour (comedy duo)
Posted by Anonymous at 3/24/2013 11:40:00 PM
Labels: NMB48, TV / Radio / Movie
No comments:
Subscribe to: Post Comments (Atom)


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Baby-friendly curator talks, signposted selfie points, 'Dadstastic' Days, and excellent facilities are just some of the things that helped Leeds to fend off competition from ten other museums across the UK.
Kids in Museums awards the prize annually to one museum that has made outstanding efforts to welcome children and families and respond to their feedback. The charity received over 550 nominations from both families and museums, which were whittled down to a shortlist of 11 by an expert panel. Undercover family judges then visited and assessed each shortlisted museum against the Kids in Museums Manifesto, with their experiences deciding the winner.
Leeds City Museum stood out for its 'warm and welcoming' staff, who were present throughout the museum and went the extra mile to help visitors. Families also praised the museum for being representative of the different communities in Leeds in its exhibitions.
This year marks ten years since Leeds City Museum reopened in the former Mechanics' Institute. The museum was originally established in 1821 and is run by Leeds Museums and Galleries (LMG), the largest local authority-run museum service in England.
Emmajane Avery, Chair of Kids in Museums, said:
"I'm delighted that we are able to recognise the fantastic work that Leeds City Museum is doing to engage young people and their families. It was an extremely competitive year, with 11 brilliant venues in the shortlist, but the team in Leeds really impressed our family judges with their great welcome and willingness to help, as well as their varied and dynamic year-round public activities. My congratulations to everyone at Leeds City Museum and the undoubted inspiration they bring to the next generation of historians and culture lovers."
Over 90,000 children went to Leeds City Museum in 2017, with the majority of children visiting with their families. The museum holds regular groups for all ages, from 'Museum Minis' for under 5s to the Preservative Party youth panel for 14-22 year olds. Local schoolchildren have even contributed to museum displays and hosted events.
Leeds is the third Yorkshire attraction to win the accolade, joining previous winners York Art Gallery (2016) and Weston Park Museum in Sheffield (2008).
Congratulating the museum, Councillor Judith Blake, leader of Leeds City Council, said:
"We're absolutely thrilled and immensely proud to see Leeds City Museum recognised for giving children and families such a warm welcome and for bringing history to life for thousands of young people in our city.
"This is a massive endorsement for the passion and enthusiasm of the team there and the dedication they show in making the museum a fun and accessible place for children to enjoy while they learn more about history, heritage and the world around them.
"Our ambition is always for Leeds to be a child friendly city and staff at all our attractions work hard to put children, families and young people at the heart of everything they do."
The other shortlisted museums for the 2018 Family Friendly Museum Award were:
- The Erewash Museum, Derbyshire
- Museum of the Order of St John, London
- National Maritime Museum, London
- Perth Museum and Art Gallery, Perth and Kinross
- The Postal Museum, London
- The Red House, Suffolk
- Torquay Museum, Devon
- The Whitworth, Greater Manchester
- Wrexham County Borough Museum, Wrexham
- Yr Ysgwrn, Gwynedd


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A developer has been found for the vacant Halifax Magistrates' Courts but what does the future hold for the building?
Thanks to the consultancy services of IVE, a social enterprise working to ensure a more creative future for businesses, teachers, children and young people, a developer has been selected and legal contracts for sale are progressing on the Grade II listed building.
Rosi Lister, chief executive at IVE, said: "This project was really exciting for the team here at IVE. Due to the nature of the building, we were faced with some tough challenges in order to find a suitable developer, which gave us the ideal opportunity to showcase the creative skills which we are so passionate about in our day to day work."
Thomas Lister was employed to assist in finding suitable buyers for a portfolio of public buildings.
However, part of the remit necessitated that any developer who bought the property had to demonstrate that they intended to bring it into a sustainable and beneficial use for the local community.
Some of the challenges faced by the teams at IVE and Thomas Lister included the building being a Grade II listed inside and out, necessary updates required for the electrics and heating, and the very nature of the building – as a court, developers would also need to identify opportunities for spaces such as an entire maze-like floor of cells.
Rosi continued: "Solving the problem of the magistrates' court began with research. We utilised our experience in the heritage sector, network and strong relationships in the region to establish what the local priorities were for development to give us a sense of what the Council might value from the redevelopment.
"In this specific instance, we identified that there was a lack of good quality hotels in Halifax or a good restaurant or leisure offer. We were also aware of a larger development plan for Halifax council to create reasons to visit and use the town centre such as the recent successful redevelopment of The Piece Hall."
A series of 'creative reimagining events' were arranged with key stakeholders to take them through a creative process that encouraged them to think more innovatively about the potential uses for the Magistrates' Court.
This approach by IVE looked to challenge, and ultimately change, people's current opinions of the building. At the start of the project, developers could only see problems with the building, but the creative prompts delivered by the organisation helped to open their minds to the wide variety of opportunities for the Halifax Magistrates' Court, which then led to a number of offers and ideas for the building.
In addition, the presence of potential occupants at the event gave developers a chance to speak about their plans for the building, helping to build confidence for those responsible for redevelopment.


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1,80 m
Window rubber seal grey Fendt.
This seal isn\'t available anymore, because it is hardening over time.
It is replaced by a black rubber seal for wall thickness of 30 mm. The grey seal was used from 1993 - 1995 and is also a replacement for the seal before 1993.
1 unit = 1 meter - If you order 10 units, you\'ll receive 10 meters in one piece.
Please note, that the white lining strip is not included !
Original part no. X304242155
|1,80 m
Important notes:
- Original spare parts are supplied without installation instructions and mounting materials, as these parts are intended for an installation in a workshop.
Please be aware that the following informations: Used from ..... to, do not always apply for all vehicles of a specific model year.
If you cant identify an article based on the pictures, then please send a request, with your chassis number (vehicle identification no.) enclosed, to the sparepart support .
- If you want to order the following articles, please always submit your chassis number (vehicle identification no.) during the order process.
Windows, bumpers, brake pads, rims, shock dampers, voltage transformers, lighting control systems, cutlery drawers, carpets.
No shipping without the vehicle identification no. ! ! !


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Kirsters Baish| On Monday, a sheriff from Florida made the public suggestion that Reverend Al Sharpton be quiet and go away. Sharpton had harsh criticism on Sunday for the Pinellas County Sheriff, Bob Gualitieri, while he was speaking at a rally for a man who was killed in a July 19 "Stand Your Ground" case.
The incident involved a white man named Michael Drejka, who shot a black man named Markeis McGlockton in Clearwater, Florida. The shooter explained to authorities that he had feared for his life. He was not arrested.
WTSP reports that Gualtieri stated, "The law in the state of Florida today is that people have the right to stand their ground, and have a right to defend themselves when they believe they are in harm."
New York City's liberal preacher Al Sharpton showed up in Clearwater, Florida on Sunday to attack the Florida sheriff.
"This case should not be tried in a parking lot of a convenience store," Sharpton stated, as reported by WTVT. "It should be tried in a courtroom."
"Lock him (Drejka) up or turn in your badge," Sharpton exclaimed, directly challenging Sheriff Gualtieri.
The Florida Sheriff shot back on Monday when he questioned Sharpton's comments.
"It's a bunch of rhetoric. I don't pay much attention to it, to tell you the truth. I wasn't there, and I don't really care what Al Sharpton has to say," Gualtieri stated.
Then, he had a special message for Al Sharpton. "Go back to New York. Mind your own business," he declared.
A spokesman for the Reverend compared the Florida Sheriff's statements to "those of sheriffs out of the 1960s that used to call civil rights leaders invited in by victims, 'outside agitators,'" as reported by the Tampa Bay Times.
Sharpton stated that he will be coming back to Clearwater.
Western Journal Politics reports:
Gualtieri said he was tuning out comments about the shooting that have emerged in the election for Florida's governor.
"It's called politics and they're politicking. The facts and the law matter. Learn the facts and learn the law and then you can opine, but until you learn the facts and learn the law… but then again in politics, that's what you're going to get," Gualtieri said, WFLA reported.
Last week, Florida prosecutors said that they would be reviewing the case.
Legal analyst and lawyer Anthony Rickman stated, "When a prosecutor looks at this case, they're not looking at it as to whether it will be popular. It's whether or not they can prove this charge."
The Daily Caller writes:
Drejka told police he was fearing for his life and that was enough to convince the authorities to release him, without any formal criminal charges. Gualtieri said Sharpton should hit the books and learn more about the law before he speaks out publicly.
"The facts and the law matter," Gualtieri concluded. "Learn the facts and learn the law, and then you can opine."


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Summary of Trichopus zeylanicus
Primary Information, Benefits, Effects, and Important Facts
Trichopus zeylanicus (of the family Trichopodaceae) is a herb from India, Malaysia, and Sri Lanka. It has been used historically by the Kani tribe in India, which uses this plant for its purported anti-fatigue effects.
It shows performance enhancing properties and may act as an aphrodisiac as well. A few in vitro studies also suggest that it may protect the body and DNA from various forms of oxidation.
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Things To Know & Note
Is a Form Of
Other Functions:
Primary Function:
Also Known As
Arogyappacha, Kerala Ginseng
Caution NoticeExamine.com Medical Disclaimer
Aphrodisiac component appears to be fat soluble
Performance increasing may not be time-sensitive
How to Take Trichopus zeylanicus
Recommended dosage, active amounts, other details
Aphrodisiac properties were noted (in mice) at 200mg/kg bodyweight a day, and performance enhancing properties were noted at 250mg-500mg/kg bodyweight a day (again, in mice). These mice studies lead to estimated human doses of:
1,100-2,700mg for a 150lb person
1,400-3,600mg for a 200lb person
1,800-4,500mg for a 250lb person
Research Breakdown on Trichopus zeylanicus
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Trichopus zeylanicus (of the family Trichopodaceae) is a herb from the areas of India, Malaysia, and Sri Lanka. It has been used historically by the Kani tribe in India (whom call it Arogyappacha), which uses this plant for its purported anti-fatigue effects.[1][2] It appears to possess adaptogenic properties, and may be considered an adaptogen.[1] Trichopus Zeylanicus also has been referred to as a Ginseng compound before (although not belonging to the Panax Ginseng family) and is referred to as the Ginseng of Kerala (or Kerala Ginseng).[3]
Claims from the Kani tribe in regards to this herb state that the berries (bioactive portion) can gain enough energy to go days without food, and 1-2 berries can preserve youth, vitality, and prevent decline of the body.[4][1]
In mouse tests (young and old), 250-500mg/kg Trichopus zeylanicus added to the feed was able to improve physical performance.[6] Similar effects have been seen in mice with doses ranging from 12.5-100mg/kg bodyweight of the ethanolic extract of the plant, where Trichopus at 12.5mg/kg bodyweight was roughly as effective as 125mg/kg bodyweight Ashwagandha, and doses ranging from 25-100mg/kg bodyweight were significantly more effective than Ashwagandha in preventing the decline in motor control and attenuating a rise in fatigue after exhaustive swimming (with subsequent physical testing immediately after).[1] When assessing physical performance in the aforementioned swim task (swimming until fatigue), Trichopus Zeylanicus was able to increase swim time by 40.33% (12.5%) to 103.47% (100mg/kg) whereas Ashwagandha at 125mg/kg was only able to increase time to fatigue by 38.85%.[1]
The mechanism of action by which it increases performance seems to be independent of adrenaline-mediated mechanisms.[6] The effects seen may be secondary to anxiolysis (reducing anxiety) and the adaptogenic effects.[1]
Preliminary evidence suggests it is a potent performance enhancer, although whether this is inherent increases in performance or just secondary to a reduction in anxiety in the test animals is not known. It appears to be more potent than Ashwagandha, which is relatively impressive
One study in mice using charcoal as a fecal marker noted that Trichopus Zeylanicus may reduce gastrointestinal motility (the speed of bowel evacuation).[7]
Trichopus Zeylanicus has been implicated in being able to exert anti-oxidant, anti-lipid peroxidation, and anti-lipoxygenase effects and protect DNA from oxidation by reactive oxygen species.[5][8] The anti-oxidant effects are outperformed by an equal dose of Ganoderma Lucidum while Trichopus Zeylanicus possesses more anti-lipid peroxidative effects.[5]
Trichopus Zeylanicus is able to reduce inflammation as measured by edema after carrageenan injection, and was not significantly different than Ashwagandha in this regard.[1]
Trichopus Zeylanicus is touted as an adaptogenic compound able to reduce stress.
One study conducted in mice measuring both inflammation (as a response to exercise) and gastric ulceration (as a response to stress) noted significant attenuation when Trichopus Zeylanicus was fed at 12.5-100mg/kg bodyweight ethanolic extract; reducing 100% ulceration rates in the control group to 82.04% (12.5mg/kg) to 41.95% (100mg/kg) with dose-dependent effects.[1] These effects were slightly more potent on a per weight basis relative 125mg/kg bodyweight Ashwagandha used as an active control, which suppressed levels to 59.26% of control.[1] Trichopus was also able to dose-dependently reduce rectal hypothermia, a biomarker of stress, and all doses were slightly more effective than Ashwagandha.[1]
Trichopus Zeylanicus appears to have aphrodisiac properties in male mice through a fat soluble component at 200mg/kg bodyweight.[9]
- ^ a b c d e f g h i j k l Singh B, Gupta DK, Chandan BK. Adaptogenic activity of a glyco-peptido-lipid fraction from the alcoholic extract of Trichopus zeylanicus Gaertn. Phytomedicine. (2001)
- ^ a b Singh B, et al. Adaptogenic activity of glyco-peptido-lipid fraction from the alcoholic extract of Trichopus zeylanicus Gaerten (part II). Phytomedicine. (2005)
- ^ a b Sharma AK, et al. Adaptogenic activity of seeds of trichopus zeylanicus gaertn, the ginseng of kerala. Anc Sci Life. (1989)
- ^ 'AROGYAPPACHA' (TRICHOPUS ZEYLANICUS gaerin), THE 'GINSENG' OF KANI TRIBES OF AGASHYAR HILLS (KERALA) FOR EVER GREEN HEALH AND VITALITY.
- ^ a b c d e Tharakan B, Dhanasekaran M, Manyam BV. Antioxidant and DNA protecting properties of anti-fatigue herb Trichopus zeylanicus. Phytother Res. (2005)
- ^ a b Tharakan B, et al. Trichopus zeylanicus combats fatigue without amphetamine-mimetic activity. Phytother Res. (2006)
- ^ Pushpangadan P, et al. Further on the pharmacology of trichopus zeylanicus. Anc Sci Life. (1995)
- ^ Cherian E, et al. Free-radical scavenging and mitochondrial antioxidant activities of Reishi-Ganoderma lucidum (Curt: Fr) P. Karst and Arogyapacha-Trichopus zeylanicus Gaertn extracts. J Basic Clin Physiol Pharmacol. (2009)
- ^ Subramoniam A, et al. Aphrodisiac property of Trichopus zeylanicus extract in male mice. J Ethnopharmacol. (1997)


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Delivery and Returns
How much does delivery cost?
UK – FREE on orders with the exception of Northern Ireland, Offshore islands and Scottish Highlands
Europe – £19.95
Rest of World – £49.95
We don't charge for delivery of samples.
Additional charges apply for delivery to UK Highlands and Islands, see below.
How long will my items take?
Delivery will typically take 5 working days in the UK, though some items may take longer depending on the supplier. Delivery to Northern Ireland, the Highlands and Islands, will take 2 days longer. For Europe and Rest of World, allow up to an extra 3 days lead time for delivery. You can find lead times for individual items on the product pages.
As we have such a big product range we do not hold stock and the exact lead time depends on when our suppliers deliver to us.
Made to measure items will take longer as we need to allow for making time. The current lead time on made to measure items is 3 – 4 weeks. We will contact you within 5 days or order to inform you of anticipated delivery date. We will then contact you when your item has been completed to arrange delivery. If you decide you'd like us to fit your items, we will bring them with us when we come to fit.
If you have ordered some items with a short lead time and some with a long lead time, we will deliver the items with a short lead time first and then deliver the remaining items separately when they are ready.
How will my items be delivered?
We use TNT couriers for most items, small items may be sent by post or MyHermes. Items will be packed to protect against damage in transit. The delivery companies we use will need a signature on delivery. For smaller items and samples we use regular post, and no signature will be required. All items are sent from us on a next day service, so should be with you within 24 hours of leaving our warehouse.
Can you deliver my items on Saturday?
Yes, we can deliver on Saturday to most destinations in the UK. There will be an additional extra charge for Saturday delivery which is typically £20 depends on the size and weight of your items. Please call us once you have placed your order and we can amend your details.
Can you deliver my item on a specific date?
Yes, please enter the date you would like your items delivered in the Delivery Comments box in the checkout. please take account of the lead times for the items in your order.
I need my item urgently, can you help?
If you need your order of fabric or curtains really urgently, in some cases our suppliers can deliver directly to you on a next day service. Give us a call before placing your order, and we'll see what we can do to help. There will be an additional charge which will depend on the delivery service used.
Can I track where my order is?
As soon as your item is handed over to the delivery company, we will email you with a tracking number so you can track the progress of your order.
Can I rearrange the date of my delivery?
As long as your items have not been dispatched we can rearrange the delivery date. Please contact us and we can amend your order details.
Can I change the address where my order will be delivered?
As long as your order has not been dispatched we can rearrange the delivery address. Please contact us and we can amend your order details.
Do you require a signature on delivery?
Yes, nearly all items will need a signature. Samples and very small items will be sent by regular mail and will not require a signature.
What if I am not in when my delivery arrives?
The delivery company will leave a card explaining how to arrange delivery for another day, or to another address. If the delivery company doesn't hear back from you they will normally try to deliver twice again, before returning your order to us. If your order is returned to us the normal delivery rate will apply for re-delivery.
What if my items are out of stock?
As we offer such a large range, for most items we do not hold stock but order from our suppliers when we receive an order. We work closely with our suppliers to ensure we only offer items which have good levels of availability. However, very occasionally suppliers discontinue certain lines or there will be a delay in fulfilling your order. When this happens, we will contact you as soon as possible (normally within 24 hours of receiving your order) to see if you are happy to wait or arrange a refund.
How long do samples take to arrive?
Samples are sent by Royal Mail / Air Mail. Because we carry such a large range we do have to wait for samples to arrive from our suppliers, but we aim to deliver within 5 working days in the UK. Add up to an extra 3 days for Europe and Rest of World.
Which countries do you deliver to?
We deliver worldwide, if you can't find your country on the delivery page of the checkout, please contact us.
We can deliver made to measure curtains, blinds, cushions and headboards worldwide.
Which countries do you install to?
We install throughout Europe and have a network in the USA and Australia, all installation projects will need a bespoke quotation, so we encourage you to get in touch via our Contact Us page and we will be able to help.
Will i have to pay taxes or duties when my items arrive?
Our prices do not include tax if you live outside of the UK or the European Union. You may be required to pay import taxes in your country.
Security checks
In order to help minimise online fraud, from time to time we carry random security checks with our customers. This may be a simple phone call before shipping an order, but on occasions we may also ask for proof of identity and proof of address.
UK Highlands, islands, remote areas, channel islands
Channel Islands
If your package is being delivered to the Channel Islands, please select Channel Islands in the checkout. The delivery charge is £14.95.
Highlands, Islands, and Remote Areas
If your package is being delivered to any of the UK postcodes below, the delivery charge is £14.95. Please call us to place your order, or place your order online and we will call you to take payment for the delivery charge.
Postcodes where this delivery charge applies:
- What is your returns policy?
Due to the bespoke nature of our products we are unable to issue refunds on items that have been cut for you, all made to measure products including poles and tracks. This is why we always recommend ordering samples of fabrics before placing an order.
All other items may be returned within 28 days of delivery. Items must be returned undamaged and in their original packaging.
If your order arrives damaged or faulty please let us know within 48 hours of delivery. We will repair, replace, part refund, or refund your order as appropriate.
Can I cancel my order?
If you'd like to cancel your order, please let us know within one hour of ordering for a full refund. Please note our opening times are Monday to Friday, 7.00am till 4.30pm. Contact Us.
Can I amend my order?
If you'd like to make changes to your order, please let us know within one hour of ordering. Please note our opening times are Monday to Friday, 7.00am till 4.30pm. Contact Us.
Returns of made to measure items, poles and tracks
We are not able to accept returns on any made to measure items including curtains, blinds, cushions and headboards as they will have been made or cut to order and we are not able to sell them to another customer. We cannot accept returns due to incorrect measurements supplied to us.
We do our very best to make sure your made to measure items are perfect, but in the event there is a fault we will first see if it is possible to make an alteration to fix the fault. If we cannot fix the fault, we will arrange a replacement, or a partial or full refund.
Returns of fabrics, trimmings, and other items cut to order
Lengths of fabric and trimming are cut to order, and so are not returnable for lengths under 5 metres. In some circumstances, for lengths over 5m we may be able to accept returns of fabric, but this will depend on the supplier and will be subject to a restocking fee of 25%.
We recommend obtaining a sample before ordering, and checking your fabric before cutting, as once cut fabric orders cannot be returned.
How do I return an item?
Please email firstname.lastname@example.com with your Order Number and details of the items you would like to return. Please wait for confirmation from us before returning your items.
Please send returns to: Returns Department, Bridge Contract Interiors, Harcourt Building, Bristol Road, Chippenham, SN14 6NA.
Goods are your responsibility until they reach our warehouse, so please make sure they are well packed. We recommend using a delivery service which requires a signature to ensure that you have proof of return.
Have you received my returned items?
Once we have received your returned items we will email you to let you know, and to confirm any refund due.


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Beach Front, Long Term Rental, Monthly Rental, Vacation Rental | Condos | 4 Guests | 2 Bedrooms | 4 Baths
This 2-bedroom, 1-bath, ground-floor condo faces Potrero Bay, with very close access to a secluded little beach. Both bedrooms have queen beds, and one has a television. There's also a TV in the living room, which has a sectional sofa, air conditioning and a fan on the wooden ceiling. The smallish but fully equipped kitchen has granite counters. A patio with ceiling fan looks out on a picturesque ocean view. Have dinner and drinks at the poolside Monkey Bar, play tennis or take a short walk to downtown Flamingo's restaurants, shops and beaches.
Bedrooms: 2
Bathrooms: 4
Check-In Hour: 2:00 pm
Check-Out Hour: 11 AM
Late Check In: By Request Only
Optional Services: Full Concierge Services
Outdoor Facilities: Beautiful Pool Area
Extra People: Not Permitted
Booking Policy: 1. PAYMENT – An advance payment equal to 50% of the total rental rate is required to secure the reservation. The advance payment will be applied toward the house rent. Payments can be made in the form of a wire transfer, credit card or cashier's check. The advance payment is not a damage deposit. The BALANCE OF RENT is due thirty (30) days before your arrival date. Monthly Rentals: Monthly rentals can be subject to extra fees as electric consumption and/or cleaning fees.


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You know that feeling when the internet is down and LIFE CEASES TO EXIST!!! Yeah that happened to me, and when you run an online business its uber annoying!
So this is what I think you should do if the internet is down! Tip number one is particularly important if you have a newborn in the house 😉
Other things you can try include:
- Writing Facebook Posts
- Organising Receipts/Invoices or any other bookkeeping work in prep for tax time
- Preparing any powerpoints/worksheets/resources that you require for any upcoming events
Let me know if you have other ideas that I haven't thought of!


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The World's Most Beautiful Roads to Drive On
The Atlantic Ocean Road, Norway
While the Atlantic Ocean Road can be quite dangerous to drive along, it is considered to be one of the most beautiful roads in existence. Running through an archipelago measuring 5.2 miles in distance, the Atlantic Ocean Road offers incredibly beautiful scenery and a wonderfully peaceful drive, and a real treat for nature admirers. The incredible road can appear ever-winding to those who choose to take on the drive, and each of its twists and turns unveil more and more stunning views! Ian of Andrews Garage recommends a car with a good grip and precise handling on this challenging yet breath-taking road.
Queen Charlotte Drive, New Zealand
The Queen Charlotte Drive is a beautiful road that is over 30 kilometres in distance, and is fringed with stunning woodland scenery on the coast of New Zealand. This stretch of road doesn't only offer a memorable journey, but there are lots of places to visit along the way too! Winding downhill, past numerous bays, Queen Charlotte Drive is deemed to be amongst the world's most exquisite places to visit and is almost magical to drive along. A lengthy journey, the drive is perfect for those who want to unwind and lose track of time. The only downfall is that the stunning view is partially blocked by woodland, but when a clearing does appear, it is most definitely worthwhile.
Seven Mile Bridge, Florida, United States
The stunning Seven Mile Bridge in Florida offers some incredible and breath-taking views while connecting two separate parts of Florida together. Years after the construction of the Seven Mile Bridge, another wider and sturdier bridge had to be built beside it as a result of damage to the original. Since this occurrence, the first bridge has been opened as a public footpath of 2.2 miles in distance, but more importantly, the latest version is one of the most spectacular roads to drive on – it is as if you are gliding along the beautiful water below. There surely is plenty of fascinating history behind the construction of the Seven Mile Bridge as well as the breath-taking driving experience!
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Scrap Metal Insurance in Boise ID & Meridian ID and surrounding areas
Risk Solutions for the Scrap Metal Industry
Christensen & Associates Insurance Agency provides insurance to scrap metal industry businesses in Boise, Meridian, Eagle, Kuna, Nampa, Caldwell, and surrounding areas.
Scrap metal businesses are exposed to industry-specific risks. At Christensen & Associates Insurance Agency, we understand those risks and we understand what it takes to keep your business protected. We cover everything, from local scrap yards to large-scale scrap metal and recycling businesses.
Our services include, but are not limited to:
- Property insurance
- General liability
- Umbrella coverage
- Specialized coverage for equipment and machinery
- Commercial auto insurance
Contact a representative at Christensen & Associates Insurance Agency today to set up a consultation.


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Open Letter to SUNY Broome Community after Presidential electionPosted: Updated:
SUNY -Broome joins Binghamton University and other colleges across the country in offering counsel and resources to those affected by the the recent Presidential election. Below is a letter from the President s Task Force on Diversity and Inclusion
Last week's presidential election exposed deep divides within our nation and community. This divide has been expressed through sadness and frustration for some, and elation and hopefulness for others. Our nation has seen protests, some of which have grown violent and we have seen vile acts of bigotry and hatred across both ends of the political spectrum. This past week has been exhausting.
We recognize as a campus that it would be naive to assume that the fear, sadness and anger of some in addition to the racism, bigotry and hatred of others do not coincide here in Broome County or on SUNY Broome's campus. As such, we want to send a very clear message: SUNY Broome values diversity, equity and inclusion. We value discourse and civility. We value respect and human dignity and, therefore, there is no place for hatred and bigotry on our campus or in our discourse. We must, with strength and conviction, insist that hate, discrimination and injustices are unacceptable and inexcusable. Our social consciousness must be heightened and our voices strong if we want to make our campus, and to a larger extent, our country a safe and inclusive place for all. However, should you experience or witness an act of bias on our campus, please report it. SUNY Broome is committed to facing these incidents head on. For more information or to submit a report, simply click on the following link: HTTP://www3.sunybroome.edu/ptodi/bias-response/
In the coming days, weeks, months and years it will be important for us to intentionally create spaces of healing, discussion and understanding. These brave, conscious spaces we hope, can be a vehicle for a way forward. We need to remember and respect each other's humanity. We need to denounce rhetoric that fuels division and gives rise to oppression. We must also listen to each other with open minds and hearts even when it is hard, and most importantly when we disagree. This is how we honor our democracy. This is how we create understanding that leads to the actions that create positive change.
With warm regard and hope for our collective future,
The President's Task Force on Diversity and Inclusion


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