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Unbecoming Women: Elizabeth Malaska's When We Dead Awaken II
Sarah Sentilles
Though the women are solitary in Elizabeth Malaska's When We Dead Awaken II, they are not alone. Instead, each appears to be many women at once, composed of multiple figures, a kind of palimpsest. Here, the wrecked bodies of women – those seen daily, cut up in advertisements and magazine pages and newspapers and crime dramas and high art's canvases – have been reassembled, stitched, repaired. Wild-haired, many-armed, the women triumph. No matter what happened before, no matter who used to dominate these spaces, the painted worlds belong to Malaska's women now.
Malaska marks the spaces as her subjects' in part by skewing perspective. The grate in No Man's Land on which sits a woman and a hawk may be horizontal or it may be vertical or it may be a textile and not a grate at all – yet the figure resting on it with her camouflaged gun understands how it works and will not fall. The ambiguity of the grate destabilizes the room, renders it volatile, mysterious. "A ripple happens because of imprecision," Malaska told me when we met in her studio. Malaska's careful work throughout this series – the gridded walls and bricks and stairways – remind the viewer that the ripple is not accidental. Malaska troubles certainty intentionally, glitching these works. In every painting, the viewer can find places where things don't line up, cracks, a gap between hips and torso, a broken forearm, hair flying away, a leg with no foot and missing its shoe. These moments of rupture rend the surface of the canvas and bring into view the act of looking itself. As a result, the paintings cannot be easily consumed because you can never be sure what you see is all there is to see; your perspective could be wrong. Malaska's canvases perform a necessary political critique of the gaze at a time when hegemonic vision (drones, war, police brutality, sexism, racism) continues to kill.
In The Queer Art of Failure, Jack Halberstam argues that failure, unbecoming, and refusal are the only viable forms of resistance left for those working against oppressive systems. Everything is compromised, Halberstam argues; if freedom was defined against slavery, then "freedom" itself is suspect – and it must be refused and reimagined. One of the questions driving Halberstam's work drives Malaska's, too: Can "freedom be imagined separately from the terms upon which it is offered?"
While Halberstam would answer this question in the negative, I think Malaska would answer in the affirmative – and her attempt to reimagine freedom is visible in When We Dead Awaken II. Malaska has taken on the fraught feminist challenge of painting women without objectifying women. It is as if Picasso's models have come to life (Perhaps they are Malaska's awakened dead?), marching out of his canvases in protest and into hers. She employs both formal and content-based strategies to grant her subjects agency and to disrupt the viewer's gaze. I will highlight three strategies here: juxtaposition, collage, and unbecoming.
First, juxtaposition. In Fred Wilson's "Metalwork, 1793-1880" (part of Mining the Museum at the Maryland Historical Society in 1992), silver urns and cups and vessels are displayed next to slave manacles. Wilson's juxtaposition makes the violence of slavery visible in a way that displaying either manacles or silver alone could not. Something similar happens when Malaska juxtaposes her painted figures with classical sculptures. The proximity of the two kinds of bodies – a painted woman, a painted sculpture – raises questions about representations of female forms. Viewers have been trained to think nothing of the partial bodies pedestaled in museums, missing heads and arms and legs, as if all that matters is the torso, which could be any body, there to be admired, objectified, owned. By painting women with an abundance of body parts next to these broken bodies, Malaska changes the meaning of the sculptures they share the space with.
Second, collage. The walls of Malaska's studio are pinned with collages – magazine pages and art and photographs that she has cut apart, taped together, and redacted. Malaska paints from these constructed images and leaves evidence of the collaged nature of the source material in her paintings. For Halberstam in The Queer Art of Failure, collage is "a revolutionary statement of pure opposition" that "speaks the language of refusal."
Pointing to Yoko Ono's Cut Piece and Kara Walker's collaged silhouettes as examples, Halberstam argues that collages maintain "a constant tension between the elements of the work," asking the viewer to consider not just productive power, but negative power – the "power to unbecome."
In Malaska's Cut Piece (named after Ono's performance), it is as if not only the clothing has been cut apart, but the body, too, and Malaska has left the rifts visible so it is not quite clear whether this is a body coming undone or coming together. And this, it seems, is the point – to highlight the difficulty of becoming "woman," even in the painted rooms where patriarchy has failed.
Third, unbecoming. In The Queer Art of Failure, Halberstam calls for a "feminist politics that issues not from a doing but from an undoing, not from a being or becoming women but from a refusal to be or become woman as she has been defined and imagined within Western philosophy."
The figures in Malaska's paintings are unbecoming; they (literally) come undone, and they do not conform to expectations of femininity (unseemly, inappropriate). They rebel against the "tyranny of nice," the gendered and raced behaviors women are socialized to perform. The mismatched collaged bodies, the figures' authoritative stances, the glitches, the weapons, the hidden faces and mysterious doorways and vessels – all reflect a kind of refusal to conform, to perform, to be what hegemony requires.
One canvas has no women in it. Who Weeps For You contains a dog, a sculpture, and an urn in a tiled room. I can think only of the torture photographs taken at Abu Ghraib prison in Iraq. The sculpture, whose head seems to have been sprayed with silly string, is the only male in this series. It is not clear whether he represents the torturers or their victims, and it is not clear whether the torture has ended or continues here and in rooms just like this one, tiled so the blood is easier to clean. The inclusion of this painting in Malaska's show casts the shadow of our long wars on the other paintings, linking the violence of sexism, imperialism, and racism, the material effects of mis-seeing. The painting titled Not to Pass On Tradition, But to Break its Hold Over Us (the Archive and its Shadow) alludes to this shadow, to what Allan Sekula calls "a shadow archive," defined as the historical reservoir of images that (mis)shape how viewers see (and do not see) other images. In an article about the Abu Ghraib torture photographs, Joseph Pugliese refers to shadow archives the "visual conditions of possibility" that underpin images of violence and render them intelligible. In other words, images of violence make future violence possible – politics are enabled by aesthetics. What we see shapes what we do; and what we do shapes what we see.
Malaska told me she paints the "ruins of a failed world," and her painted ruins are enchanting. This is an artist who loves to paint. Spray paint and oil and acrylic. Pink rugs and curtains. Potted plants and crocheted bikinis and ghosted cats. Lace and quilts and stained glass. The work is thick with imagination and joy and possibility. When We Dead Awaken II is, in Halberstam's words, a "negative destruction" that "nonetheless refuses to relinquish pleasure."
In Some of Us Did Not Die, a woman sits on a pastel quilted blanket – pink and blue and yellow and purple, hearts in its corners – her dark hair piled on her head, grey hair falling in her face, two arms by her sides, a third raised in a defiant fist, her eyes looking out as if she could look through the viewer to the world that will come next, the world she and the other women in these canvases will make, the world Malaska will paint.
Sarah Sentilles is a writer, critical theorist, and scholar of religion. She is the author of several books, including the memoir Breaking Up with God: A Love Story. Her next book, Draw Your Weapons, will be published by Random House in 2017.
1 Halberstam, Judith. The Queer Art of Failure. Durham, NC: Duke University Press, 2011: p. 145.
2 Ibid., 139.
3 Ibid., 136.
4 Ibid., 124.
5 Pugliese, Joseph. "Abu Ghraib and Its Shadow Archives." Law & Literature 19, no. 2 (2007): 247-276. The term "shadow archive" comes from: Sekula, Allan. "The Body and the Archive." October 39 (Winter 1986): 3-64.
6 Halberstam, 136.
This essay was commissioned for the exhibition catalog accompanying When We Dead Awaken II and funded by the Regional Arts and Culture Council.


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Margaret F. Savilonis, Ph.D.
Ph.D., The University of Texas at Austin
Dissertation: ". . . give us the history we haven't had, make us the women we can't be": Motherhood & History in
Plays by Caryl Churchill and Pam Gems, 1976-1984
M.F.A., The University of Georgia
B.A., Suffolk University, Boston, MA
About Margaret
I am committed to cross-disciplinary work, believing that disciplines such as history, literature, and theater are not discrete units, but fields that inform one another and work together to both produce and reproduce culture. I believe this passion helps me design courses and learning opportunities that realize the University's mission "to prepare our students to lead purposeful and fulfilling lives in a global society by providing the highest-quality education through experiential, collaborative and discovery-based learning." This philosophy informs both my approach to teaching, in courses such as Production Dramaturgy, and my scholarship, in essays such as "Metatheatrical Labor in Rude Mechanicals' The Method Gun," which I presented at the American Society for theater Research's annual conference in 2011. I am particularly invested in helping students engage in the learning process and hope that they can develop personal strategies that allow them to recognize the value of writing as a way to make critical thinking an active, physical process and enable them to develop the skills and the confidence to enthusiastically, publicly articulate their points of view.
Selected Publications
"Got to Get Over the Hump: The Politics of Glam in the Work of Labelle and Parliament." Taking it to the Bridge: Music as Performance. Eds. Nicholas Cook and Richard Pettengill. U of Michigan P, 2013. 155-179.
"Value, Voice, and Identity in Three Birds Alighting on a Field." International Dramaturgy: Translation and Transformation in the Theater of Timberlake Wertenbaker. Eds. Sara Freeman and Maya Roth. Peter Lang, 2008. 195-208.
"Utopia in absentia: Staging Possibilities in Kirk Lynn's WAR." Drama and the Postmodern: Assessing the Limits of Metatheatre. Ed. Daniel K. Jernigan. Cambria, 2008. 327-349.
"Performing Arts: Performers." Encyclopedia of Women in World History. Eds. Bonnie G. Smith, et al. Oxford UP, 2008. 437-441.
Selected Conferences
"Danse Macabre: The Waltz as Utopian Performative in The Baltimore Waltz and Arcadia," "Literature and Dance: Interactions and Reactions" seminar, Northeast Modern Language
Association (NEMLA), Boston, MA, March 2013
"Choreographing Diversity and the American Experience: Myra Kinch & Group, Federal Theatre Project, 1937-1939," "Experiments in Democracy: Performing an Interracial and Multicultural America, 1900-1950" working group, American Society for Theatre Research (ASTR), Nashville, TN, November 2012
"Metatheatrical Labor in Rude Mechanicals' The Method Gun," "Spectacles of Labor" working group, American Society for Theater Research (ASTR), Montreal, Canada, November 2011
"She Was Always Sad: Remembering Mother in Caryl Churchill's Not Enough Oxygen and A Number," Symposium: Performing Motherhood in Modern and Contemporary Drama, Mount Allison University, Sackville, New Brunswick, Canada, October 2008.
"'I Want You to Bring it up in the Conversation': Value, Voice, and Identity in Three Birds Alighting on a Field," International Dramaturgy: Translations and Transformations, A Symposium on the Theater of Timberlake Wertenbaker, Georgetown University, March 2006
Service Highlights
Resident Dramaturg for University Theater 2011-present
Productions include:
Tom Stoppard's Arcadia, directed by Rachel Anderson-Rabern, Fall 2012
Stephen Sondheim and James Lapine's Into the Woods, directed by Heather Reba, Spring 2013
Mary Zimmerman's The Secret in the Wings, directed by Rachel Anderson-Rabern, Fall 2013
Courses Taught
- ENGL 1105 Composition
- ENGL 1110 Composition & Literature
- ENGL 2212 Modern British Writers
- ENGL/THEA 3315 Production Dramaturgy
- THEA 3316 New Play Dramaturgy
- ENGL 3341 Shakespeare
- ENGL 3353 Romantic Era
- ENGL 4481 Comedy: Ancient Greek to Contemporary Drama


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Johnny (323) 819-2120
all images available in multiple sizes call or message for details on ordering prints
Johnny Nicoloro is an award-winning artist and photographer whose signature style of double-exposures created entirely in his camera produce unique and visually compelling pieces. His works have been exhibited throughout southern California and the western United States. Exhibiting most recently at ChimMaya Gallery in East Los Angeles January 2014 to March 2015. Previously; a solo exhibition Hispanic Heritage: Johnny Nicoloro at Lancaster Museum of Art and History MOAH Sept to Nov 2014. Before that Virgin Mary and Friends at the East LA Library's Chicano Resource Center April to August 2014 and A P R I L at the Metro Art Gallery in the Pomona Art Colony April 3 to May 2, 2014. He can also be rented from ART PIC in North Hollywood.
In December 2013 his solo exhibition Visions of Virgins 2.0was at the Latino Art Museum in the Pomona Art Colony. Previous to that Johnny completed a solo exhibition at The Gallery at 3517 W. Sunset in Los Angeles entitled Enchanted. A whimsical collection of florals and colored lights. Which Johnny also sells at the Nathan Turner Showroom on Melrose in West Hollywood.
Johnny has turned the focus of his camera on the Virgin Mary, one of the most revered and iconic figures in the world. "She has always been a place where I would go in my spiritual journey if I was having difficulties," Johnny recounted in the article "Chasing Virgins" for Cafe Libre . I see her everywhere - and I hope these visions inspire another look or perhaps even a first look for some at the Divine Feminine. The Virgin Mary and the breadth of her spirit are enormous and all encompassing. And it's likely that this isn't your grandmother's Virgin Mary.
Curator-at-large Lui Sanchez described his work this way: "His creative mix of the spiritual icon with commercial, political and community imagery gives rise to the passion and compassion the Virgin Mary evokes as an iconic image. His Virgins explore and expose our own spiritual, political and economic struggles and perhaps counters such struggles with a glimpse of passion, spirituality or faith that many Latinos recognize but may also speak to non-Latinos, parishioners and Atheists."
Over the past six years, Johnny's signature artwork featuring double exposures of the Virgin Mary have been in several other exhibitions. Most recently, October 2015, Johnny continued his relationship with the Latino Art Museum taking part in the group show Hispanic Heritage. In December 2012, Johnny was curated into the group show Solo Para Hombres also at the Latino Art Museum . His solo show Visions of Virgins was presented at The Annex @ Core New Art Space in Denver, Colorado in May 2012. Denver's Westword Magazine selected Johnny's exhibition as one of the five hidden gallery shows to see for the Memorial Day weekend.
From July-November 2011, Johnny presented a solo exhibition at The Latino Museum of History, Art and Culture in Los Angeles entitled Virgins of Los Angeles. The Latino Museum is a fan of Johnny's art, having previously displayed a four-month exhibition entitled Las Virgenes - Visions of Inspiration with noted artist Ofelia Esparza. Eight pieces from that exhibition were acquired for the museum's permanent collection. Additional exhibitions featuring the Virgin Mary include the group show Hybridity: American Unity, again at The Latino Museum and another solo exhibition LA Virgin at Lot 44 Gallery in downtown Los Angeles.
Additional exhibits: Johnny was invited to exhibit with the Los Angeles Center for Digital Art in Electron Salon in September 2013In April 2012 Johnny took part in T4C (Thank You for Creating) A BritWeek Presentation at Farmer's and Merchant Bank. Johnny was juried into in the Los Angeles Art Association group show Out There at Gallery 825 (June 2011); plus Gateway to Imagination: A National Juried Art Competition at the Farmington Art Museum in New Mexico.
Johnny's photography was published in two coffee table books in 2012. His portrait of fashion designer Nick Verreos can be found in Project Runway: The Show That Changed Fashion and multiple decor photo stories are seen in Nathan Turner's American Style. Turner, one of Bravo's Million Dollar Decorators, has displayed and sold Johnny's art at his design gallery on Melrose Avenue in West Hollywood since 2011.
In May 2014 and August and May of 2013 Johnny was an ArtSlant Showcase Winner. And in Janaruary 2013Johnny was awarded an Honorable Mention from the art competition Artavita. October 2012 , he was also an ArtSlant Showcase Winner. Johnny was awarded first prize in photography from The American Art Awards in September 2012. He also took home first prize from the AAA in 2011 and 2010. In 2014 he tied for second place with himself at the AAA. And for the seventh year in a row he was published in the Latino Heritage Month Calendar and Cultural Guide presented by The City Of Los Angeles, September 2015.
Additionally, the Los Angeles County coordinators of "SoCal for Jerry Brown" named Johnny the honorary photographer for Brown's 2010 gubernatorial campaign for his series of double-exposed photographs of Californians with the moniker "Jerry".
A native of Los Angeles and self-taught photographer, Johnny earned a BA in Theatre Arts from UCLA. Johnny has also taught Creative Photography for Personal Growth at The Village in Hollywood and has been an art and photography instructor for CoachArt, a non-profit charity providing free lessons in the arts to kids with life-threatening illnesses.
His other passions are the youth group he has lead for 13 years at Hollywood United Methodist Church and the annual trips he takes with the church to places hit by natural disasters. His 11th trip and 5th to Haiti will be in Jan 2016. For more info about the relief trips and to donate go to www.HeartofHollywoodFoundation.org.


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Researchers at Wake Forest University have created a 3D printer capable of extruding bone, muscle and ear tissue.
"Completely bullshit." The NSA's terribly-named SKYNET program, which rates the 'terroristiness' of people by way of a machine learning algorithm, may be killing thousands of innocent people.
Listen to William Carrà's 48-minute Donal Dineen-ish The Heart Has Its Reasons Which Reason Knows Nothing Of mix:
Wyclef Jean's Reddit AMA goes really badly.
All Your Base Are Belong To Us is 15 years old:


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Or alternatively, the story of the tortoise and the hare, mountain style. But I'm getting ahead of myself again.
|Map of Cotopaxi National Park and the two volcanoes I climbed
A number of people at the school in Cuenca were sick, and I had felt like I had been fighting it off all week. I had grand plans to run everyday along the creek to keep in shape for the climb, but instead I had slept in every morning, hoping I would at least not get sick. Returning to Quito at an elevation of a little over 9000 feet, I felt tired even climbing to the reception on the 5th floor of my hostel. Yikes.
Feeling exhausted, I decided all I could do was get a good nights sleep and hope for the best. After expressing my concern to Jeremy over skype, he helped me remember the big picture. No matter what happens, it'll will still be an incredible experience!
So I headed to bed early, hoping for a solid 10 hours of sleep. But between the excitement, anticipation and nerves, I hardly slept a wink. And when I did sleep, I had disturbing dreams. Very disturbing. At one point I was dreaming that I was killing a cat. I'll spare you the details, but it was gruesome. Likely a side affect of Diamox, the altitude sickness med I was taking as a precaution. That and the weird tingling sensations in my hands and feet...
So now really exhausted, I was picked up by my guide's father on Monday morning. He immediately started saying something about my boots. My guide had told me he'd have 2 sizes of plastic climbing boots for me to try, so I wasn't sure why this was an issue. What was he saying? Does he not have them after all? I was too tired for Spanish and he was using words that I didn't understand. Although worried I was going to start the trip off on the wrong foot with no boots (literally- ha!), I was thankful we turned to everyday conversation that I could handle well.
Fortunately, when I met up with my guide, I realized he was trying to tell me that I should try them on to make sure one of them fits. Apparently they were in the trunk the entire time. Ahhhh! So although my Spanish had gotten to the point where I could have intelligible conversations, clearly there were still many things outside of my limited vocabulary. I was thankful then that my guide's English was far better than my Spanish. And it was better than you'd imagine from his emails, which required some interpretation and were often pretty funny. My favorite being, "please if you have a dude or question." ?? :)
We headed to Volcan Rumiñawi, a dormant stratovolcano in Cotopaxi National Park that would serve as an altitude acclimation hike. It was a beautifully clear day, giving me gorgeous views of Cotopaxi for the first time on the trip:
We arrived at Laguna Limpiopungo, a lake between Cotopaxi and Rumiñawi and the starting point for our hike for the day. However, due to dry conditions there wasn't much left of the lake. My guide told me it has gotten smaller and smaller every time he visits. One of the many signs of climate change I would see on this trip. :/
As we hiked toward Rumiñawi, clouds started rolling in and the weather got progressively worse. I was bummed, because the views of Cotopaxi from Rumiñawi were supposed to be spectacular on a clear day. My guide just laughed and told me just wait, it might clear up again. He said that the guides here always say that the weather in the mountains is like a woman: it changes rapidly. Ha!
By the time we got to the top of the ridge for a lunch break, Cotopaxi had disappeared behind blankets of clouds and snow.
But sure enough, by the time we reached the top of Rumiñawi there was enough of a break in the clouds to get a glimpse of Cotopaxi:
I relaxed for a while, catching my breath and taking in Cotopaxi's captivating beauty. Despite feeling winded, my guide told me that we made excellent time, knocking over an hour off the usual time to the crater. That made me feel more encouraged about my physical condition, so I kept my hopes high as I sat dreaming of the summit...
Then my guide and I sat on the side of the crater and watched as the clouds hit the crater walls and swirled up and over us.
The route down the steep crater walls was super fun, and involved basically running down a scree slope of volcanic sand. It reminded me of the descent of SP crater near Flagstaff AZ, but with less rocks! And adult, fun-sized mix between a sandbox and a ski slope :)
We finished the hike just as the storm really set in, dumping cold rain all over the valley.
Meanwhile, Cotopaxi was getting pounded with snow, leaving about 12 inches of fresh snow for our climb...
All things considered, we had been really fortunate with the weather for our hike. My guide joked that I must have made an offering for the good weather. I was reminded of my horrific dream about the cat. Huh. Maybe I was making an offering in my dreams for good weather?!?!
We arrived wet and cold to our lodge, hoping the storm would pass and leave us with a clear day for the summit. I was thankful to have a warm fire and hornimans to keep me warm...
I went to bed early and slept hard, so hard that when I was woken in the morning to the sound of a herd of cows mooing outside of my window, I thought it was my guide calling me to wake up! ha.
By the time we arrived at the base, the snow had finally stopped, but clouds and fog still lingered.
But I was excited and ready for the big climb nonetheless!
We carried our gear from the parking lot at ~1500 feet to Refugio José Félix Ribas (@ ~15750 feet), our base camp for the climb.
After some much needed hot soup and an hour nap in our sleeping bags on the military style cots and bunkbeds of the refugia, we hiked up to the glacier to practice the technical skills needed for the climb. Soon after leaving the refuge, the guide pointed to the red rocks on the slopes and told me that the glacier used to end here:
At the end of our lesson, he showed me a technique used for climbing very steep slopes, noting that this technique isn't necessary for Cotopaxi. Thanks to the heavy snowfall the night before, he would eat those words later, so I was very glad he showed me...
We went back to the refuge for hot drinks, trout dinner and laughs with the other climbers and guides. By that point I had become famous around the refuge as the "un mil novio chica." ha. Don't ask how that started, let's just say the guides to a liking to the tall blond haired climbing chick.
And without any other source of entertainment (or warmth), the guides showed off their incredible ability to do pull ups off the paper thin edge of the ceiling...
After bs-ing for probably far too long, we all headed to bed to try to get a least a few hours of sleep. They had broken the climbers into two shifts, one group that would wake up at 11pm and start climbing by midnight, and another that would get up at 11:30 and start by 12:30 am. My guide and I were in the second group.
I hardly slept, and at 11 I was woken to the sound of the first group getting ready to go. Their plastic boots on the wooden floors sounded like a heard of elephants! Even if I was sleeping, I certainly wasn't anymore! Might as well get up and start getting ready too...
When we hit the glacier, we donned our crampons and started the long, slow slog up the mountain. As I tried to get in the the rhythm, I listened to the sound of my guide in front of me and repeated his words from our practice the day before: piolet, crampon, crampon. Piolet, crampon, crampon. Piolet, crampon, crampon...
But I got into a groove, and suddenly we were at the first break spot, a glacial cirque that provided protection from the wind. My guide told me it was 3 am and that we were already at 17000 feet meters! I was feeling great and I was starting to feel optimistic about my chances for the summit. Although we couldn't see it in the dark, the cirque was beautiful!! Here is a picture of it on the way down in the daylight (unfortunately none of my videos from the descent turned out because my camera was completely iced over :/):
After this point, it started to get legitimately cold. At one point we passed another group, and I noticed that their eyelashes and facial hair were covered in icicles! I was starting to loose feeling in my fingers and face, and was regretting not having put on my heavier gloves and balaclava. By this point, my buff covering my face was wet from the inevitable sweat and runny nose. Awesome.
So I was thankful when we arrived at the second cirque at ~18400 feet around 4:15 am and could change to my heavier gear. However, despite only being there for a few minutes and having my gloves off only a bit, my fingers only got worse. Soon, the discomfort had turned to pain, and I was having trouble even holding my ice axe. I stopped the guide, and he sweetly rubbed my hands to warm them up and offered me his gloves. At first the pins and needles feeling was super painful, but I regained feeling to my fingers. By that point the guide was asking me to call him "mi amor," but I was thankful of his sweet endearment...
At that point, we had less than a thousand feet to go, but he said the last part was steep. And little did we know, it was going to be even more steep than usual thanks to the snow. We caught up to the groups of guys who started at midnight and had took off for the races. They were barely moving, and their guide was barking back at them "recuerda!" It had become very steep, and required a different technique, and they were struggling with it and falling backwards.
My guide and I slipped passed them, and continued on slowly up the now quite vertical slopes using the pick of our ice axe and tips of our crampons:
So despite being one of the last groups to start, we paved the way to the summit through the fresh snow. Girl power; tortoise power! ;)
As we crossed the dome of the summit, I was so excited that I could hardly catch my breath and I had tears in my eyes. After a congratulatory hug from my guide, I explored the summit before everyone else arrived. I felt like I was on top of the world!
When the next group arrived, the guy just crashed to the ground, exhausted. We had a good laugh about how I was the only one still with energy. I thought to myself, slow and steady! When the rest reached the summit, we all cheered and celebrated our successful summit. We made it! :)
Here is a video compilation from the summit (sorry for the haze, it had become covered in ice!):
Here I am at the summit, with views of the crater below (and icicles in my hair!)
On top of the world!!! (Ok, well most of the clouds at least!)
My guide, Edgar, and I. If any of you ever want to climb Ecuadorian peaks, I recommend him highly!! (http://www.edgarguide63.webs.com/)
A trip of a lifetime for sure!!!
Now which peak should I do next...? ;)


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Set 1.7 km from Clew Bay Heritage Centre in Westport, Greenside B&B features free WiFi access and free private parking. Every room is fitted with a flat-screen TV. Certain rooms have a seating area to relax in after a busy day.
Note: Map is an approximate indication ONLY. Please contact Greenside B&B for directions and precise location prior to your visit.


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This delicious and easy chili recipe is one of our client's comfort food favs. With all the hearty vegetables you won't miss the extra calories usually added with tomato sauces. This one pot recipe is doable even on a weeknight and always makes enough for lunch left-overs! Serves: 6
1 ¼ lb extra lean ground beef 1 28-oz can diced tomatoes 1 small onion, diced 1 clove garlic, minced 1 8-oz can tomato paste 1½ cups chicken broth 1 cup frozen corn 1 cup shelled edamame beans 1 cup sliced mushrooms 1 15-oz can black beans, rinsed and drained 1 teaspoon olive oil ½ teaspoon salt + pepper 1 teaspoon cumin 1 teaspoon paprika ½ teaspoon chili powder ½ teaspoon cayenne powder
In a large pot over medium heat add olive oil, onion, and garlic, and sauté until soft, about 3 minutes
Add in ground beef, mushrooms, and spices and cook until browned and the mushrooms are softened, about 7 minutes.
Add in diced tomatoes, tomato paste, broth, corn, edamame, and liquid smoke and bring to a boil. Reduce heat to low, add in black beans and simmer for 20 minutes.
NUTRITIONAL INFORMATION Serving size: 1/6 of total recipe Calories: 370 kcal Fat: 9g Carbohydrates: 38g Protein: 36g
Recipe: Created for Team SiS by NutritionistInTheKitch


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So on Friday I told y'all that MissCoca and myself were heading to the La Roux show here in Melbourne, at the sweat box that is known at Festival Hall.
All I can say is 'wow'. The show was incredible from start to finish. The lights, the vibe, the women who like other women...shit was crazy.
We fucking loved it...so check out the video we filmed of the opening track, 'Tigerlily' (which I blogged on Friday, albeit the album version). Don't sleep, folks.


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In the early 90's, Miles Copeland, most notable for founding IRS records and managing The Police, bought the Chateau Marouatte. Constructed in the Dordogne region of Perigord Vert, France, the Chateau Marouatte is a 14th century fortified castle steeped in history. It was there that Copeland would change our industry with one word: camps.
Having 270 acres to his name, Copeland decided to invite 24 songwriters and artists to the French countryside for a week. He fed them and housed them, only asking for one thing in return: to write and record a song per day in which he would share a piece of the publishing.
For eight years, Copeland sponsored the Marouatte writing camps with Almo Irving Music Publishing. However, in 1999, Warner Chappell became his new partner and I was put in charge. That year, I took 12 writers on an overseas flight to Paris, a cross-country train to the South of France, and finally an hour long bus ride to the Chateau Marouatte for a once in a lifetime experience.
Due to my camp's success, Warner Chappell asked if I was ready to do it all over again the following year. And, I was, but I had a vision for creating a camp for only our writers.
That year and the next, I set up a camp in Nashville where there was already a community into which I could integrate. However, it became apparent to me that the writers and I needed some new place where we could be isolated from the music industry. And, therefore, I started to host my camps in Lake Arrowhead.
There, I played matchmaker for writers who had left their everyday routines at home to nurture a creative spark. A safe space was provided for everyone to experiment with new genres and words, and make lasting connections. Ultimately, these camps became a very important exercise in taking my writers out of their comfort zones so that they could experience new perspectives and new ideas. For writers like Kevin Kadish, NIcky Sixx, Jodi Marr, and Tim Nichols, camps were a turning point where they figured out who they were and where they could take their art.
Now, I'm doing it all over again. And, this time, I want YOU to be there. I will be putting on a "first of it's kind" songwriting retreat from June 10-13 in Normandy, France where you can be a part of an eclectic group who will partake in a camp like those that so many prolific writers still participate in today. Come with me for a weekend of inspiration and challenges that will propel you forward in your songwriting journey.


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Country Ham: The "Then" image from WayCo Hams may be the past, but the way we cure our Authentic North Carolina Country Ham "Now" is the same as it was "Then"!
After being hand rubbed two times, the aging and drying process lasts for more than 100-days (versus 10 or less for the "mass" producers).
We let the flavor happen naturally. That's why it tastes so good! WayCo Hams, celebrating 70-years of goodness!


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Emerging Wealth Strategist, Client Consultation Group
- Employer
- Edward Jones
- Location
- Tempe, Arizona (US)
- Salary
- Open / Negotiable
- Posted
- Aug 16, 2019
- Closes
- Sep 07, 2019
- Ref
- Job Function
- Wealth Management
- Industry Sector
- Investment Bank
- Employment Type
- Full Time
At Edward Jones, we help clients achieve their serious, long-term financial goals by understanding their needs and implementing tailored solutions. To ensure a personal client experience, we have located our 14,000+ branch offices where our more than 7 million clients live and work. A typical branch office has one financial advisor who meets with clients face-to-face and one branch office administrator who enhances the team's ability to build deep relationships with clients. Headquarters associates in St. Louis and Tempe provide support and expertise to help U.S. and Canada branch teams deliver an ideal client experience. Edward Jones currently has more branch offices than any other financial services firm, and we continue to grow to meet the needs of long-term individual investors.
The Emerging Wealth Strategist is responsible for assisting in the development of solutions-based recommendations for high net worth clients with complex needs using a team based approach. This will be done by:
Contributing to departmental objectives, projects and initiatives in order to better serve branch teams and high-net worth clients Providing branches with solution-based tool strategy guidance in order to better serve high net worth clients with complex needs.
Completing Requests-for-Proposals in coordination with branch teams in an effort to build deeper relationships within the community.
3+ years Financial Services Industry or EDJ experience required
1+ years of experience with Insurance would be strongly preferred
Bachelor's degree in Business, Finance, Accounting or Law required Series 7 and 66 required within 6 months of hire Insurance license required within 6 months of hire CFP designation attempted within 18 months of hire and obtained within 24 months of hire
Functional Skills:
Understanding of Financial Advisor/BOA/branch processes including the implementation of the 5-step Asset Management process Ability to support a financial advisor in evaluating solutions-based strategies for client needs.
Strong presentation and communication skills Personal initiative and ability to collaborate Exceptional organizational skills and attention to detail Understanding and alignment with the firm values, beliefs, policies, procedures as well as business objectives
Problem Solving:
Results driven
Well organized
Strong analytical skills are necessary to research issues and apply appropriate solutions Requires critical thinking skills and sound judgment Demonstrates ability to handle multiple priorities
Technical Skills:
Proficiency with Microsoft Office tools
In-depth knowledge of the financial planning concepts and tools


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These are from last year, still in the tree and dried. Very dried. However, in the late afternoon sky, they take on a sculptured presence.
The red bud is a favorite of mine and native to Kentucky. Its bloom is short-lived, but worth waiting for.
After, it isn't really much to look at especially when the bagworms have their way.


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Artist Bio: Fiona Chance is a mixed media artist from Dublin now living in Aberdeen with a first class honours degree in Fine Art Printmaking. When not painting, spraying, sticking and printing, Fiona can be found running creative workshops for adults and children at Createwithus. Fiona has been involved in various public art projects including the Wild Dolphins, Coast Arts Festival, Oor Wullie Bucket Trail and various murals. She has raised a significant amount of money through her art for various charities.
Artist Inspiration: Pupils from two classes created individual superhero masks that reflect all different types of heroes and links to the overall campaign theme of 'dreaming big.' The Big Hero 20 is a nod to the movie Big Hero 6. The inspiration for the superhero theme is twofold: firstly, it is a fun and engaging theme for primary-aged children. Secondly, and perhaps most importantly, the theme reflects the true 'heroes' of this project – those who are supported by the Friends of ANCHOR charity.
Location: Duthie Park, Aberdeen.
Sponsor: John Lawrie Group
2017 is a particularly special year for Friends of ANCHOR as it marks 20 years since the charity began – a charity with a vision to help make cancer and haematology care in the North-east of Scotland the best it can be.
To mark the 20th anniversary, Friends of ANCHOR has launched the 'Dream Big' campaign – its biggest fundraising appeal ever by pledging £1m to the University of Aberdeen's ambitious £4.5m project to attract and recruit a world-class oncology research team to the North-east of Scotland. This will have a lasting impact on the care, treatment and wellbeing provided to local cancer and haematology patients.
The 20for20 voyage is the charity's milestone anniversary project which will contribute to this appeal and provide a platform for the public as well as artists, sponsors and partners to raise awareness of the charity and get involved in a creative and exciting way.
20 anchors have been individually designed and decorated by very talented local artists and will be on display throughout the North-east of Scotland, Orkney and Shetland from 1st July through to the end of October.
The artists have poured their creativity and emotions into each anchor. Follow the map to see them all!


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NASA plans to use inflatable heat shields to deliver bigger payloads to Mars
Bigger is always better. The future astronauts really need a ton of gear if they want to survive on the killer planet Mars. NASA plans to use what it is calling a Hypersonic Inflatable Aerodynamic Decelerator, or HIAD. That is basically an inflatable shield which is currently tested in NASA's Armstrong Flight Research Center. They […]Read more


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It's What I'm Loving Wednesday time! We hit 10 link ups last week! Let's keep growing!! :) Don't forget to link your post back to mine or Jodi's blog. Feel free to use this button (code is below). Also, be sure to leave a comment on some blogs. Everyone likes reading comments! :)
I'm loving...
That I got two free days off work this week (thankfully my company pays us when the office is closed, we don't have to use our personal time). My work decided Monday night to close Tuesday as well. I think they mainly closed because all the school districts in the area were going to be closed again (so they figured employees with kids would need to stay home). The ice on the roads was pretty much melted by late Tuesday morning (when temperatures got above freezing) and by that evening they were almost dry (at least over near where I live). My company texted that we will be open for regular business hours today. As nice as the time off has been, I'm ready to get back to the office (I can't believe I'm saying that). I am going to be crazy busy trying to catch up.
I'm loving...
That Dr Pepper replied to my tweet. Now, if they only knew who Mordecai really was- lol! :)
|For you new readers, this is Mordecai
I'm loving...That I started a Lois and Clark marathon today. As I mentioned last week, Dean Cain is appearing at the Dallas Comic Con, so my friend B and I got tickets in hopes of meeting him. Yes, I'm not (too) ashamed to admit that. Lol. I love watching TV shows from the early 90s. No smart phones (really, no cell phones at all), no internet, interesting wardrobe choices. Ah- I remember that life. Lol.
|Little known fun fact: I can play this piece (Fur Elise) on the piano


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An honest story from one of our Kula Hot Yoga & Wellbeing Ambassadors about the endless healing benefits of Bikram yoga
If I haven't bumped into you so far, my name is Annemiek and I'm Dutch.
Three and a half years ago I joined Kula Hot Yoga & Wellbeing in Clapham Junction after my third baby boy was born and I haven't looked back since. Yoga has changed my life and saved my sanity on a daily basis. It has helped me through the hardest and most stressful times in my life.
We all have our challenges and it's very easy to forget ourselves. Which is why this exercise is so important to me. The great benefit is that you become more flexible, and it's very good for your knees and back. It also will help to shape your body and tone your abs but moreover the mental health and wellbeing benefits go beyond any other.
A bit over a year ago I lost my mum, my friend, my person to go to, the one I called everyday. It was horrible, but life as we all know, carries on. Looking after your family isn't easy while you are heart broken. I was tired, had no energy and tried to keep "the show" running. So I went to yoga more than ever, I cried in the hot room and grieved my mum. It helped me in so many ways. Reflecting on myself, accepting what had happened, I shared and made amazing friends. Sometimes I still breakout in tears during class and that is ok.
If you haven't tried the Bikram classes yet, please do. Don't let the heat put you off. I generally don't like saunas either or the sweat! We are not in that room because we love to bend backward though & sweat our guts out. It's the feeling after class that makes us all want to go back in there. It's truly incredible!
Kula is an amazing studio and I have been to lots of different yoga studios in the past 10 years. The people who work there are incredible & I am proud to be one of the regulars. There are some awesome people in the Kula community. Check it out for yourself and you will experience the amazing health and wellbeing benefits too. It is so much more than just a work out!
Annemiek x
If you are thinking about starting yoga classes then Kula has everything you need to feel confident in beginning your yogi journey. Our intro offer entitles you to unlimited yoga and movement classes including Bikram Yoga, Vinyasa, Yin, Nidra, Dynamic Body and I.Flo as well as a complimentary monthly Bikram workshop for beginners taught by our amazing Marylou!


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< I Want to Be a Drummer!
Shaker Maker Craft
Make some noise with these fun shakers you can make at home!
In I Want to Be a Drummer!, Daniel creates his own drum set out of items he finds around the house: a suitcase, a cardboard box, and some pie tins, among others.
Today we'll teach you how to help your child make another percussion instrument out of simple objects you probably already have at home: a shaker!
Here's what you need:
- 1 metal juice or soup can (make sure the inside is clean and completely dry)
- 1/4 cup of rice (popcorn kernels, lentils and other dry foods can also work)
- Duct tape
- Scissors (not pictured)
The steps to make your shaker are super easy.
- Pour some of your rice (or other filler) into the metal can. Don't fill it to the top—leave some space so the rice has room to bounce around and make noise.
- Put one or two short strips of duct tape over the open hole on the can. This will keep the rice from falling out when we shake it around.
- Use scissors to trim any extra tape from the edges of the can.
- Optional - Wrap some paper around the can and decorate your shaker however you want!
That's it! Congratulations, you've made your own shaker!
Oh wait, there IS one more step...
5. Shake it, shake it, shake it! Make some rhythms with your new instrument by shaking it around in the air.
If you want to make more shakers, try using a different type of can, or a milk jug, or a juice bottle. Try different fillers too, and see how different materials make different sounds. But most importantly: have fun!
Oh, and if you want to see a shaker in action, check out this video of I Want to Be a Drummer! author Mark Powers making rhythms with his own shaker.


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Free Fortune PowerPoint Templates
Match your odds with the rest of the competition with free Fortune PowerPoint slides, such as Diamond PPT theme, and Casino Roulette background. If you are a fan of Poker, there are presentations available for you.
Download Fortune PPT background for a look into the bright and shiny side of life, where miracles come true for those who have destiny.


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I am on vacation this week. Feel free to offer your thoughts, but forgive me if I do not end up responding. Thanks for reading!
Every day items that we might take for granted are addressing some of the problems faced by the poor in the global south. USAID offers a simple graphic that links the item's use in the US, a problem experienced, and how the technology is addressing the problem through USAID projects. As far as infographics go, this one is pretty effective. Of course there is much more to it than a simple statistic and technology, but solutions are being found with ICTs.
USAID - Household Game Changers


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Mission Statement:
Florida Hospital Flagler is a non-profit organization that operates under a mission of extending the healing ministry of Christ. Adventist Health System employees draw motivation and direction from six strongly held principles. These principles guide the manner in which we treat each other and those we serve.
Christian Mission:
We exist to serve the needs of our communities in harmony with Christ's healing ministry and incorporate Christian values at every level of service.
Focus on Community Wellness:
We commit time, talent and financial support to educate our neighbors in the principles of illness prevention and healthful living.
Quality and Service Excellence:
We strive to meet or exceed both the service standards of the health care industry and the expectations of the patients we serve and measure our success through continuous surveying of patient satisfaction.
High Ethical Standards:
We conduct our business with integrity, honesty and fairness. As responsible stewards, we use our financial resources wisely by choosing business practices which are cost-effective, productive and result in a fair return on investment.
We are sensitive to the needs of the individuals and families we serve and meet their needs with kindness and empathy.
Cultural Diversity:
We value the diversity of our patients, employees, business colleagues and visitors and treat them with kindness and respect regardless of their background, race, religion or culture.


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The Ceremonial Law and the Physical Laws
The physical laws must be differentiated from the ceremonial law for though the former were included in the practice of the typical services, "cleanliness" and all that it comprehends physically and spiritually, is "next to godliness" and is based on the truth that the human body was created to be the temple of the living God, the dwelling place of the Holy Spirit. Thus the physical and natural laws are as old as creation itself, which was but six thousand years ago, according to the divine reckoning and inspired pen.
For instance, many teach that God's specifications on what foods are clean or unclean belong to the ceremonial law that was "done away with at the cross." Nothing is farther from the truth for even nature testifies that the beasts, fowls, sea animals, and insects that are classified as unclean are the carnivores, scavengers, or bottom-feeders, etc. But even if one can advance all the reasons such as they are now "farm-raised and fed nothing but healthy and organic feed," etc., none of these excuses nullify God's Word and wisdom that defines such as unclean. For one to continue doing so after being enlightened, is rebellion "and stubbornness which is as idolatry." Thus the physical and Biblical health laws are but part of the natural law which are part of the principles of God's moral law which govern the whole person—mind, soul, and body.
There was one law, not several, that regulated both the system of sacrifices and the priesthood. See Leviticus 6: 9, 14, 25; 7:1, 11, 37. The ceremonial law, governing the earthly sanctuary services, priesthood, the system of sacrifices, and the feasts which included the seven annual ceremonial sabbaths, Passover, etc., and physical circumcision, designed by God and spoken to Moses on the mount during the 40 days he was up on Mount Sinai. Moses wrote them down with his own finger. This is what the Bible calls "the law of Moses." These were binding during the Mosaic or Jewish economy until such time that these "shadowy services," also called "the handwriting of the ordinances" pointing to coming of Christ as the Messiah and the lamb of God, died on the cross. Then type met antitype; shadow met substance. Thus, to continue keeping any of these ceremonial laws, after Christ's death is to openly reject Christ as Messiah and Savior, "the lamb of God that takes away the sins of the world."
The main features of the ceremonial law, as verbally dictated by God and hand-written by Moses are as follows: spoken by Moses to the people, Lev. 1: 1-3; written by Moses, Deut. 31:9; placed in a book; not written on tables of stone, Deut. 31: 24; added because of sin, Gal. 3:19; temporary, Heb. 7:12; called carnal or fleshly ordinances, Heb. 7:12; only a figure of the true, Heb. 9:9; shadow of the heavenly, Heb. 8:5; 10:1; was of the blood of bulls and goats, Heb. 10: 5, 6; ; were binding "until the Seed should come," Gal. 3:19; made nothing perfect, Heb. 7:19; abolished by Christ Himself when He died on the cross, Eph. 2:15; after the cross, it became a yoke of bondage, Gal. 5:1; after the cross, called "contrary and not good," Col. 2:14; after the cross, it had become a burden, Acts 15:10; not used for judgment, Col. 2: 16, 17.
The Physical and Natural Laws
"In order to enjoy good health, we must ask the Lord to bless us, and then we are to do what we can to place ourselves under conditions the most favorable to health." – My Life Today, p. 128.
But much more than just affording protection from diseases and premature death, by prevention, God's physical laws and natural laws Him being nature's God, are just as binding and eternal as His moral law is since the there is only One lawgiver. Therefore, to transgress one is to transgress the other. James 4: 12; 2:10. There cannot be one law fully being fulfilled or transgressed, without the other being done as well. Intelligent and willing obedience to these laws is necessary in order that that which the Creator ordained in the beginning the Redeemer restores in the end. We "are fearfully and wonderfully made" (Ps. 139: 14) for a specific purpose.
"Since the laws of nature are the laws of God, it is plainly our duty to give these laws careful study. We should study their requirements in regard to our own bodies, and conform to them. Ignorance of these things is sin." – My Life Today, p. 125
Ignorance or lack of knowledge, worse if willful, of what the Creator designed the human body to be–"the dwelling place of God, the temple of the Holy Spirit," —has led fallen man since the beginning to either ignore, abuse, neglect, or worship the body as an idol. Paul warns: "What, know you not that your body is the temple of the Holy Spirit, who is in you, which you have of God, and that you are not your own? For you are bought with a price. Therefore glorify God in your body and in your spirit which are God's. If any man defiles the temple of God, him shall God destroy, for the temple of God is holy, which temple you are." 1 Cor. 6: 19, 20; 3: 17."
"Man was the crowning act of the creation of God, made in the image of God, and designed to be a counterpart of God. . . . Man came from the hand of God perfect in every faculty of mind and body; in perfect soundness, therefore in perfect health."- Good Health, March 1883.
Therefore, by creation and redemption God lays claims upon the human body (CH 40) for the body is the medium through which mind and soul are developed (MH 130; CD 33; MLT 78; PK 488; Te 61, 102). Neglect of the body is neglect of the mind. (CH 122). .
After the first Adam sinned by transgressing the moral law by yielding to the temptation to transgress a physical law—to eat of that which was forbidden by God—both simultaneous acts of disobedience, he became sinful, subject to all the consequences of sin— suffering, decay, and death. Christ, the second Adam, the sinless One, redeemed Adam from the curse of the law by repurchasing the human body and mind with His own blood, His own life, at Calvary, by this supreme act and sacrifice certifying that the laws transgressed by man, were eternal and immutable.
- With all the accumulated transgression of both the moral and physical laws before and since after the Flood, why has mankind not yet rendered itself extinct? Was God's warning to Adam "Thou shalt surely die" real? Here is the answer that alone should immediately make us better appreciate and depend on God's wisdom and power, and be grateful for His love, longsuffering, and mercy towards man before he became a sinner:
"God endowed man with so great a vital force that he has withstood the accumulation of disease brought upon the race in consequence of perverted habits, and has continued for six thousand years. . . . If Adam, at his creation, had not been endowed with twenty times as much vital force as men now have, the race with their present habits of living in violation of natural [or physical] law, would have become extinct." – Testimonies, vol. 3, pp 138-9.
What was the Real Purpose of the Sanctuary?
From continually studying it from its multiple aspects, I am now fully convinced that the sanctuary doctrine is the only one that fully explains the glorious, comprehensive plan of redemption/salvation as taught in the everlasting gospel. Consider the following: And God said, "And let the make Me a sanctuary, that I may dwell among them.' Exo. 25:8. "I will dwell among the children of Israel, and will be their God,' 'and the tabernacle shall be sanctified by My glory." Exo. 29: 45, 43. Now this:
"In the building of the sanctuary as a dwelling place for God, Moses was directed to make all things 'according to the pattern of things in the heavens.' God called him into the mount, and revealed to him the heavenly things, and in their similitude the tabernacle, with all that pertained to it, was fashioned. So to Israel, whom He desired to make His dwelling place [corporately], He revealed His glorious ideal of character. The pattern was shown them in the mount when the law was given in Sinai. . . .
But this ideal they were, in themselves, powerless to attain. The revelation at Sinai could only impress them with their own need and helplessness. Another lesson, the tabernacle, through its service of sacrifice, was to teach—the lesson of pardon of sin, and power through the Savior, for obedience unto life.
Through Christ was to be fulfilled the purpose of which the tabernacle was a symbol—that glorious building, its walls of glistening gold reflecting in rainbow hues the curtains inwrought with cherubim, the fragrance of ever-burning incense pervading all, the priests robed in spotless white, and in the deep mystery of the inner place [the most holy apartment], above the mercy seat, between the figures of the bowed, worshipping angels, the glory of the Holiest. In all, God desired His people to read His purpose for the human soul [the whole person]. It was the same purpose long afterward set forth by the apostle Paul, speaking by the Holy Spirit: [1 Cor. 3: 16, 17 quoted]." – Education, pp. 35, 36.
Over 150 years ago, the spirit of prophecy given through the inspired pen of E. G. White was already enlightening the members of the remnant church on this present sealing truth that was being progressively revealed to her. She wrote them in plain and simple language that everyone, young children, if they have been so encouraged by their parents by precept and example from childhood, can read and understand. Let's take a quick survey of a few of these and see if we are truly living in harmony with the physical and natural laws as the professed keepers of the moral law rendering us part of the remnant church of prophecy, not merely because of membership. First, we must clearly understand these basic truths:
"God is as truly the Author of physical law as He is author of the moral law. His law is written in with His own finger upon every nerve, muscle, and faculty which has been entrusted to men." Counsels on Diet and Foods, p. 17.
"The living organism is God's property. It belongs to Him by creation and redemption; and by misuse of any of our powers we rob God of the honor due Him."- Counsels on Diet and Foods, p. 17.
"The health reform is an important part of the third angel's message; and as a people professing this reform, we should not retrograde, but make continual advancement. It is a great thing to ensure health by placing ourselves in right relation to the laws of life." MLT 128.
"The Creator of man has arranged the living machinery of our bodies. Every function is wonderfully and wisely made. And God has pledged Himself to keep this human machinery healthful action if the human agent will obey His laws and cooperate with God. Every law governing the human machinery is to be considered just as truly divine in origin, in character, and in importance as the Word of God. Every careless, inattentive action, any abuse put upon the Lord's wonderful mechanism, by disregarding His specified laws in the human habitation, is a violation of God's law. We may behold and admire the work of God in the natural world, but the human habitation is the most wonderful."- Medical Ministry, p. 221.
Physiology, according to Webster, is "the study of the functions of the organs and parts during life, as distinct from anatomy; the organic processes and phenomena, collectively, of an organism or part."- "This living machinery [the body] is to be understood. Every part of its wonderful mechanism is to be carefully studied." MS 49, 1897. "The mechanism of the human body cannot be fully understood; it presents mysteries that baffle the most intelligent. It is not as the result of a mechanism, which, once set in motion, continues its work, and the pulse beats, and breath follows breath. . . The beating heart, the throbbing pulse, every nerve and muscle in the living organism, is kept in order and activity by the power of God."- Ministry of Healing, p. 417.
The study of physiology is one of the very first and yet most neglected of duties of Christian parents for their children. Most of the time, it is the parents themselves who are guilty. But God in these closing hours of probation is calling for a radical reform. For countless parents the opportunity to do so is past. Many went to their graves unsanctified in this area. This solemn work and responsibility is a distinct part of the sealing message and work God is seeking to accomplish among His people before He places His final stamp of approval upon those found worthy of the reward of eternal life.
(to be continued)


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Michigan hosting Penn State in prime time Oct. 11
For the third time, Michigan is going to be playing under the Big House lights this fall.
It's not going to be Notre Dame in early September, though. The Wolverines announced Monday that they will play at night on Oct. 11 against Penn State.
"The night game atmosphere created by our fans has been electric and we expect that same type of energy for our first-ever conference night game against Penn State," Brady Hoke said in a statement. "Our players really enjoy playing in primetime at Michigan Stadium."
Athletic director Dave Brandon had said in the past that he was leery about playing Big Ten games at night, because of the increased possibility of inclement weather, but Michigan is going to roll the dice this season.


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Sup ya'll. So as I mentioned, I'm getting dangerously close to enjoying running. In large part, I enjoy it because it's getting easier, but what I've really enjoyed lately is the thrill of exploration.
Since my weekday running is less serious than the weekend stuff, I get to take Lady along. For those who haven't met her, Lady is a ball of energy in dog shape, enemy to all frisbees, and runner extraordinaire. Once we are safely across Stanyan and into the park, I let her run free, and she will spend the first 30 minutes dashing about like a crazy person, sniffing and sprinting and chasing birds like a cracked-out squirrel with delusions about its size. She's an inspiration to all runners, because she can do it faster, longer, and will enjoy it more than you. Guaranteed.
What I have been doing lately is taking Lady through some of the lesser-known regions of the park. I spent most of my time along John F Kennedy Drive when I first started training, but now I am taking any and all manner of paths and twists and trails and turns, exploring botanical gardens, redwood forests, lakes, pine trees, and polo grounds. Lady, who can't seem to focus for more than a heartbeat, consistently will take the wrong trail, realize her mistake, and sprint full-tilt to catch up to me, only to over-run her target and end up on the wrong trail again. The look on her face as she pounds the ground to catch up is indescribable.
The net result is that Lady poops out in about the time it takes me to get back home, and we both lie docilely on a giant bean bag, panting and sweating respectively. The difference is that Lady is ready to go again twenty minutes later, while I will be frying up sausages or microwaving potatoes.
If you're considering getting into running, and you have a dog that is under reasonable voice control, and you have trails accessible, then by all means do it. You and your pooch will thank each other, and that's a promise.


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Another "Star Wars Canyon"
Over the past few weeks I've been blogging about the STAR WARS filming locations in Death Valley National Park. Including a couple of locations that aren't technically within the Park boundary, I've made this into a seven-part guide (eight, if you include this post).
- Outside The Park (Randsburg & El Mirage Lake)
- Mos Eisley Overlook (Dante's View)
- The Dune Sea (Mesquite Flat Sand Dunes)
- Artoo's Arroyo (Artist's Palette)
- The Sandpeople Attack (Desolation Canyon)
- The Jawas Hunt R2-D2 (Golden Canyon)
- On The Road To Jabba's Palace (Twenty Mule Team Road)
As I was writing these posts, I stumbled across another STAR WARS connection. There is a canyon just outside of Death Valley National Park in the Panamint Valley (the neighboring valley to the west). This canyon, like a certain canyon in Tunisia, has also been given the informal nickname of "Star Wars Canyon."
It's real name is Rainbow Canyon and it's located just northwest of Panamint Springs. Father Crowley Point is a scenic viewpoint on its southern rim, just off of HWY 190. From here, you can occasionally watch jet fighters from the Naval Air Weapons Station China Lake scream through the canyon on training exercises. Apparently, this part of the flight path is known by the pilots as The JEDI Transition. I am unsure if "JEDI" is a military acronym or if it is a reference to the STAR WARS films. Perhaps it's both. Regardless, having seen this in person, I can tell you that it is completely thrilling to watch - although, it's really more TOP GUN than it is STAR WARS.
Getting There
As mentioned above, Rainbow Canyon & Father Crowley Point can be found west of Death Valley National Park on HWY 190. If you are traveling from Death Valley, Father Crowley point is 64 miles from Furnace Creek and 39 miles from Stovepipe Wells. Alternately, it is 43 miles east of Lone Pine. See also: wikimapia | googlemaps
Final Thoughts
More and more when I come across webpages of those who have visited these places and others like them, I find myself reading declarative statements of fact.
"We were the first to visit..."
"I was the first to discover..."
"No one has ever found this spot before..."
I should like to point out that any such language on my own pages - that has somehow managed to slip past my own internal filters - merely refers to my own personal sense of discovery. I have no doubt what-so-ever that every location I have visited and and likely every shot I have matched up in Death Valley, Tunisia, and elsewhere, was likely done so by others long before me. This certainly pertains to those shots that I hadn't seen matched up prior to my visit(s) as well. The shots in filmed in Golden Canyon come to mind as does the matte painting location off of Twenty Mule Team Road.
STAR WARS has been around since May 1977 - and a little longer for those who were actually involved with its creation. It's not really a stretch of the imagination at all to think that these places have been visited before. The real stretch would be to believe that they haven't.
Having said that, it doesn't mean you can't hunt these places down for yourself. Even though they are fairly well known at this point, you can still experience your own personal sense of discovery (as I did). In fact, I encourage you to do so! Even without the connection to STAR WARS, Death Valley National Park is a fantastic place - and it's never been easier to visit. With the internet at your disposal, it's also never been easier to find specific information about the STAR WARS scenes that were shot there. In addition to my own entries listed at the top of this page, the following links have a lot to offer:
- http://starwarslocations.com/ - This website is run by my friend Bill Chirrick, with whom I had originally planned to visit Tunisia back in 1999. These days, the facebook page is more active than the website, though you can still find some helpful galleries there (such as Bill's).
- http://www.starwars.com/ - The official Star Wars website.
- http://starwars.wikia.com/ - Wookieepedia, the fan-created online encyclopedia of all things Star Wars.
- http://www.nps.gov/deva/index.htm - The official page for Death Valley National Park.
These books also have been extremely helpful:
And, of course, the movies are indispensable. Speaking of which, the latest one opens this evening and from what I'm hearing, "it's really, really good."


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Program Manager
Misty Gravelin is a graduate of the University of Michigan Residential College. She has previously worked with the School of Dentistry and the Michigan Regional Comprehensive Metabolomics Resource Core. Now she works closely with both the MICHR IND/IDE Investigator Assistance Program and the Michigan Clinical Research Unit.
734.763.0592 | email@example.com


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This 8-year-old started a cookie empire to buy a house for his single mom
Most 8-year-olds are busy with after-school activities, focused on snack time and trying to get their homework done.
Of course, most 8-year-olds also have a sweet tooth and would do anything to get their hands on a dozen of fresh-baked cookies.
SEE ALSO: This 14-year-old painting prodigy is valued at over $3M
Jalen Bailey of Fresno, California is just like any other 8-year-old in that manner, except instead of waiting for his mom to bake him up a fresh batch of sweet treats, he's in the kitchen making them himself.
And he's not just baking for fun – he's currently CEO of Jalen's Bakery, which has raised over $5K on GoFundMe to date in order to expand and grow his business and services.
Take a look through Jalen's baking adventures and finished treats:
See Gallery
But the most touching thing of all isn't the fire in Jalen's entrepreneurial spirit or his dedication to baking.
It's the reason behind all of that – to one day buy a house for him and his single mom, Sharhonda.
Jalen told ABC 30:
"I wanted to save up a lot of money to get a house. I just want one that me and my mom can be happy in."
Available online are oatmeal raisin cookies, peanut butter cookies, white and chocolate chip cookies and chocolate chip cookies (all for $10 a dozen), as well as heart-shaped chocolate cupcakes ($20 for 12) and banana bread ($11 per loaf).
Jalen's Bakery delivers locally to the Fresno area but his website reports that they are "working on delivering nationwide."
Jalen's mother is proud of her son and his dedication, telling ABC 30:
"I've had side businesses since I was 18 so I felt that it was something he needed to learn. If he wanted to be an entrepreneur when he grows up or it's something he wanted to do on the side."
Through Jalen's GoFundMe page, he hopes to raise enough funds to "fulfill online ordering and shipping nationwide, and overall expand his business."
But what's most important, is that Jalen seems to have figured out what makes him stand out amongst other bakers and entrepreneurs.
As he told The Fresno Bee:
"My secret recipe is: Made with love!"
RELATED: Top Instagram accounts for aspiring entrepreneurs to follow
See Gallery
More on AOL.com:
How this 15-year-old 'kidpreneur' makes more than $1 million a year
14 billionaire CEOs without a college degree
5 social media stars who earn way more than you


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|Ravenswood Metra stop at 4800 N Ravenswood Chicago, IL 60640. Photo taken from Mariano's late March. The new station shelter is completed just south of this platform but is not open yet. Photo Eric Rojas, Broker, Kale Realty
Sunday, March 29, 2015
New Ravenswood Metra shelter projected to open in May
Posted by Eric Rojas at 10:09 AM
Labels: Metra, Ravenswood


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In the Far East everything has a deep connection with symbolism. Ancient traditions and customs still co-exist with the most advanced technological progress and modernity. Even in these contemporary days, when man seems to be more and more projected towards esotericism, survives an unaffected world where the most noble and knightly virtues can still inspire us: it is Budo.
Budo means "the way of peace through the practice of Martial Arts". This word comes from BUSHI (referring to the nobleman, the knight, protector and guardian of the established order, guarantor of justice and the holder of the highest ethics and morals: he is the keeper of the Temple) and DO (which denotes the Way, the search for spirituality). Budo, then, is the way followed by the knight, as the man that embodies the noblest virtues and applies these virtues to the service of society.
This subject is extensive and would require a long essay to be analysed carefully, so I will only describe the symbolic language of three important aspects of the initiation to Budo: the dojo (the place where the Way is practised), the dogi (the uniform for the Way) and the reigi (the Ceremony or Ritual).
The dojo is symbolically oriented in a way that Earth, Man and Universe can be harmoniously integrated. In its inner space there are some particular areas symbolically connected with special energies, entities and numbers.
In the middle of the northern wall there is the Shinza, that literally means "place where resides the Heart-Spirit", or "residence of Gods". In this area there is an altar (Tokonoma), above which a holy calligraphy is posted and where the swords (katana) and other holy objects used in the rituals are placed. The Shinza has to be deeply respected by the initiated, because it spiritually represents the existence of the Original Spirit: it is the Sancta Sanctorum ("Holy of Holies") of the dojo. The Shinza is the place where the subtle energies deriving from the Original Heart-Spirit communicate with those of the Individual Heart-Spirit of each practitioner. This flowing together of energies forms the eggregore (or "group energy") of Budo.
The Shinza is the anti-chaos, because it represents the Cosmic Order emanated by the Creator. To the right of the Shinza is the Kamiza, literally "the place where reside the spirits of fire and water". The Kamiza symbolizes the elements of nature: in the eastern tradition the element Fire-Creativity is placed southwards and it is related to summer; the Metal-Intuition is sited westwards and is associated to autumn; the element Water-Wisdom is located northwards and is linked to winter; the element Wood-Imagination is placed eastwards and is connected to spring; the Earth-Will is positioned in the center. The Kamiza, in addition to the mythical union of fire, water and the other elements, represents the blending of the male and female, of love and spirit.
To the left of the Shinza is the Shimoza, the place where the spirits of the ancestors are preserved. It symbolizes the power of the past, the basic experience of the evolution of all human beings, animals and vegetables. The union of Shinza-Kamiza-Shimoza is a trinity that should be compared to that of the universal esoteric discipline.
To the south, there is the Hikae Seki that literally means "place where notes are taken": it is the place reserved for the students, the apprentices, and novices, those who wish to be initiated. It is the place connected with the female, to the receptive and, in fact, it is reserved for those students that need the teaching of the Master (Sensei), who instead stays north, in front of the Shinza, the area linked to the male and the emission.
A central line symbolically cuts the dojo into two parts, right and left, east and west. It is called Seitchu Sen. It represents the axis of the visible world, the horizontal, the plane of the manifestation of humanity on earth. It is the symbol of the interaction between heaven and earth. To the right of this line seat the most skilled practitioners, to the left those who are inexperienced. Traditionally the dojo is not heated in order to perceive the climatic variations and scents of the seasons.
The dojo is blessed by purification (misogi) and exorcism (harai) rites, to invite beneficial spirits (kami) and drive out hostile entities. A ritually consecrated dojo is a protected place, with its own soul, a place where the practice can be safe, far from indiscreet glances, unfavourable influences from the profane world and the sulphur emanations from the invisible and evil worlds. The dojo is a holy enclosure, a magic protecting circle, which allows spirited people to carry on their own personal research and improvement.
Altruism, or respect for others and gratefulness for the teacher, should reign in the dojo. These feelings, called kansha, should also express thankfulness to all the other practitioners. The deshi (apprentices) listen to the Master in silence and are receptive. He must be as transmitting as possible, open his heart with joy and compassion and give without any reservation. The only enemy to be killed is selfishness, a feeling that divides, a true and scary demon. Only he who gives can receive: this is what distinguishes a true Master.
The word dogi is composed of DO, which means "way", and GI, which means "dress" or "uniform". It is, then, the uniform for the practice of the Way. This clothing consists of the keikogi (white cotton pants and jacket), the obi (black or white belt) and hakama (black, blue or white large divided skirt).
Before wearing the dogi you are required to remove your street clothes in silence. This, symbolically, means to remove the negative aspects and influences of the profane world. You then change into the uniform for the practice of the Way with the right attitude, looking for any qualities that are lacking.
The keikogi is white, to symbolize integrity, honesty and morality. White also represents the light, knowledge, intelligibility and virginity. Physically, it is related to the sunlight, which can be separated into all the colours of the Way by a prism. White is the symbol of the origin. Balancing the three faces of the human prism (the intellectual one, which leads to the truth; the emotional one, which leads to love; the physical one, which leads to wisdom), it is possible to display the colours or virtues included in the white light.
The jacket should be worn by first putting on the right sleeve; the correct procedure is also the same for the pants and the hakama, putting the right leg in first. The right side indicates justice, sincerity and reason ("moral uprightness" refers, in fact, to good people). Conversely, the left side is connected to intuition, love, sensibility, but also to darkness, insincerity and simulation (a bad person is often said to be a "sinister" man).
The obi (belt) is wound around the stomach clockwise or from left to right. It should be noted that clockwise movements are used in the rituals of natural magic, while anticlockwise movements are used in the rituals of black magic.
The wrapping motion of the belt blends the solar and lunar aspects of the individual. The OBI also indicates the center (hara), which is about two centimeters below the navel, where the charka of the source of the holy fire (seika tanden) is located. The knot of the belt is a true-love knot and symbolizes the figure of a horizontal "8", the sign of infinity. This symbol represents the evolution of human beings and the renewing of energies, moving in all directions, the infinite wandering of the human spirit looking for the alchemical wedding with the universal soul. The knot also stands for the passive mind receptiveness in front of the creating activity of the Divine. The knot of the OBI reminds us of the love-knots of the Masonic temple, symbols of brotherhood, the keeping and preservation of mysteries.
The hakama is traditional clothing: it is the first distinctive sign of being a member of the Bushi (knight) category. It may be worn from the shodan (black belt) rank onwards. At the same time, whoever is allowed to wear the hakama is invested with great responsibilities and duties. First and foremost they are: loyalty, courage, respect, compassion and honesty. These are virtues that distinguish the true knight. The highest ranks (from 6th dan onwards), if awarded with the title of Shihan (meaning "person to be imitated"), may wear a white hakama – the symbol of having attained integrity. The knot of the front ties of the hakama is in the shape of a cross – the symbol of activity and hard study. It is the union of horizontality and verticality, passive and active, male and female. It is the symbol of the unification of opposites. This cross-shaped knot is in front of the seika tanden – the charka where the source of the holy fire is.
The reigi (ceremony or ritual) includes all attitudes, behaviours and salutations practiced in the dojo. Rituality is the most important aspect of all initiation schools. As stated above, the dojo is a place consecrated to looking for the Way, but this consecration is of no use if not protected and granted by a traditional rituality, that aims to make the moral implications survive and be implemented. The rituals are different in relation to each level of work and study and they should be lived and meticulously respected.
Each traditional martial art has its own specific etiquette, but there are some common points: bowing in a standing position (ritsurei) or sitting on knees (zarei) to the dojo, to your partner and to the weapons. When entering the dojo and the area dedicated to practice, you should always step in with the right foot. In addition to the already explained meanings of the right side, it is to be added that advancing with the right foot signifies a voluntary action that is inspired by noble feelings that emphasize virtues such as loyalty, courage, justice and integrity.
To sit properly in seiza, first bring the left knee down to the mat to symbolize your intention to sacrifice the qualities related to the material world and resign yourself from all negative influences.
Another common point in all BUDO is distance, or maai. This word is composed of MAA, which means "space-time", and AI, which means "harmony". It represents the necessary ideal space to achieve complete harmony with one's partner. It is the supreme place where conflicts can be peacefully resolved respecting the Divine Order.
The more skilled the practitioner (Master), the greater the distance, because the skilled practitioner can bridge the distance with his spiritual lightning, and it is because of this that direct contact in respect of conflict is useless. The potential enemy will be radiated by a whirlpool of love and compassion that transforms him into a better being, to develop a society based on tolerance and cooperation with each other.
A true ritual cannot be kept if it is not based on a trusting mood. An ideal environment allows the development of a mutual sincerity and paranormal faculties related to extra sensory and intuitive perceptions (haragei). Thanks to these powers, the intentions, feelings, thoughts and the very being of one's partner can be understood and, finally, an agreement – which is the reflection of the universal harmony on earth – can be found.
By Paolo Corallini Shihan – Copyright © Takemusu Aikido Association Italy.


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London School of Hygiene & Tropical Medicine
About London School of Hygiene & Tropical Medicine
Established in 1899, The London School of Hygiene & Tropical Medicine (LSHTM) is dedicated to improving health worldwide through training the next generation of health leaders to address major public and global health challenges.
We have a unique range and depth of work integrating laboratory, clinical, population and social sciences, and we deliver a wide range of health programmes, both in London and by distance learning.
LSHTM is famed for its international, cultural, professional and academic diversity. Students benefit from exposure to a broad range of perspectives, which expands their knowledge across a multitude of disciplines. Programmes are taught by experts in their field, whose own research often informs the teaching curriculum.
Worldwide reputation
Highly ranked in various university league tables, LSHTM won the Queen's Anniversary Prize in recognition of its response to the Ebola outbreak, and remains in the top universities for research impact. It was named #1 University of the Year by Times Higher Education in 2016/17.
LSHTM is also:
- #1 UK university for the proportion of academic research with women listed as authors - 2019 CWTS Leiden Ranking.
- #4 in the world for Public Health - ShanghaiRanking 2019
- #13 in the world in the fields of social sciences and public health - US News Best Global Universities Ranking 2019
- #27 in the world for medicine - 2019 QS World University Rankings
- #1 in Europe for research impact in sciences, based on proportion of publications that belong to top 1% most frequently cited publications - 2018 CWT Leiden Ranking.
- Awarded the Queen's Anniversary Prize for Higher and Further Education in 2017 in recognition of our response to the 2014/15 Ebola epidemic in West Africa
- #1 University of the Year 2016/17 - Times Higher Education awards
Our teaching staff are all experts in their respective fields and continue as active researchers, bringing their wealth of experience and up-to-date knowledge directly into the classroom. Many of our staff are well renowned, so students may find themselves being taught by figures they have read about in previous studies.
The results of the latest Research Excellence Framework confirmed our position as a UK leading centre for world-class research. We have hundreds of research projects and groups working on all aspects of public and global health, while our strategic research centres focus on major health threats at home and overseas.
Examples of projects have included:
- Drones and phones: how mobile tech is fighting global diseases. Read more.
- Where humans and animals collide: Emerging infections and newfound resistance. Read more.
- In search of better vaccines: creating the route to ending a disease. Read more.
Taster courses
We also offer a range of free online courses as a way for students and professionals who would otherwise be unable to undertake a course at LSHTM due to work commitments or lack of funding to benefit from our cutting-edge research and world-class teaching.
These courses cover important topics linked to global health and give an introductory overview at postgraduate level on various topics. Courses are regularly updated and available at different times of the year. We are continuously developing new courses.
Future career prospects
LSHTM has dedicated careers consultants available to students. They offer one-to-one help with interviews, CVs and applications. The careers service is available to students for two years after graduation.
LSHTM's community of 20,000+ active alumni offers strong networking opportunities through online platforms and in-country groups. School graduates go on to work in a range of capacities in NGOs, ministries of health, health services in the UK and overseas, academia, charities and private industry. Read more about our graduate careers and destinations.
English language support
Students will need to show that they have a minimum standard of proficiency in English before they enrol at the School. Students who feel that their studies would benefit from additional language support can attend weekly academic English language classes provided by the School after registration. Prior to the start of the academic year, applicants can also enrol on the Pre-sessional English for Academic Purposes.
Our Courses
There are three faculties at the London School of Hygiene & Tropical Medicine, and we offer a range of MSc and research degrees within these fields:
Faculty of Epidemiology and Population Health
- Clinical Trials (Distance Learning) (MSc / PGDip / PGCert)
- Demography & Health (Distance Learning) (MSc / PGDip / PGCert)
- Demography & Health (MSc)
- Epidemiology (Distance Learning) (MSc / PGDip / PGCert)
- Epidemiology (MSc)
- Global Mental Health (MSc)
- Medical Statistics (MSc)
- Nutrition for Global Health (MSc)
- Public Health for Development (MSc)
- Reproductive & Sexual Health Research (MSc)
Faculty of Infectious and Tropical Diseases
- Control of Infectious Diseases (MSc)
- Immunology of Infectious Diseases (MSc)
- Infectious Diseases (Distance Learning) (MSc / PGDip / PGCert)
- Medical Entomology for Disease Control (MSc)
- Medical Microbiology (MSc)
- Medical Parasitology (MSc)
- One Health (Infectious Diseases) (MSc)
- Public Health for Eye Care (MSc)
- Tropical Medicine & International Health (MSc)
- Veterinary Epidemiology (MSc)
Faculty of Public Health and Policy
- Global Health Policy (Distance Learning) (MSc)
- Health Policy, Planning & Financing (MSc)
- Public Health (Distance Learning) (MSc / PGDip / PGCert)
- Public Health (MSc)
Streams available for Public Health are
- Environment & Health
- Health Economics
- Health Promotion
- Health Services Management
- Health Services Research
- Public Health (General stream)
Research Degrees
The School provides a stimulating environment with state-of-the-art facilities in which to carry out research training in the three academic faculties.
Programmes lead to a University of London degree of DrPH, MPhil and PhD.
Minimum English language entry requirements
- Cambridge English Advanced Test: B
- IELTS: overall score of 7.0
- Pearson PTE Academic: overall score of 68
Facilities and support arrangements
- IT support
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Fees, funding and cost of living
Please refer to the LSHTM website for up to date information on fees & funding.
The School offers a number of scholarships each year, which are normally advertised from November to May. Up-to-date information on scholarships, along with resources to help applicants find funding from other sources, is available on the School's funding pages
Student life
A global city of cultural wealth and diversity, London has a wealth of great art, theatres, museums, music and cuisine, as well as green spaces including parks, squares and gardens dotted throughout the city.
You'll be based in the heart of academic London, just a short walk from the British Library and British Museum; with the West End just a little further away. You're also close to other University of London colleges and their study and social facilities.
London has been ranked the #1 student city by QS Top Universities 2018


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Candice & Andrew had an awesome day at the Briars! It was a real winter wedding in the Southern Highlands with low temps and showers threatening. The ceremony was held on the lawn near the lake and it went ahead without a rain drop falling. Merinda Richardson was a fantastic celebrant who kept the mood light.
We only had to worry about a misty shower right at the end of the photo shoot….. just a pity we couldn't keep away from mud & puddles! Candice's awesome shoes and dress didn't look quite the same but hey we got some great photos around the Briars before heading inside to the warm fire.
The reception set up inside was amazing – the tables looked stunning with gorgeous flowers (by Danika Bell) and the cake was beautiful.
Here are some highlights from the day – it was a pleasure to work with Way Up High films again too.
Venue: The Briars
Video: Way Up High Films
Flowers: Danika Bell
Celebrant: Merinda Richardson