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Wednesday, May 30, 2012
Buried Potatoes and Other Treasures
There is a Maritime idea, maybe it's a tradition, of piling seaweed on top of your potato patch. There are as many variations for how this should be done as there are people that do it I'd say. Some people make a box, fill the box with seaweed only and plant the potatoes in it. Some people put just a layer of seaweed on top of their potatoes which they plant the "usual" way. Some believe it's very important to rinse the seaweed first to remove the salt. Others don't. I like an idea with so many variations and few rules so I made up my own version.
During the potato "off-season", I have a particular patch of ground where I pile horse manure. It's close to the house in a sunny spot. I realize this looks like, well.. exactly what it is, but no one around here seems to care. It freezes in the winter, snow piles on top of it, occasionally we dump the wood fire ashes there. But is affectionately known, all year round as the "potato patch", never the manure pile. Maybe sometimes labels are important? In the middle of this patch, I reverently planted a very tiny peony a couple of years ago. It just seemed like there needed to be one there. It continues to thrive and has been joined by a wild rose that just came "from nowhere" much to my delight. The peony is going to blooom for the first time this year I think. It has been a lesson in patience for sure.
In May, on Mother's Day, we take a trip to the beach and get a huge load of seaweed. The more the better. Sometimes it's raining, windy and freezing cold when we do this. Other times it's beautiful, warm and sunny. This year it was a picture perfect day. This entire load of seaweed then gets dumped and spread (I use the term loosely) on top of the accumulated manure. Then when I feel "inspired" the potatoes are buried underneath the seaweed.
The thing about this process is you can't be neat, tidy and orderly. At least I can't! You can't hoe seaweed or make orderly rows. It just sort of flops all over the place. This is what makes the planting so much fun. I just find a spot where I can bury a seed potato and even if I start out with rows, it quickly becomes totally, and completely, random. It feels like burying treasure expect there is no map and I have no idea when I walk out of that patch where the potatoes are. It occurred to me this year that it would be a great activity to do with little kids. No need for precise spacing, lots of opportunities for discovery and getting dirty, and best of all ,you'll never be able to tell "who's potato's were planted best". This is totally unlike planting that bean seed with your name written on the cup for all the class to see when your seed doesn't grow so high or you forget to water it.
I've got all kinds of different types of potatoes in my patch. I keep some of the ones we like the best and let them go to seed. That's another fun experiment that makes entering the basement a bit of an adventure! When we cut the potato eyes up for planting we had great imaginative stories of what this potato looked like. There were lots and lots of aliens!
Here's the best part. Once you bury those seed potatoes, you just walk away. There is no weeding to be done. You can't because you might be walking on a growing potato if you went into the patch! I have never had any issues with bugs. Apparently that's one of the huge benefits of using the seaweed. It seems to keep the bugs away so it's very easy for this whole thing to be totally organic. You just watch them grow and it's so much fun to see where a potato plant may appear next! When it "feels right" to me I dig the potatoes up and enjoy.
It occurs to me that one of the reasons this potato patch is so much fun for me, and it really is just plain fun, is that I really am not attached to the outcome. My ancestors grew potatoes for survival no question about it. I'm sure they worried about the planting and the growing and the harvesting. Perhaps some of that safety and security in potatoes gene is still within my DNA. I feel connected to my ancestors and my roots when I plant the potaotes and watch them grow. But I don't have the worry. If my potatoes don't work out I'll be able to buy them all year long. I can even pick and choose what type I want. So if I plant a type that isn't that great, or doesn't work out, it's really no big deal. In my part of the world, potatoes are probably about the cheapest food to buy so I really don't need to rely on my personal crop to survive the winter. It's very satisfying if it all works out but fun to do even if it doesn't. Hmm...
But I got thinking about the seaweed. I turned to Sabina Pettitt's book, "Energy Medicine Healing from the Kingdom of Nature". Unlike most plant medicine and essence lines, Pettitt includes Sea Essences in her line of Pacific Essences http://www.pacificessences.com/ . Her book explains the energy and healing powers behind the plants and why they might be helpful to you and includes a picture of each plant. It turns out, in my potato patch seaweed, I have the following: Brown Kelp, Rainbow Kelp, Stagborn Algae, Pink Seaweed, and Surfgrass. Or at least I have Atlantic versions of those Pacific ocean plants.
Brown Kelp provides clarity according to Pettitt. It's helpful when you need to step back and release the confusion. Life will be easier with more time and energy for fulfillment. That's true. I don't need to spend time weeding or tending to that garden. I can just step back without worry.
Pettitt writes that Rainbow Kelp provides alchemcial transformation. It provides a connection to our higher perception, and balances the brain to release, relax and reconnect with the light. Seems like there might be a connection to the Vagus nerve http://pixiedusthealing.blogspot.ca/2012/02/vagus-nerve-and-7-chakras.html associated with Rainbow Kelp. A lot of magical transformation happens in my potato patch, of that I am sure.
Once it's all dried up and mixed in, it's kind of hard to distinguish, but I'm pretty sure I have Stagborn Algae in my potato seaweed. Pettitt writes it "provides inner security and a sense of self amidst turbulence and confusion". I like that idea in, what feels like, intense http://pixiedusthealing.blogspot.ca/2012/05/solar-eclipse-pressing-re-set-button.html times and a rapidly shifting world.
There was definitely Pink Seaweed in the potato patch. It seems to have faded a bit now but when it rains it really stands out and adds a definite color. In Energy Medicine, Pettitt explains Pink Seaweed is a grounding remedy. It helps in enabling you to "accept yourself and give yourself time and space to manifest your full potential". It can help provide patience for new beginnings. Perhaps that's why it's started to fade now. It's done it's magic and is providing space for the new growth.
There is lots of Surfgrass in the seaweed. Pettitt writes this plant holds the energy of "courage, strength and power rooted in stability and flexibility". So maybe that's why there aren't a lot of rules in how you use the seaweed. It's about finding your own stability and strength by allowing flexibility to emerge.
No wonder the potato patch feels so good! There is a lot of nature's positive energy in there. It seems to be all about allowing for the transformation to occur. And in that process I find a lot of safety and security. My potatoes are virtually buried in a host of nature's treasures.
Enjoy the growth!
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About meon
Meon is an App Network - a place to create amazing experiences through apps, find apps, use other existing apps, and interact with others through content posted in apps.
Meon was conceived and created by Anand C Ramanathan (rcanand)
Why meon?
Today, people think of their web experience in two parts. Getting apps that provide experiences, and using those apps by adding content to it, and perhaps interacting with others through it.
To get a web experience you want, either as a person, or as a part of a company, you can either find some app out there which provides a similar experience, or you can develop or hire a development team to build the app for you.
In the case of existing apps, you are limited by the experience and the configurability that they provide, and those apps rarely provide exactly the experience you would want to have.
In the case of developing apps, there is usually a high cost, and even simple web applications take months to be created based on stated requirements.
So, you either compromise on the experience you want when you use existing apps, or you accept a huge time delay and huge cost if you choose to get your apps developed.
The sad consequence of this state of affairs is that most people, who may have several specific experiences in mind, have slowly given up on having the actual experiences they would like to have - after all, most people cannot afford the thousands of dollars needed to build the apps they want. Most people, in many cases, also cannot wait for months or years to have the experience they want. So, people have trained themselves to either look for existing software that does what they want, or if they can afford the time and money, spend the big bucks and wait for months to get what they want.
Meon changes all that.
With meon, you can have the exact experience you want, in the form of meon apps.
Anybody can create apps in minutes, with no need for programming skills or background.
Once created, the apps are automatically and immediately available to be used directly from within meon.
Within each app, you can decide who gets to read and write content, and each user can have multiple apps for multiple experiences and multiple communities they interact with.
For example, consider Carl, a middle school teacher, who likes to cook and also stays in touch with his college buddies.
Carl may have the following meon apps:
- A family blog app, where he posts content for his family.
- A whole suite of quizzes which he posts for his students to take, and once they take it, the quizzes get graded automatically, instantly.
- A parents app for parents to get in touch with him or for him to contact parents about how their children are doing.
- A public cooking app, where he posts his favorite recipes, favorite cooking related tools and products, and solicits reviews from the community on his recipes.
- Carl knows that the annual reunion of all his college buddies is just a couple of months away. He creates an app where he includes his buddies as members, and each of them can suggest dates and places for the next reunion. He consolidates all the data and picks a date and venue, and shares it with his friends. He also creates a reunion app, where all friends post picture links, video links and posts related to the reunion.
Before meon, Carl's above experience seems like a fantasy - but with meon, these apps take just a few minutes each to build. And if there is already an app of that kind, Carl could clone the app for himself instantly.
The power of meon lies in its app network, where users can prolifically create apps and content within apps, and share it with the community, controlling exactly who gets to do what in each of their apps. And once an app is created, it can now be made available for others to reuse instantly. Or other users can look at the structure of existing apps to learn how to build their own.
Meon empowers every web user to now dream of any experience they want, and create it for themselves in minutes.
With meon, your web experience is no longer dependent on external software or developers, which means you do not have to wait for months to have the experience. Nor do you have to compromise on what you want. You think of an experience, you create it in minutes, and you can then experience it immediately, all within meon.
Now all that is left for you is to figure out what experiences you want, and create them on meon. This may be hard, at first. All of us don't usually demand specific experiences, because there was no way to bring it to fruition. With meon, we can slowly rebuild the courage to dream of anything we want, and have those exact experiences, in minutes.
Enjoy meon - your app network!

subset: commoncrawl


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Directed by Mike Nelesen. Mike Nelesen's directing talent has a broad range from humor to heartwarming. He has extensive experience with kids, dialogue and health care. Mike has an uncanny ability to adapt to the look and feel boarded keeping his specialty of getting great talent performances.\r\n\r\n \r\n\r\nEdited by Matt Silver. Storyteller, problem solver, artist. Matt Silver's creative nature and love for storytelling help to solve any challenge the edit room can bring.
Director: Mike NelesenEditor: Matt SilverClient: Security Health Plan


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WASHINGTON – On April 13, the Woodall Cyber Cats presented their science, technology, engineering and math classroom concepts to the President Barack Obama as part of the sixth annual White House Science Fair.
More than 100 top STEM students from across the country were a part of the annual event.
Students making up the team from Woodall School, near Tahlequah, Oklahoma, were Cherokee Nation citizens Ty Brant, 12 and Taylor Wingo, 12, as well as Anthony Maldonado, 13, and Benjamin Woolen, 13.
On the way home, Wingo said she learned so much on her trip. "And the speech Obama gave was inspiring."
Wingo, who did the core values for the team, also constructed a board about recycling.
"Basically, the core values is telling about the team and how we work together. The recycling basically tells what can be recycled and what can't be recycled. It also talks about the Rio de Janeiro landfill," Wingo said "It was a phenomenal experience. I learned how to speak better in front of others."
Brant said the experience motivated him to try to solve worldly problems such as hunger and cancer.
As captain on the team, he said his job is to make sure everything is going properly.
"Currently, I'm making sure everything on the vex (metal robot) and Lego robots are working and reprogramming the Lego because it lost the programs. The vex doesn't need to be programmed because it is manually controlled by a remote," he said.
Maldonado said his motivation was seeing so many intelligent kids in one place at one time.
"That gives me hope that our generation will fix many problems," he said.
Dr. Geary Crofford, science teacher at Woodall, said they talk about many concepts during the competitions, including teamwork, good attitude and optimism.
Woolen said during their project they also discuss the benefits of recycling and explaining more thorough about what the metal robot (vex) and what the Lego robot does.
Crofford said his students are being recognized at the highest level for their knowledge, skills and hard work and he could not be happier or more proud.
"It also shows Woodall is a school that has a top-flight and a well-rounded educational environment," he added.
Article courtesy of Jami Murphy and the Cherokee Phoenix.


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Tear Art Pumpkin10.31.2013
Happy Halloween! If you are like us mums here at Mumsy, Halloween is simply magical. A day filled with thrilling activities, spooks galore, and endless treats that will more than likely give you a cavity or two :)
So, wanting nothing more than to start this holiday off on the right foot; here is a treat from moi to you.
Loves and Hugs,
Pumpkin Tear Art
Supplies Needed:
*Copy of Mumsy Jack-o-lantern outline
* Orange, green, brown, and black construction paper.
* Glue
* Yourself and a chickie or two.
How To:
1) With your chickie, begin tearing off pieces of paper from your constructions paper sheets (size doesn't matter).
2) Squeeze a dot of glue in the center off each torn of piece of paper, one at a time.
3) Place your piece of paper anywhere within the Jack-o-lantern outline.
(Ideally, you would use the orange construction paper for the pumpkin part, the green and brown for the stem, and the black for the facial features. But, when it comes to chickies and art, I have learned that it is best to let their imaginations soar. Especially because you usually get something way better than you ever planned/expected.)
4) With you chickie(s) find a place in your nest to display the final masterpiece.


text: V Viktor&Rolf: Fashion Artists Viktor&Rolf: Fashion Artists, developed in collaboration with the National Gallery of Victoria in Melbourne, Australia explores Viktor&Rolf's notion of wearable art. The exhibition features some of the most show-stopping and innovative works by the Dutch design duo, including over 35 haute couture pieces from the designers' collections, presented alongside earlier designs from the Viktor&Rolf archive and international museum collections. Also on display will be a selection of their work-in- progress "Dolls": replicas of antique dolls dressed in the designers' most iconic looks. The exhibition has been developed in close collaboration with Viktor&Rolf and international guest curator Thierry-Maxime Loriot. 21 October 2016 - 26 February 2017 http://www.ngv.vic.gov.au/exhibition/viktorandrolf/


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The Public Value of Culture for Social Cohesion and Urban Development in Africa
Eight African, European and international partners join forces with the European Union to create new opportunities and mobilise stakeholders to promote intercultural dialogue and cultural diversity in urban and peri-urban areas in Africa as drivers for social inclusion and sustainable human development.
Culture at Work Africa aims to:
1) support projects to develop safe and neutral spaces for intercultural dialogue,
2) strengthen multi-stakeholders national and transnational cooperation, capacity building and networking opportunities,
3) promote citizenship and intercommunity relations.
The project began in February 2018 and will end in 2021; it is co-funded by the European Union and implemented by Interarts, Arterial Network, Centre for Fine Arts – BOZAR, Culture et Développement, Regional Centre for the Living Arts in Africa – CERAV/Afrique, Culture Fund of Zimbabwe Trust, International Music Council – IMC, Committee on Culture of United Cities and Local Governments – UCLG, together with their associated partners African Centre for Cities and the School of Architecture, Planning and Geomatics at the University of Cape Town, the Economic Community of West African States – ECOWAS, and the Centre for Linguistic and Historical Studies through Oral Tradition – CELHTO.
Target countries
Benin, Burkina Faso, Cameroon, Côte d'Ivoire, Democratic Republic of Congo, Kenya, Mali, Niger, Nigeria, Rwanda, Senegal, Tanzania, Togo, Uganda and Zimbabwe.
Main beneficiaries
Cultural institutions and independent art centers, creators, public and private cultural operators, civil society groups, activist groups, community leaders, scholars and local authorities.
Main activities
- Two calls for proposals to support approximately 50 innovative on-the-ground projects (grants up to 60,000€ for each project)
- Seminars and exchanges visits
- Trainings
- Continuous coaching
- Networking events
- Communication campaign
- Awareness-raising video
- Two exhibitions and international conferences
- A publication
- A virtual platform for exchanges and intercultural dialogue
Culture at Work Africa website
- Arterial Network
- Centre for Fine Arts – BOZAR
- Culture et Développement
- Regional Centre for the Living Arts in Africa – CERAV/Afrique
- Culture Fund of Zimbabwe Trust
- International Music Council – IMC
- Committee on Culture of United Cities and Local Governments – UCLG
- African Centre for Cities and the School of Architecture, Planning and Geomatics at the University of Cape Town
- Economic Community of West African States – ECOWAS
- Centre for Linguistic and Historical Studies through Oral Tradition – CELHTO
Photo by Austin Neill on Unsplash


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I remember the moment I recognized my competition.
Picture it, the competition.
I know what you're imagining.
They're a bunch of shadowed figures in suits, maybe?
Or are they are sharks, ready and waiting for you to fail?
I used to imagine that, too.
Now, let's picture success.
Are you imagining it?
The picture of success that you now hold in your mind is probably different from that of my one and only other reader.
There is, however, one thing that I guarantee both of your successes have in common:
A competitive advantage.
I'm going to ask you a question:
Would you ever, in a million years, give your competitive advantage to your competition?
Are you shaking your head, no?
I thought so.
I remember the moment I recognized my competition:
I looked around the room of my college marketing class and saw my classmates, peers, and friends.
So, here it is, ya'll:
The moment you've all been waiting for.
In the words of Roger H. Lincoln, there are two rules for success…


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Description: In Tokyo's downtown district of Ikebukuro, amidst many strange rumors and warnings of anonymous gangs and dangerous occupants, one urban legend stands out above the rest—the existence of a headless "Black Rider" who is said to be seen driving a jet-black motorcycle through the city streets. Mikado Ryuugamine has always longed for the excitement of the city life, and an invitation from a childhood friend convinces him to move to Tokyo. Witnessing the Black Rider on his first day in the city, his wishes already seem to have been granted. But as supernatural events begin to occur, ordinary citizens like himself, along with Ikebukuro's most colorful inhabitants, are mixed up in the commotion breaking out in their city.
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issho ni nihongo o benkyou shimashou! Let's study Japanese together!
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日本語を勉強, 日本語を学ぶ
アニメで英語, アニメ英語字幕
Season: 1


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Ask any young person trapped in a 9-to-5: accessing media for social and entertainment purposes is a highlight to an otherwise long and laborious day. Stumbling across the newest cat #meme or debating the relevancy of Lil B with a friend on Gchat is something many look forward to.
But young analysts working at JPMorgan, Goldman Sachs, and other financial firms on Wall Street are faced with a different reality: social media is banned altogether.
As Michael Kaplan reports in Dealbook: "Investment banks say regulation is the primary motivator for blocking social media. According to the Financial Industry Regulatory Authority, firms must keep a record of any business communication for three years. The rule applies to correspondence on any device or Web site. While firms are able to monitor e-mails and instant messages internally, it is impossible to track what one employee among hundreds of thousands is communicating on Twitter or through a Facebook chat."
Many of the banned sites at major banks, as well as consulting and law firms, include Facebook, Twitter, YouTube, Spotify, Pandora, and even Gmail.
Several analysts, however, have found loopholes. Many connect to their company's free Wi-Fi using smartphones or often opt for SoundClound and GrooveShark instead of Spotify when streaming music.
"In the office, you'll often find people gathered around an iPad watching something on CNBC or Bloomberg they didn't see in real time," said Goldman Sachs spokesperson Richard Siewert Jr.
There is hope, too. Kaplan reports that "by 2014, fewer than 30 percent of all large organizations are expected to be blocking employee access to social media. As other traditionally strait-laced industries like consulting and law increasingly incorporate social media in the workplace, the financial services are lagging."
[via Dealbook]


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Through the U.S. Country Studies Program, the U.S. Government has been providing technical and financial support to 56 developing countries and countries with economies in transition to assist them in conducting climate change studies. The studies have enabled these countries to develop inventories of their anthropogenic emissions of greenhouse gases, assess their vulnerabilities to climate change, and evaluate response strategies for mitigating and adapting to climate change. The program was announced by the President prior to the United Nations Conference on Environment and Development (UNCED), also known as the Earth Summit, in Rio de Janeiro, Brazil, in 1992.
Copyright © 1999 USCSP
Most recent revision June 24, 1999


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TORONTO — Canadian theatre star Chilina Kennedy admits she was a little starstruck during the early days of portraying Carole King on Broadway — especially when she got her first email from the legendary American singer-songwriter.
"I was like: 'Carole? I don't have any friends named Carole. Oh my gosh, it's Carole King!"' says Kennedy, laughing as she recalls her startled reaction.
"She said: "Oh, I heard you're great in the show. I want to come see you. Do you want to know when I'm coming?' I responded: 'Dear Ms. King: please do not tell me when you're coming because I will fall over.'
"She wrote back and said she would surprise me, and so she did, and it was fantastic."
Kennedy, who was born in Oromocto, N.B., will enjoy a Canadian homecoming as she headlines "Beautiful – The Carole King Musical" at the Ed Mirvish Theatre in Toronto beginning Tuesday. The production charts King's ascension to musical superstardom writing and singing some of pop music's most enduring hits.
Kennedy plays opposite St. John's, N.L., native Liam Tobin, who portrays King's former husband and songwriting partner Gerry Goffin.
Kennedy has a rich theatrical pedigree on both sides of the border. She spent three seasons at both the Stratford Festival and Shaw Festival in Ontario, starred in a touring production of "Mamma Mia!", and portrayed Mary Magdalene in "Jesus Christ Superstar" on Broadway.
Kennedy replaced Jessie Mueller in Broadway's "Beautiful" in March 2015. Beyond the famed New York stage, the Canadian enjoyed a whirlwind year singing alongside and in honour of King.
Kennedy joined the pop icon on U.S. morning show "Today" to perform "I Feel The Earth Move." She was also part of a powerhouse musical tribute to King at the Kennedy Center Honors in Washington, D.C., with former U.S. president Barack Obama and his wife Michelle in attendance.
Kennedy recalls a special moment with James Taylor after she forgot staging cues for the final number.
"He said: 'Don't worry about it' and he took my hand and we came out together," she says of her interaction with the celebrated singer-songwriter, who recorded King's "You Got A Friend" in 1971.
"The people of that generation, in that music scene, were so generous," adds Kennedy. "It seems to me from the research that I've done and from meeting these people there's just a sense of community and collaboration and a sense of 'us' as opposed to 'I' that I think is really important in music and in theatre and the world right now. We need less 'me' and more 'we."'
King was just 17 when she co-wrote her first chart-topper "Will You Love Me Tomorrow" with Goffin. The duo collaborated on dozens of tunes performed by countless artists including Little Eva's "The Loco-Motion," "One Fine Day" by the Chiffons, "I'm Into Something Good" by Herman's Hermits, and Aretha Franklin's "(You Make Me Feel Like) A Natural Woman."
King found historic solo success with 1971's "Tapestry," which won four Grammys and remained the bestselling album by a female artist for 25 years.
Kennedy says she's marvelled at the powerful connections theatregoers have to King and her music.
"I've heard: 'Oh, "You've Got A Friend" was me and my friend driving across the country,' or 'This is a song that I listened to … when I split from my husband.' People remember the time and the place where they were when those songs were on the radio," says Kennedy.
"People respond very powerfully to powerful messages, and especially a strong woman's story (of) succeeding despite roadblocks and challenges," she adds.
"I find her story powerful and I know other people do because they tell me after the show. They say how moved they are by that, and how people feel more beautiful, they feel more hopeful, they feel more joyful after hearing her story."
"Beautiful" has extended its run in Toronto until Sept. 3.
Follow @lauren–larose on Twitter.


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Pope Francis's apostolic exhortation based on the Synod on the Family will be released on Friday April 8, it was announced today.
The Vatican said the exhortation will be called "Amoris Laetitia", which means the Joy of Love.
The document will be presented by Cardinal Lorenzo Baldisseri, general secretary of the Synod of Bishops, and Cardinal Christoph Schönborn, Archbishop of Vienna.
The married couple Professor Francesco Miano, lecturer in moral philosophy at the University of Rome at Tor Vergata, and Professor Giuseppina De Simone in Miano, lecturer in philosophy at the Theological Faculty of Southern Italy in Naples, will also be present.
Cardinal Pietro Parolin, the Vatican Secretary of State, said last year that the papal document "will be based on the conclusions of the synod, as is the tradition".
The three-week Synod of the Family saw 270 bishops discuss Communion for divorcees and the civilly remarried as well as the Church's pastoral approach to gay Catholics.


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Review process
1- For paper submission, authors should refer to the journal website (http://ijmm.ir) and register themselves as an author using the "Register" link. After receiving their username and password via e-mail, the authors could use the "Submit paper" link, log in, and submit their manuscript.
2- If the received manuscript is not written according to the journal format (considering the format in sectioning, the number of words in abstract, references, etc.…) and/or the language does not meet the required quality, the manuscript will be sent back to the corresponding author for revision and re-submission.
3- Manuscripts having the above-mentioned criteria are referred to the related section editor. If the paper fits to the specified fields of the journal and has innovation, then it will be sent to three or more referees expert in that specific field, at least two of which are out of the editorial board members. The corresponding author could also suggest potential reviewers to the journal at the time of submission. However, the editorial board reserves the right to select or refuse to use the suggested potential reviewers.
4- If the nature of the work and the results necessitates deep statistical analysis, by suggestion of the Editor-in-Chief and/or referees, the manuscript is reviewed by a statistics expert as well.
5- Each reviewer suggests alteration/corrections or additional work to be done, asks questions to be answered by the author, and makes an overall opinion about the manuscript as being: acceptable as it is, acceptable after minor/major revision, or not acceptable. The reviewers comments are then sent to the corresponding author.
6- After receiving the modified version of the manuscript and/or author's answers to the reviewers questions, it will be sent to a final reviewer. If the modifications and/or answers are not adequate, it will be sent back to the corresponding author with a specified deadline to send the final corrected version.
7- The final corrected version of the manuscript is sent back to the same final reviewer. Then, the comments and the overall opinion of the final reviewer are discussed in the journal's editorial board, and the final decision (the acceptance letter or a letter informing the author of not accepting the manuscript) will be sent to the corresponding author.
The submitted manuscripts will be assessed from editorial points of view, at first. Should the manuscript meet the basic editorial requirements; it will enter the peer-review process. The manuscript will then be sent to one in-office and two out of office referees for review. The corresponding author will then be informed to the referee's remark.
Revision: Papers may be returned to authors for modification of the scientific content and/or for shortening and language corrections. Revised paper and a letter listing point-for-point response to the reviewers must be submitted to the Editor and must be accompanied by a copy of the original version.
Suggestion by the Editor about resubmission does not imply that a revised version will necessarily be accepted. If a paper that is returned to the authors for modification is not resubmitted within two months it will be regarded as having been withdrawn and any revised version received subsequently will be treated as a new paper and the date of receipt will be altered accordingly. Authors who resubmit a paper that has previously been rejected must provide the original manuscript and a letter explaining in detail how the paper has been modified.
The right is reserved to incorporate any changes deemed necessary by the Editor to make contributions harmonize with the editorial standards of the journal. Accepted manuscripts become the property of Iranian Journal of Medical Microbiology.
Proofs: Proofs will be sent to the corresponding author to be checked for only typographical errors and other essential small changes. Major alternations to the text cannot be accepted at this stage. Proofs must be returned to the Editor within 3 days of receipt.
Responsibilities of authors
The authors are responsible for accuracy of all statements and data contained in the manuscript, accuracy of all references information, and for obtaining and submitting permission from the author and publisher of any previously published material included in the submitted manuscript.


text:
Thursday, August 17, 2017
Cheap Muscle: 1963 Pontiac Grand Prix
From the seller:
2 Door Coupe
Engine 455 with 400 Transmission Shift Kit
4:11 Rear End
Bucket Seats
Interior is nice, Original Headliner
Solid car
See better big old boat? email@example.com
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text:
Main Content
Minimum Essential Coverage
The federal government requires you to have health insurance and indicate your coverage status when you file your taxes. This coverage is reported in forms 1095-A, 1095-B, 1095-C depending on who provided your health insurance. The Indiana Family and Social Service Administration is mailing out 1095-B Forms to all recipients of eligible Indiana health coverage assistance if benefits were issued for at least one day in the tax year. This 1095-B form provides the information needed to report your health coverage status and the health coverage status of dependents from the tax year on your income tax return.
FSSA will mail a 1095-B form to each individual that received benefits by the end of March. You should review the 1095-B Form for accuracy. If the information on the form is not correct or you need to request a replacement to be mailed, you may call 1-855-673-0145.
If you need to view or print this form, you may visit our website: http://www.getmy1095b.com/.
If you have further questions on this form or tax preparation, please visit www.irs.gov.


text: MOVIES Music Reviews 9:00 PM PDT 3/20/2007 by Craig Rosen , AP FACEBOOK TWITTER EMAIL ME Empty TWITTER Empty The Roxy, West HollywoodMonday, March 19Midway through her set Monday at the Roxy, Amy Winehouse belted out the confessional bad-girl anthem "You Know I'm No Good," but the British soul scorcher was only half-right. Maybe she is no good, but at that moment -- and during much of her 50-minute set -- Winehouse was fantastic.Fresh from the South by Southwest Music Conference in Austin, where she was one of the leading attractions, the 23-year-old chanteuse already has garnered much success and acclaim in her homeland, including topping the album chart with her second U.K. release "Back to Black" (released last week in the U.S. on Universal Republic) and a Brit Award for best British female solo artist. On a night when two other SXSW buzz acts -- Scotland's the Fratellis and Britain's Bloc Party -- also were in town, Winehouse was the buzziest and had no problem living up to the hype.Backed by a nattily attired nine-piece ensemble that included an instrumental quartet, a trio of horn players and two male backup singers, Winehouse's set played out like a full-scale soul revue. She was the striking figure in the center of it all, sporting a low-cut turquoise party dress over her razor-thin, tattooed frame, with a beehive hairdo and Egyptian-styled eye makeup. Yet it was Winehouse's voice rather than her looks that delivered the knockout punch.She tipped her influences before even taking the stage by having the Chiffons' classic "He's So Fine" play over the house PA system as she made her entrance. Indeed, Winehouse is reviving the tradition of the great girl groups of the '60s, as was evident in her performance of the title track of "Back to Black," which is steeped in the kind of heartbreak and drama that hasn't been heard since the Shangri-Las. Yet she also channeled such R&B and jazz greats as Etta James and Billie Holiday.Still, Winehouse isn't a mere nostalgia act. She tacked on Lauryn Hill's "Doo Wop (That Thing)" on to the end of her own "He Can Only Hold Her" and impressively traded verses with her backup singers. "You Know I'm No Good" was propelled by infectious hip-hop-styled beats and spiked by intoxicating horns. She introduced the song by sharing her thoughts about a recent breakup with her boyfriend. In "Me & Mr. Jones," Winehouse made reference to a "Slick Rick gig," and her show-closing number may have been propelled by a '60s-styled groove and handclaps, but it's titled after and addresses the very current subject of "Rehab."In all, even the relatively brief dose of Winehouse at the Roxy was intoxicating enough to leave those in attendance jonesin' for more. FACEBOOK TWITTER EMAIL ME Craig Rosen email@example.com @thr AP firstname.lastname@example.com @thr


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This guide is for publishers who want to use the Google Mobile Ads SDK to load and display ads from nend via mediation. It explains how to add nend to an ad unit's mediation configuration, how to set up ad network optimization, and how to integrate the nend SDK and adapter into an iOS app.
The dashboard interface for nend uses Japanese text for its labels, buttons, and descriptions, and the screenshots displayed below have not been translated. In this guide, labels and buttons are referred to by their English equivalents. "URL スキーム," for example, is "URL Scheme," and so on.
Supported formats and features
The AdMob mediation adapter for nend has the following capabilities:
|Rewarded Video
|Rewarded Video (new APIs)
|Smart Banners
|Ad Network Optimization (ANO)
- Xcode 9.2 or higher
- iOS Deployment target of 8.1 or higher
- Google Mobile Ads SDK 7.42.2 or higher
Step 1: Set up nend
Sign up or sign in to your nend account.
To add your application to the nend dashboard, first click on the Placement Management tab, and then select Site/App. Click the Add an app button to add your app to nend.
Create an application
Enter the name of your app and choose iOS application as the application type. Enter the URL and check if your app is in the Play store (see nend's unreleased apps FAQ if your app has not yet been released). Select a category for your app and click Create when done.
Your application will be shown on the dashboard once it is created.
Create a placement
Once the app is registered, you can move on to creating a placement. To create a placement for banner ads, go to the Placement Management tab and click on Placement. Then click the Create a new placement button.
Select the tab below corresponding to your preferred ad format.
BannerFirst, select your app in the drop-down menu. Next, choose still image for the Ad type, and banner for the Inventory type. Once that's done, enter a Placement name, choose a format, and finally choose your desired banner size. When finished, click the Create button to create your placement.
Note that the banner size chosen here should match the size requested by your app.
Create Inventory for your interstitial placement by first selecting your app name in the drop-down menu. Next, for the Ad type select Still image, and for the Placement type select Interstitial. Once that's done, enter a Placement name and select an Advertisement display frequency from the drop-down list. Finally, click the Create button to create your placement.
For interstitial video ads, select Video for the Ad type, then select Interstitial as the Inventory type. Once that's done, enter a Placement name and select a Category from the drop-down list. Finally, click the Create button to create your placement.
Rewarded videoCreate Inventory for your rewarded placement by first selecting your app in the drop-down menu. Next, set the Ad type to Video and Inventory type to Rewards. When that's done, enter a Placement name and Description, then choose an appropriate Category in the drop-down list.
Select Rewarded for the Content type using the drop-down list, enter your preferred Virtual currency name, and then click the Create button to create your placement.
To set up your AdMob ad unit in the next section, you'll need the apiKey and spotID for each placement. To locate them, head to the Placement Management tab and select the SDK button under the name of your app.
Take note of the apiKey and spotID.
You'll also need your API Key for nend's reporting API, which they call the API Key for Scraping. You can find it in the Tools tab.
Step 2: Configure mediation settings for your AdMob ad unit
Next, you need to add nend to the mediation configuration for your ad unit. First, sign in to your AdMob account.
Navigate to the Mediation tab. If you have an existing mediation group you'd like to modify, click the name of that mediation group to edit it, and skip ahead to Add nend as an ad source.
To create a new mediation group, select Create Mediation Group.
Enter your ad format and platform, then click Continue.
Give your mediation group a name, and select locations to target. Next, set the mediation group status to Enabled. Then click Add Ad Units.
Associate this mediation group with one or more of your existing AdMob ad units. Then click Done.
You should now see the ad units card populated with the ad units you selected, as shown below:
Add nend as an ad source
In the Ad Sources card, select Add Ad Network.
Select nend and enable the Optimize switch. Enter your API Key for Scraping obtained from nend earlier as the Reporting API Key to set up ANO for nend. Then enter an eCPM value for nend and click Continue.
Enter the Spot ID and the API Key obtained in the previous section and click Done.
Using rewarded video ads
In the settings for your rewarded video ad unit, provide values for the reward amount and reward type. Then, to ensure you provide the same reward to the user no matter which ad network is served, check the Apply to all networks in Mediation groups box.
If you don't apply this setting, the nend adapter passes back the reward specified in the nend dashboard.For more information on setting reward values for AdMob ad units, see Create an ad unit.
Step 3: Import the nend SDK and adapter
Using CocoaPods (recommended)
Add the following line to your project's Podfile:
pod 'GoogleMobileAdsMediationNend'
From the command line run:
pod install --repo-update
Manual integration
Download the latest version of the
nend iOS SDK, and link
nendSDK.framework in your project. Download
and link
NendAdapter.framework in your project.
Add the following frameworks to your project:
In addition, by adding the following frameworks, it becomes possible to use detailed information by ad delivery.
Step 4: Additional code required
No additional code is required for nend integration.
Project settings
Add the
-ObjC flag to the Other Linker Flags under Application Target >
Build Settings.
Step 5: Test your implementation
To get test ads for banners, interstitials, and rewarded, nend recommends using the API keys and Spot IDs provided in the nend test ad units page. These can be entered as the API Keys and Spot IDs for your AdMob ad units while testing, and then replaced with an actual API Key and Spot ID when your app is ready for production.
Optional steps
Network-specific parameters
The nend adapter supports additional request parameters, which can be passed to
the adapter using the
GADMAdapterNendExtras class.
userId- Sets the UserID of specific nend interstitial ad.
Here are examples of how to set these ad request parameters:
let request = GADRequest() let extras = GADNendRewardedNetworkExtras() extras.userId = "12345" request.registerAdNetworkExtras(extras)
GADRequest *request = [GADRequest request]; GADNendRewardedNetworkExtras *extras = [[GADNendRewardedNetworkExtras alloc] init]; extras.userId = @"12345"; [request registerAdNetworkExtras:extras];
nend iOS Mediation Adapter Changelog
Version 184.108.40.206
- Verified compatibility with nend SDK 5.3.1.
Build and tested with
- Google Mobile Ads SDK version 7.52.0.
- Nend SDK version 5.3.1.
Version 126.96.36.199
- Verified compatibility with nend SDK 5.3.0.
Built and tested with:
- Google Mobile Ads SDK version 7.50.0.
- Nend SDK version 5.3.0.
Version 22.214.171.124
- Updated the adapter to use the new rewarded API.
- Now requires Google Mobile Ads SDK version 7.42.2 or higher.
- Verified compatibility with nend SDK 5.1.1.
- Changed condition that checking banner size.
Appropriate size for SmartBanner
- kGADAdSizeSmartBannerPortrait
- iPhone: 320×50
- iPad: 728×90 or 320×50
- kGADAdSizeSmartBannerLandscape
- iPad: 728×90 or 320×50
- kGADAdSizeSmartBannerPortrait
- Added support for flexible banner ad sizes.
Version 18.104.22.168
- Verified compatibility with nend SDK 5.1.0.
Version 22.214.171.124
- Verified compatibility with nend SDK 5.0.3.
Version 22.214.171.124
- Verified compatibility with nend SDK 5.0.2.
Version 220.127.116.11
- Verified compatibility with nend SDK 5.0.1.
Version 18.104.22.168
- Verified compatibility with nend SDK 5.0.0.
Version 188.8.131.52
- Verified compatibility with nend SDK 4.0.6.
- Remove to set userFeature property.
Version 18.104.22.168
- Verified compatibility with nend SDK 4.0.5.
Version 188.8.131.52
- Verified compatibility with nend SDK 4.0.4.
Version 22.214.171.124
- Verified compatibility with nend SDK 4.0.3.
Version 18.104.22.168
- First release in Google Mobile Ads mediation open source project.
- Added support for reward-based video ads.
Previous Versions
- Supports banner and interstitial ads.


text:
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The screw top container fits in my beach bag perfectly or I can even stow it in the glove compartment. *Happy Sigh* no more uncomfortable sandy feeling on the drive home from the beach or after playing in the sandbox at the park for the kids. I also love the smell, it is sweet and similar to a suncreen type coconut smell. All I have to do is pat on the silky powder with the included microfiber poof applicator and the sand comes right off of our legs and feet with out the kids shedding any tears...simple!
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a Rafflecopter giveaway
I received one or more of the products mentioned above for free using Tomoson.com. Regardless, I only recommend products or services I use personally and believe will be good for my readers.


text:
Japan Airlines admits price-fixing, agrees to $110M fine
Washington (AP) - Japan Airlines International Co. Ltd. on Wednesday became the fourth foreign airline to admit to price-fixing and agree to pay a multimillion-dollar fine to the U.S. government.
The Tokyo-based carrier agreed to pay a $110 million criminal fine for its role in a conspiracy to fix rates for international cargo shipments, the U.S. Justice Department said. According to charges filed in the U.S. District Court for the District of Columbia, Japan Airlines sought to eliminate competition by fixing the rates for international shipments of cargo to and from the U.S. and elsewhere from April 2000 to February 2006.
During that time, the airline was the largest carrier of cargo between the U.S. and Japan, and earned almost $2 billion from its cargo flights between the two countries. Japan Airlines' parent JAL Group issued a statement saying it had set aside money for a fine last November, and "will determinedly continue to expand and reinforce its current antitrust compliance program."
Under a plea agreement that is subject to court approval, Japan Airlines also has agreed to cooperate with the Justice Department's ongoing investigation, which already has yielded guilty pleas from and fines against British Airways PLC, Korean Air Lines Co. Ltd. and Australia's Qantas Airways Ltd.
British Airways and Korean Air each agreed to pay $300 million fines; Qantas agreed to pay $61 million. Qantas' chief executive said in November that U.S. and foreign antitrust regulators were investigating up to 30 airlines for similar conduct.


text:
November 2016
Newly appointed Artistic Director of France's La Colline – national theatre, Wajdi Mouawad comes to Philadelphia with his internally acclaimed performance.
Performed worldwide, Seuls comes from Lebanese-Canadian artist Wajdi Mouawad, whose play Scorched was a hit at the Wilma in 2009. Through the use of stunning imagery and physicality, Seuls tells the powerful story of a man who, as a child, moved to a new country from his home to escape civil war. As he loses himself in a new context and language, he soon realizes that his childhood emigration has begun to compromise his own sense of self—along with his capacity for happiness. Over the course of his performance, the character overcomes his self-doubt and finds release through color, sensation, and dream.
Wajdi Mouawad commands the space for the full duration of the performance, interacting with a mix of complex slides and video projections creating the surreal world of Seuls. Performed entirely in French with projected English titles, Seuls has toured through France, Canada, and the United States. "Wajdi's performance is unlike anything else I have seen—highly moving and theatrically stunning," Wilma Artistic Director Blanka Zizka described after seeing the show in DC at the Kennedy Center. Mouawad's performance in Seuls, with its boundless energy and wide emotional range, exhibits a rawness that dares its audience to experience the world around them viscerally.
Seuls was recently performed at La Colline – national theatre, a theater which Wajdi Mouawad joined as the Artistic Director in April of 2016. A trailer of the production can be found on The Wilma Theater's website at http://www.wilmatheater.org/production/seuls.
Mouawad spent his early childhood in Lebanon, his adolescence in France, and his young adult years in Quebec before he settled in France. His plays and novels have been translated in more than 20 languages, and have traveled the 5 continents, being produced and presented in theatres around the world, amongst which: Japan, Brazil, Korea, Scandinavia, Germany, Spain, Morocco, Britain, the United States, Mexico, Argentina, and Australia.
Seuls begins on Tuesday November 29, 2016; and opens on Wednesday, November 30, 2016. For critics and members of the press interested in attending Press Night on Wednesday, November 30 at 7:30pm, contact Alison Ehrenreich at email@example.com or 215.893.9456 x102.
About Wajdi Mouawad
Born in 1968, author, actor, and director Wajdi Mouawad studied in Montreal, at the National Theatre School of Canada, and was awarded a diploma in performance in 1991. Upon graduation he began codirecting his first company, Théâtre Ô Parleur, with actor Isabelle Leblanc. In 2005, he established two companies, Abé Carré Cé Carré, in Quebec, with Emmanuel Schwarts, and Au Carré de l'Hypoténuse in France. Meanwhile, in 2000, he served as artistic director for the Théâtre de Quat'Sous in Montreal, a position he held for four seasons. He and his French company, Au Carré de l'Hypoténuse were associate artists at Espace Malraux, scène nationale de Chambéry et de la Savoie, from 2008 to 2010. In 2009 he was artist in residence of the 63rd edition of the Festival d'Avignon, where he staged the quartet Le Sang des Promesses. From 2007 to 2012, he served as artistic director for the French Theatre of the National Arts Centre of Ottawa. He has been associated artist at the Grand T- Nantes from 2011 to 2016. He was appointed at the head of La Colline – national theatre, in April 2016.
His career as stage director began with the Théâtre Ô Parleur, with whom he staged his own works, published by Leméac/Actes Sud-Papiers in French to be performed: Partie de cache-cache entre deux Tchécoslovaques au début du siècle (1991), Journée de Noces chez les Cromagnons (Wedding Day at the Cro-Magnons', 1994) and Willy Protagoras enfermé dans les toilettes (1998), followed by Ce n'est pas la manière qu'on se l'imagine que Claude et Jacqueline se sont rencontrés cowritten with Estelle Clareton (2000). In 1997, he wrote and staged Littoral (Tideline - 1997) which he also adapted and directed for cinema in 2005. Following closely were Rêves (Dreams - 2000) and Incendies (Scorched - 2003), which he staged, in Russian, for the Théâtre Et Cetera in Moscow (and was then adapted for cinema by Denis Villeneuve in 2010, nominated for Best Foreign Language Movie of the Year during the 83rd Oscars Ceremony, and performed in a staging by Stanislas Nordey at La Colline – national theatre in 2008 and at the National Theatre of Strasbourg in 2016), Forêts (Forests) appeared in 2006. In 2008, he wrote, staged and played Seuls, a show which is still touring in France and abroad. In 2009, he worked to putting together the quadrilogy Le Sang des Promesses, which included a new version of Tideline, as well as the shows Scorched, Forests, and Heavens. He created the play Temps in 2011 at the Schaubühne in Berlin. Wajdi Mouawad also wrote plays for young audiences (Pacamambo, Un obus dans le Coeur (A bomb in the heart), La petite pieuvre qui voulait jouer du piano), interviews, as well as novels: Visage retrouvé, (2002), and more recently Anima (2012) (which was awarded various awards among which in 2012 the grand prix Thyde Monnier from the Société des Gens de Lettres, the award Phénix de la Littérature, the literary prize for a Second Novel in Laval and in 2015 the prize Lire en Poche de littérature française).
Wajdi Mouawad, who was initially trained to be an actor, performed various characters in seven of his own works, as well as acting under the direction of other artists, such as Brigitte Haentjens in Albert Camus' Caligula (1993), Dominic Champagne in Cabaret Neiges noires (1992) or Daniel Roussel in The Chairs by Eugène Ionesco (1992). In 2010, he played the role of Stephan Federov alongside Emmanuelle Béart in Camus' play Les Justes directed by Stanislas Nordley and presented at La Colline – national theatre.
He never shied away from the opportunity to explore other worlds as a director : Al Malja (1991) and L'Exil by his brother Naji Mouawad, Journey to the End of the Night by Céline (1992), Shakespeare's Macbeth (1992), Tu ne violeras pas by Edna Mazia (1995), Irvine Welsh's Trainspotting (1998), Oedipus King by Sophocles (1998), Disco Pigs by Enda Walsh (1999), The Trojan Women by Euripides (1999), Lulu le chant souterrain by Frank Wedekind (2000), Reading Hebron by Jason Sherman (2000), Le Mouton et la Baleine by Ahmed Ghazali (2001), Six characters in search of an author by Pirandello (2001), Manuscrit trouvé à Saragosse, an opera by Alexis Nouss (2001), Ma mère chien by Louise Bombardier (2005) and Three sisters by Tchekhov (2002). He collaborates regularly with Krzysztof Warlikowsi (a translation to French of A Streetcar Named Desire – created in february 2010 at l'Odéon – Théâtre de l'Europe, Contes africains adapted from Shakespeare, created at the Théâtre National de Chaillot in 2011 and Phèdre(s) created at l'Odéon-Théâtre de l'Europe in march 2016).
He is now devoted to staging Sophocles' seven tragedies in three productions: Des femmes, which brings together Les Trachiniennes, Antigone, and Électre (2011); Des Héros, which includes Ajax un cabaret and Oedipe Roi (2014); the complete version entitled Le Dernier jour de sa vie was presented in the frame of Mons 2015, European Capital of Culture and then Des mourants freely adapted from Philoctetes and Oedipe à Colone which was presented at the Théâtre National de Chaillot in mai 2016. With his newest cycle Domestique, he pursues his research around themes which are familiar to him, he created Seuls in 2008 and Soeurs in 2014, which are both still touring, and will soon, create Frères with Robert Lepage, followed by Père and Mère. Upon an invitation by the Opera of Lyon and the Canadian Opera Company (Toronto), he staged L'Enlèvement au sérail (The abduction from the seraglio) by Mozart in June 2016 at the Lyon Opera (musical direction by Stefano Montanari).
Wajdi Mouawad has received many awards for his works, amongst which the prix de la Francophonie from the Société des Auteurs et Compositeurs Dramatiques (SACD) for the entirety of his works and artistic output. He is Chevalier de l'Ordre National des Arts et des Lettres de France (total output, 2002), Officier de l'Ordre du Canada (total output, 2009), and Chevalier de l'Ordre National du Québec (total output, 2010).
He also conducted the project Avoir 20ans en 2015 (Being 20 in 2015) with 50 teenagers (from the cities of Mons, Namur, Nantes, the island of la Réunion and Montreal) who followed the company for five years and grew along the trips to Athens, Lyon, Auschwitz and Dakar. Recently, he led a workshop with the 3rd year students of the Conservatoire National Supérieur d'Art Dramatique in Paris and staged them in Défenestrations, presented in November in Paris. He continues his exchange with the young generation through collaborations with the Ecole Supérieure d'Art Dramatique in Paris, the University of Strasbourg and the MC93 in Bobigny.
The French editions of Wajdi Mouawad's plays are, for most of them, published by Actes Sud and Leméac in French. Wajdi Mouawad is represented by the artistic agency Simard.
Cast and Design Team
Playwright and director Wajdi Mouawad plays Harwan in Seuls. Recorded voices in the production are provided by Nayla Mouawad as Layla, Michel Maurer as Professeur Rusenski, Isabelle Larivière as La libraire, Robert Lapage as himself, Abdo Mouawad as Le Père, and Éric Champoux as Le Médecin.
Mouawad leads an artistic team including Set Designer Emmanuel Clolus, Costume Designer Isabelle Larivière, Lighting Designer Éric Champoux, Sound Designer Michel Maurer, Original Music by Michael Jon Fink with additional music by Al Gondol Mohamed Abd-Em-Wahab, Habaytak Fayrouz, and Una furtive lacrima de Donizetti par Caruso, Video Production by Dominique Daviet, Dramaturg Charlotte Farcet, Artistic Consultant François Ismert, and Assistant Director Irène Afker.
The Honorary Producers for Seuls are Jeanne Wrobleski and Evelyn Spritz. Seuls is made possible in part through the generous support of the Wyncote Foundation.
Special Events and Opportunities:
Wilma Happy Hour at Vintage Wine Bar & Bistro: Wednesday, November 17, 4pm-7pm
The Wilma Theater is hosting a happy hour at Vintage Wine Bar & Bistro to give you a preview our next production. Sit down with the staff of the Wilma and explore the surreal world of Wajdi Mouawad's Seuls.
Young Friends Night: Friday, December 7, 7pm
For audience members 40 and under, this performance includes a complimentary pre-show food and drink reception at the Wilma from 7 to 8pm!
Tickets: For our limited-engagement presentation of Seuls, tickets are $35 for general admission, $15 for students, and $15 for theater industry members. Tickets are available at the Wilma's Box Office by visiting wilmatheater.org, calling 215.546.7824, or coming to the theater, located at 265 South Broad Street in Philadelphia.
Mission: The Wilma Theater creates living, adventurous art. We engage artists and audiences in imaginative reflection on the complexities of contemporary life. We present bold, original, well-crafted productions that represent a range of voices, viewpoints, and styles.


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We take the privacy of your information very seriously and we want to make sure your experience on our website is as safe and useful as possible. This policy will detail how we collect data from you, what data we collect and how we use it. By using our website you agree to be bound by the terms of this policy. The accuracy of your information is important to us. If you would like to change your information or preferences at any time please email us at email@example.com.
We only collect and use your information in accordance with the current data protection law in the UK, which is applicable from 25th May 2018. We are the data controller of any personal data that you provide us.
How do we and what information do we collect
- Purchases: Name, address, telephone, email, IP address and order history
- Free WiFi login: Name, email
- Data capture at events: Name, email
- Newsletter signup: Name, email
- Competitions: Name, email
- Online services: We record anonymous information on how our users interact with the site, which pages and resources are popular, which sites are linking to our own, and what kind of devices our users have. We use this data to ensure we are delivering a website which works well for all of our users.
Why we collect this information
- To help us understand how our site is used
- To be able to send you communications that may be of interest to you
- To enable us to supply you with products/services you have requested
Usage of information
- We use the information stored to provide communication relating to your order, respond to queries and to inform you of any exciting distillery news or product launches.
- We promise to only ever send relevant emails!
Sharing of information
- We may pass the information to third parties who act for us for the purposes set out within this policy. For example, Mailchimp.
- We will share information if we believe we have to in order to comply with the law or to protect ourselves.
- We will share the names of winners of any competitions hosted by us, unless specifically requested not to.
- We treat your information confidentially and do NOT rent or sell it.
Please see Dunnet Bay Distillers Cookie policy.
Our website security
Although we will do our best to protect your personal data, please recognise we cannot guarantee the complete security of your data transmitted to us electronically, any transmission is at your own risk.
We do not store any financial information – debit/credit card details.
Our website may contain links to other websites. Our policy on relates to our website, Dunnet Bay Distillers. We are not responsible for the privacy of other websites.
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We use STRIPE or PAYPAL payment processing, and data is collected via their servers for processing. You can read more about their policies here:
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Contact us
01847 851 287
Dunnet Bay Distillers, Dunnet, Thurso, Caithness, Scotland, KW14 8XD
Changes to our privacy policy
Any future changes to our privacy policy will be updated here and, where appropriate, emailed to you


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Embryogenesis 101 – Aging Ova
About 15% of couples trying to conceive experience infertility.
Possible causes are faulty ovulation, blocked tubes, old ova, swimmers which don't swim, and erectile dysfuntion, to name just a few. Possible solutions run the full gambit from old wives tales to scientific technologies, and in the spirit of the Schooner I will focus exclusively on the latter (although most tales have a touch of truth to them).
Given that this topic is bigger than the big blue sea and just as fascinating, I'm going to post in bite-sized chunks once a week on what for a while will become Reproduction Wednesday. Before we go any further, this topic is not about me, I'm not pregnant, nor have any plans to that effect, so rest easy! With that out of the way, here's the first installment of Reproduction Wednesday, Schooner style.
Old Ova, New
Dicks Tricks
When a female enters the world, she has already stashed away all the ova she will ever have. They don't keep replicating, they don't spring up from nowhere, they're already there. So by the time you're thirty, your ova are thirty, and that's really old for a cell. Almost all your other cells keep replicating throughout life, so on average your rib muscles are 15 years old, and the lining of your gut a mere 5 days (reference). But your ova keep getting older.
Old eggs are bad for fertility. DNA damage builds up, the mitochondria start losing their edge, and proteins in the cytoplasm get dodgy. This is important not only for the egg itself, but also the embryo. For the first three days of it's life, an embryo doubles in cells but doesn't change in size, it lives solely off the stuff already in the egg – like a packed lunch. Until the 16 or 32 cell stage, it is still the same size as an unfertilsed egg (reference), although there ain't no cell in the human body bigger than an egg (to my knowledge.) Here's a fertilised egg, splitting into multiple cells.
Aging ova is not the end of the world, there is a procedure that gives them a face-lift. They'll look and feel years younger with a Cytoplasmic Transfer!
It's easy! Just take the nucleus from an old egg, and put it into a young egg that has had it's nucleus removed. Hey presto – genetic material from a reproductively challenged woman, proteins from a donor, put it back into the body for implantation! Here it is in a thousand words.
It's the fountain of youth… or is it? This article says that by the time the nucleus is harvested, it is already too late. New proteins are needed while the egg is ripening, once the egg has been sent out into the world that ship has sailed. The jury is still out on that.
Either way, it creates an interesting scenerio… the DNA of one person, the proteins and mitochondrial DNA of another. It sounds scary, almost Frankensteinean to me. There are so many weird and wonderful things in the world of reproduction and embryogenesis, a face-lift for an egg is just the tip of the iceberg.
3 Responses to "Embryogenesis 101 – Aging Ova"
Hi! I was surfing and found your blog post… nice! I love your blog. 🙂 Cheers! Sandra. R.
some discussion now that the world is getting less fertile – with IVF technology allowing people with fertility issues to have children who are likely also have problems, could IVF be the beginning of the end?Captain Skellett Reply:
September 9th, 2009 at 7:52 pm
I guess if we all get infertile because of IVF technology, at least we'll still have IVF technology to save us from infertility! I think people are overreacting about it – there's still plenty of people out there doing things the old fashioned way.
- Juliet said: Is pink a real colour...
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- tiffany said: I'm drinking vodka. and all I had was a hunny bun....
- Hannah said: Don't let the corporate world suck you in too much...
- Emilyanne said: I was just wandering how much a procedure like thi...
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This historic 4-star hotel is located in the heart of Liverpool city centre, close to many bars and restaurants. Enjoy a relaxing drink in the hotel bar or an evening meal in the restaurant, and work out in the fitness centre. The stylish rooms feature 42-inch LCD TVs and free wifi.
Star Rating: ****
User Rating: 90 (from 909 reviews)
Hotel ID: 4519248
Explore The Local Area:
- Picton Green Family Practice - NHS Choices (0.4 mi, Liverpool L7 6HD)
- Sefton Park Medical Centre (0.5 mi, Liverpool L15 2LQ)
- York Centre (0.8 mi, Smithdown Health Park, Smithdown Health Park, Smithdown Rd, Liverpool L15 2HE)
- Ullet Road Eco Offices (0.9 mi, Liverpool L17 2AB)
- Liverpool Women's Hospital (1.0 mi, Liverpool L8 7SS)
- Picton Medical & Childrens Centre (0.4 mi, Liverpool L7 6HD)
- Sefton Park Medical Centre (0.5 mi, Liverpool L15 2LQ)
- Goenka Dr G (0.9 mi, Liverpool L7 5QL)
- Davidson E (1.2 mi, Liverpool L8 0SY)
Vetinary Cares:
- Pizza Lane (0.4 mi, Liverpool L8 0QH)
- Asda Sefton Park Superstore (0.5 mi, Liverpool L15 3JR)
- Lodge Lane and District Credit Union (0.5 mi, Liverpool L8 0QE)
- Arinza Apartments (0.6 mi, Liverpool L8 1UJ)
- Grove Suites (0.7 mi, Liverpool L8 0RU)
Hotel Facilities:
Wi Fi
Accessible Rooms
Business Equipment
Business center
Conference facilities
Swimming Pool
Swimming pool


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A file with the SAS file extension is a Statistical Analysis Software (SAS) file. The SAS file is an ASCII (text) file that contains a series of SAS functions that may be run against a data set, or a SAS file may contain the actual data set. The SAS application is required to open and run SAS files, though you can view the files in a text editor, such as Notepad.
Open SAS File in the SAS Application.
Open the SAS application. The SAS Display Manager page opens.
Click the "File" option on the top navigation bar and then click "Open." The file navigation box opens.
Navigate to and click on the "SAS" file. Click "Open." The SAS file opens in the display window.
Open SAS File in Notepad
Right-click on the "SAS" file to show the context menu.
Click the "Open With" option. A list of installed programs opens.
Scroll to and click on the entry for "Notepad." The SAS file opens in the text editor.
Things Needed
- SAS installed
References (1)
Photo Credits
- Comstock/Comstock/Getty Images


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Driver who switched on his Tesla's autopilot and sat in passenger seat on busy motorway banned
2018-04-29 19:25
A man was 'driving' on a busy motorway, using his car's autopilot function has been banned from driving for 18 months. Bhavesh Patel, 39, was driving his Tesla S 60 last year when he switched on the supercar's autopilot function and moved across to the passenger seat, leaving the steering wheel and foot controls completely unmanned. A witness noticed no one was seen in the driver's seat and Patel appeared to have his hands behind his head. Investigating officer PC Kirk Caldicutt, from the BCH Policing Unit, said: "He not only endangered his own life but the lives of other innocent people using the motorway on that day." "I want to stress that [smart cars] are in no way a substitute for a competent motorist in the driving seat who can react appropriately to the road ahead." Tesla said that drivers should "never depend on TACC to adequately slow down model S, always watch the road in front of you and be prepared to take corrective action at all times. Failure to do so can result in serious injury or death". Credit: Hertfordshire Constabulary via SWNS Tommy Lumby


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The strength of their influence was indescribable and surpassed even the impression of pornographic pictures that have already visited in my hands.All the most intimate details of the sex scenes were served closeup and facial expressions of participants passed voluptuousness that possesses them. Selector .selector_input_interaction .selector_input. Selector .selector_input_interaction .selector_spinner. But I made up as brightly as the nipple, my hair curled and tempting strand falls on my forehead.Next, and even more appallingly, it is the Swiss encrypted email provider Protonmail (yes, the one I recently recommended to our community) which shut down the account of The Daily Stormer.This is how Lee Rogers, member of The Daily Stormer, describes what happened: Cross Proton Mail off the list of companies to do business with.
Error Banner.fade_out.modal_overlay.modal_overlay .modal_wrapper.modal_overlay [email protected](max-width:630px)@media(max-width:630px).modal_overlay .modal_fixed_close.modal_overlay .modal_fixed_close:before.modal_overlay .modal_fixed_close:before.modal_overlay .modal_fixed_close:before.modal_overlay .modal_fixed_close:hover:before. Many other sources believe that these rumors are not trustworthy, and the stars are just friends, nothing more nothing less.Same goes for Shriti", quoted Bollywood Life in the midst of these rumors....Watch as many free webcams in real time full motion.I have to begin this analysis by asking for your understanding for the fact that it will include a lot of full-length quotes.She clicked on it and a video began to play of a couple in a hot tub, the women moved up and down on the man as she spat out a series of cuss words all designed to make someone wet or hard, depending on who was watching the video.Her other hand slipped into her pajama bottoms and slowly massaged her thigh as she looked at a picture of a man slipping into a woman.The company's CEO Richard Kirkendall stated that "the quality and context of the material, paired with the support for violent groups and causes passes from protected free speech into incitement", specifically quoting one published statement from : "It doesn't take a Ph. in mathematics to understand that White men pride organization = Jews being stuffed into ovens." The site returned to the web as on August 24, hosted by Dream Host, whose other far-right clients include National Vanguard and the North-West Front.Dream Host stated that they were "standing up for freedom and democracy"; denial-of-service attacks from Anonymous caused all of their sites to go offline.On August 17, after a relocation to dailystormer.ru, the Russian media watchdog Roskomnadzor requested a shutdown of the domain.briefly returned to the clearnet with a g TLD, dailystormer.lol, administered by Namecheap, but after two days, Namecheap canceled the domain.


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We offer a fully independent mortgage advice service. Whether you are a first time buyer, are looking to remortgage your home, or need a buy to let mortgage, our independent financial advisers will provide you with all the information you need.
Our mortgage experts will take into account your current and future objectives, as well as comparing types of mortgage and interest rates. Due to our independent status, we are able to search the whole of the market to find the mortgage that is most suitable for you.
As well as providing mortgage advice, we will also liaise with the mortgage provider, your solicitor and estate agent.


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Posted on 23 Feb, 2016
5 Tips to Healthy Eating On The Go!
When working to a busy, on the go, schedule healthy eating can at times be tricky. It's easy to simply grab a pastry, muffin or hot food from the deli counter with a cup of coffee, rather than having to think about an alternative healthy option! Here are our top tips to help you eat well when on the go.
1. Breakfast
A surprisingly large number of people tend to skip breakfast. It can easily happen when working to a busy schedule however, it is argued that breakfast is the most important meal of the day. It provides the body and the mind with fuel for the day ahead. So it's best not avoid breakfast, especially at busy times!
1 Beetroot 5 Strawberries Handful Blueberries 1 Orange Water & Ice Handful Spinach Slice Ginger 1/4 avocado 1 small apple Chia seeds 300mls water & ice
Smoothies are a great way of getting some of your five-a-day fruit and veg into your diet, and also great to grab-and-go. Try our green spinach smoothie, or beetroot and strawberry smoothie – they are super easy to make, and full of goodness.
Porridge is also another great breakfast choice, if you can mak
e time, it will set you up for the busy day ahead. Add fruit such as berries, bananas, apples as your toppings.
2. Healthy Snacks
Be prepared. Much of our poor eating habits can creep into our diets through bad snacking. Keep some fruit and nuts in the car, your bag, or at your desk. Fruit such as berries, apples or bananas are satisfying. Carrot sticks and hummus are also great filling snacks, or if you have time the day before, make some hard boiled eggs, these will be sure to tie you over until your next meal.
3. Lunch
Lunch can be tricky when on the go as it can be hard to see past just grabbing a sandwich – while this isn't always the worst choice, being mindful of your fillings is important. Ensure your sandwich includes wholemeal bread and healthy fillings such as lettuce, cucumber, avocado, spinach, tomatoes or peppers. Try to avoid too much mayo, cheese and processed meats. If you're looking for something warm, choose the soup option and avoid chips and other fried foods.
4. Dinner
After a busy day on-the-go, the idea of standing around cooking can be daunting and healthy eating can go out the window. Roasting vegetables and meat is a great easy way of cooking. Just chuck them all in the oven, with a small drizzle of olive oil, herbs, spices, salt & pepper and roast! This could take you only 5 minutes to prepare and you don't need to go near them again until they're cooked.
Planning ahead is a great tip for healthy eating when you have a busy week ahead. Make a big pot of stew or chilli and you will get a number of dinners out of it for the week. If you have time well in advance why not freeze some dinners for busy times ahead. This will help you avoid grabbing a regretful takeaway after a busy long day.
5. Eating Out
Eating out can be difficult, as many dishes are full of butter, cream, oil and salt to make them taste great – and it can be hard to resist at times. Remember though, if you eat out regularly you probably need to start making clever choices.
A good rule of thumb is to stick to tomato based dishes. These generally contain less fat than other dishes, and contain vegetables. Stick to vegetable loaded dishes, or add veg to dishes that contain little to no veg. Rather than choosing chips ask for a side portion of salad or veg. And finally, if you're after some spuds (potato), don't be afraid to ask for a baked potato – this contains much less fat than the alternative mash!
Sarah Burke – Digital Marketing Assistant


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Especially today, as he hail and honor a new and historic president elect, this might be a good time to reflect upon the way we respect each other in America….
U.S. President George W. Bush speaks with President-elect Sen. Barack Obama (D-IL) during a congratulatory phone call, from the Treaty Room at the White House in Washintgton, November 4, 2008. REUTERS/Eric Draper
Earlier this year, 12,000 people in San Francisco signed a petition in support of a proposition on a local ballot to rename an Oceanside sewage plant after George W. Bush. The proposition is only one example of the classless disrespect many Americans have shown the president.
By Jeffery Scott Shapiro
The Wall Street Journal
According to recent Gallup polls, the president's average approval rating is below 30% — down from his 90% approval in the wake of 9/11. Mr. Bush has endured relentless attacks from the left while facing abandonment from the right.
This is the price Mr. Bush is paying for trying to work with both Democrats and Republicans. During his 2004 victory speech, the president reached out to voters who supported his opponent, John Kerry, and said, "Today, I want to speak to every person who voted for my opponent. To make this nation stronger and better, I will need your support, and I will work to earn it. I will do all I can do to deserve your trust."
Those bipartisan efforts have been met with crushing resistance from both political parties.
The president's original Supreme Court choice of Harriet Miers alarmed Republicans, while his final nomination of Samuel Alito angered Democrats. His solutions to reform the immigration system alienated traditional conservatives, while his refusal to retreat in Iraq has enraged liberals who have unrealistic expectations about the challenges we face there.
It seems that no matter what Mr. Bush does, he is blamed for everything. He remains despised by the left while continuously disappointing the right.
Yet it should seem obvious that many of our country's current problems either existed long before Mr. Bush ever came to office, or are beyond his control. Perhaps if Americans stopped being so divisive, and congressional leaders came together to work with the president on some of these problems, he would actually have had a fighting chance of solving them.
Like the president said in his 2004 victory speech, "We have one country, one Constitution and one future that binds us. And when we come together and work together, there is no limit to the greatness of America."
Read the rest:
The Wall Street Journal


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Codesign guarantees the best results
Design is teamwork. We welcome anyone who wants to make a contribution to the design process, in the belief that an open source approach always gives the best result – a design that most closely meets the needs and desires of both client and end-user.
We like to start the design process with a charrette, a sort of workshop devoted to intense preparation for the project in question, which can best be held at a significant location such as the site of the building to be constructed or together with the future users. During this preparatory period, we discuss the key issues with the client, end-users, consultants, people living in the neighbourhood and other stakeholders. This way of kick-starting the project has many advantages: the various people involved get to know one another quickly and well, we are able to collect a great deal of relevant information and gain insight into the issues involved, and the process generates deep commitment. The resulting concepts and sketches form a solid basis for a well-thought-out, generally accepted design. After this initial get-together, the various parties involved will meet regularly to monitor progress and discuss specific issues.
We also work closely together in the design team. We are great believers in a multidisciplinary approach, where specialists from all the various fields share ideas right from the start and inspire one another to come up with the brightest ideas. Contractors are also increasingly often getting involved in the design process as early as possible. This is very valuable, as it permits direct input from practitioners. Ector Hoogstad Architects has experience of working in a wide variety of project delivery systems.
Good cooperation is an art, which demands an open attitude and excellent communication skills. It is also important to have the right communication tools, and to undergo regular training in their use. Experience shows that this is the way to get good results and satisfied clients.
For further information, please contact Erik de Geus at Ector Hoogstad Architects' Codesign Expertise Group (email@example.com)


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Online Purchasing
Burnavon tickets purchased online will incur a £1 booking fee per transaction.
All audience members must be in possession of a valid ticket, including children. Those under 2yrs will only be admitted to productions aimed at children.
Where applicable, concession rates are available for specific shows and are detailed within the relevant performance information. Concession rates apply to those under 16 years and over 60 years of age. For concession tickets, photo identification may be required for proof of concession entitlement.
Once purchased, tickets cannot be exchanged or money refunded except where a performance has been cancelled. The management reserves the right to alter or cancel performances without prior notice if circumstances make this unavoidable.
Online Security
The personal details required to administer your booking will be securely stored by the Burnavon. We use encryption software to protect your data and maintain strict security safeguards to prevent unauthorised access to it. When you enter the secure area of our website, you will see a padlock icon appear in the bottom right hand corner of your browser window and the beginning of the website address will change from "http" to "https".
Data Protection
Please tell us at time of booking if you do not wish to join our free mailing list and receive information about the Burnavon and related events. We will only pass on your details to other theatre organisations if you have given your expressed permission to do so.
Limitation of Liability
The Burnavon has taken every care in compiling information and material for this website. However, this information should not be relied upon as a substitute for formal advice from originating departments of the Burnavon or its partners. We will not be held responsible for any loss, damage or inconvenience caused as a result of an inaccuracy or error contained in these web pages.
Acceptance of Terms
I acknowledge I have read, and agree to be bound by All Terms and Conditions and to comply with all applicable laws and regulations, including without limitation UK and world laws and regulations regarding the transmission of technical data. I further agree to comply with all local laws, regulations and rules regarding online conduct and acceptable content. I represent I have the legal authority to accept these Terms of Use on behalf of myself or any party I represent.


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(757) 565-3940
AES registration is open.
April 25 & 26, 2020 Tournament dates. Registration is open on AES
Number of allowed teams subject to revision as the registration process unfolds and we see if we are heavy or light in certain age groups.
18's age division is a 17 / 18 division
Entry Fee is $495 (12 and under $475) per team. This is NOT a Stay to Play tournament.
Spectator admission charge of $10 will cover both days. 14 year old and under spectators no charge for admission. No charge for parking.
Awards for all bracket winners. Medals are custom made with the Logo Contest winners art work.
There is a $10.00 spectator fee for ages 15 and older.
Skip the lines Saturday and pick up your wristbands Friday afternoon from 2:00 pm - 7:30 pm at the Williamsburg Moose Lodge 757 located at 5429 Richmond Road, Williamsburg.
Or you can purchase your wristband on Saturday at one of our 19 playing facilities starting at 7:15 am
The $10 wristband will give you entry to all games at our 19 locations both Saturday and Sunday.
Credit Cards and Cash accepted
|WVC's annual Revolutionary Rumble Logo Contest winner will receive a Rumble t-shirt with their winning logo, a 2020 Rumble medal with their winning logo and a $250 cash prize.
Entries are not limited to WVC players or parents so please pass this opportunity on to YOUR club family. Winning artwork need not be print ready; your winning artwork is submitted to professional graphic artists for pre-production finalization.
Good luck!
Deadline for logo submitting is January 17, 2020
Submit entries in vector graphic image format to: email@example.com
Entry Fee is $495 (12 and under $475) per team. This is NOT a Stay to Play tournament.
Spectator admission charge of $10 will cover both days. 14 year old and under spectators no charge for admission. No charge for parking.
Awards for all bracket winners. Medals are custom made with the Logo Contest winners art work.
AES Registration is CLOSED
IMPORTANT INFORMATION: The plan is to have the doors open at 7:00 am at each facility. ONLY CHAIRS WITH NON-MARKING RUBBER SOLES ARE ALLOWED IN THE FACILITY AND ONLY WATER IS ALLOWED IN THE GYMS(Please do NOT CONSUME FOOD or other DRINKS, including sports drinks AND COFFEE, in the gym). There will be no exceptions to this policy.
Site Considerations: Coolers will NOT be allowed in any of the facilities.
The team check-in process:
Please be certain to have a valid cell phone number for your team representative on the roster you turn in at the beginning of the day. We may need to contact you for various reasons, e.g. -last minute schedule change, item left at court, work team assignment, etc.
T-Shirts & Concessions will be open from approximately 9:00am-6:00pm on Saturday and 9:00-2:30/3:00pm on Sunday unless otherwise stated below. (subject to change).
** We now accept credit cards for payment! **
Cash & Credit Cards accepted
Quarterpath Rec Center (open 9am - 7:00 pm Saturday)
Hornsby Middle School/Blayton Elementary School
Blayton is across the parking lot from Hornsby & will have easy access to concessions items)
Jamestown High School
Lafayette High School
JCC Rec Center
Warhill High School
Walsingham Academy
Abram Frink Community Center
(757) 565-3940
WVC will host our 17th Annual Revolutionary Rumble volleyball tournament on April 25-26, 2018. This tournament will bring about 200 teams, and more than 1,800 junior athletes, age 12-18, from across the East Coast for this two day tournament held at multiple locations throughout Williamsburg/James City County and York County. In addition to the 2,000 players, coaches and officials, 3,000-5,000 family members will also make their way to Williamsburg for the weekend.
We are asking for donations from local businesses to support the Williamsburg Volleyball Club members and all the junior athletes, coaches, referees and families that will be participating in or supporting the athletes during this tournament. WVC is a 501(c)(3) organization. Our Federal Tax ID is 20-4322376.
As a special thank you for providing donations to support our 16th Annual Revolutionary Rumble Tournament in April, we will gladly promote your company as a proud donor on WVC's website. In addition, your company may be promoted with signs, posters or flyers at the tournament sites which would provide 5000+ positive impressions for your company, and thousands of potential customers will see that you support their daughters, as they pursue their goals.
Thank you again for supporting the Williamsburg Volleyball Club. We look forward to making you a sponsor for the 17th Annual Revolutionary Rumble Tournament in 2019. This support will help make our tournament a success for all involved. Let's Go WVC!
Please feel free to contact Joe Ortiz, the WVC President/Club Director, at firstname.lastname@example.com with any additional questions regarding Williamsburg Volleyball Club.