text:
With heavy heart, Tatar leads Wings past Kings
LOS ANGELES (AP) — After Tomas Tatar knocked the rebound into the Kings' net for Detroit's tiebreaking goal, he kissed his index finger and pointed it skyward.
In his first game since his father's death back home in Slovakia, Tatar honored him with a beautiful goal and a graceful gesture, sending the Red Wings on to an emotional victory.
Tatar scored the winning goal with 7:54 to play in the Red Wings' 3-1 win over Los Angeles on Saturday night.
Tatar had an early assist on Riley Sheahan's first NHL goal, and he completed a cathartic night by jumping on Sheahan's shot in the slot and beating Jonathan Quick for a goal in his third straight game — but the first since his father, 60-year-old Jan, died of a liver ailment.
"That game and that goal was for him," Tatar said. "I felt he was with us the whole game. It wasn't easy, but the guys helped me a lot. They helped me think about stuff other than my dad."
Tatar made the long trip home during Detroit's holiday break to see his father, but he isn't sure whether Jan, a former soccer player, realized his son is headed to the Olympics next month.
"I was hoping he could make it through," Tatar said. "I just wanted to work as hard as I could for my dad. This game was for him."
Tatar will play for the Wings on Sunday night in Anaheim before heading home for his father's funeral, missing a game against the Rangers next week.
Detroit coach Mike Babcock praised the 23-year-old's quiet maturity.
"The way you honor your father or your mother when they pass is by continuing to do what you should do," Babcock said. "Playing hard and doing things well. I lost my mom early, too. I never wanted to let her down. And his dad is here with him."
Daniel Cleary also scored in the third period, and Jimmy Howard made 44 saves as the Red Wings slowed their recent slump by sending Los Angeles to its seventh loss in nine games.
Howard made several big saves in the final minute as Detroit hung on for its second win in five games, but also injured his hip flexor, according to Babcock. Backup Petr Mrazek will start when the Red Wings face NHL-leading Anaheim.
Drew Doughty scored his first goal in a month during a two-man advantage, but the Kings couldn't score in the final two periods of their third loss in 10 home games. Quick stopped 23 shots, but also gave up a juicy rebound on Tatar's go-ahead goal.
"We outshot them, but we had some scoring opportunities that we didn't get a good shot off," Kings forward Anze Kopitar said. "We were trying to do too much, and in a situation like that, we're got to make sure we get a good shot off so that whoever's a couple of feet from the net can try to get the rebound. We just have to bear down a lot better."
Cleary finished off the Kings by capitalizing on an opportunity created by Luke Glendening, who knocked Jake Muzzin to the ice and fed Cleary for his fourth goal with 2:34 to play.
Los Angeles lost in regulation for the first time in four games on a five-game homestand.
Quick hadn't lost in regulation since returning from a 24-game absence with a groin injury, but his teammates returned to their low-scoring ways after a four-goal outburst against Boston two nights ago. Los Angeles has scored more than three goals in a game just once since Dec. 19.
"You can't win every game 1-0 or 2-1," Kings forward Justin Williams said. "Certainly we had enough chances to win the game tonight, but we didn't do it. The onus is on us to put the puck in the back of the net."
After Doughty's goal late in the first period, Detroit evened it when Sheahan flipped home a puck in front while being checked to the ice, scoring his first goal in seven career NHL games over two seasons.
The 22-year-old Sheahan was a first-round pick in 2010, playing three seasons at Notre Dame before winning a Calder Cup with the Wings' AHL affiliate in Grand Rapids last year. Detroit recalled him from the AHL on Friday.
"I wasn't able to really feel the feeling when I scored," Sheahan said. "But now I'm pretty excited to go talk to my parents about it."
NOTES: Detroit also won without veteran forwards Pavel Datsyuk and Daniel Alfredsson. Datsyuk missed his third straight game with a lower-body injury, while Alfredsson sat with back spasms. … Kings F Jeff Carter played his 600th NHL game. … The teams meet again in a week at Joe Louis Arena.


text:
Daleverer Surname Ancestry Results
Our indexes 1000-1999 include entries for the spelling 'daleverer'. In the period you have requested, we have the following 1 record (displaying 1 to 1):
Try these...
d'alencon d'alessio dale-roberts dalemore daleney dalenger dalenzon daler dalerous dalers dalerun dalery dales dalesandri dalesbi dalesheriff dalessio dalet dalett dalety dalevoucke daleway dalewey dalewyt daley daleymount daleymple dalezun dalf dalfass dalfaw dalferant dalfin dalft dalgado dalgairms dalgairn dalgairns dalgairus dalgalrns
These sample scans are from the original record. You will get scans of the full pages or articles where the surname you searched for has been found.
Your web browser may prevent the sample windows from opening; in this case please change your browser settings to allow pop-up windows from this site.
Research your ancestry, family history, genealogy and one-name study by direct access to original records and archives indexed by surname.

subset: commoncrawl


text:
Intro: I have a Form, with a TcppWebBrowser on it. I Navigate() to a known URL. I fill the edit boxes on the page with username and password, programmatically. I then simulate a click on a "Validate" button that leads me to another page. On that last page, I do have elements, some of which have an HyperLink. If I do click on the text, it leads to another page. But that is a text element, not a button.
this is an snippet from the .mht page as saved from Internet Explorer:
- Code: Select all
name=3D"BtnConxn" class=3D"btn suggere clsAlignAnnule" id=3D"BtnConxn" onclick=3D'javascript:WebForm_DoPostBackWithOptions(new
WebForm_PostBackOptions("BtnConxn", "", true, "", "", false, false))'
type=3D"submit" data-ctlracine=3D"true" value=3D"Connexion">Connexion</BUTTON>
Here is my code to simulate the click on the BtnConxn button defined above:
- Code: Select all
Variant vForms = vDocument.OlePropertyGet("All");
Variant vForm = vForms.OleFunction("NamedItem", WideString("BtnConxn").c_bstr());
if (vForm.VUnknown == NULL)
ShowMessage("Problème avec l'authentification. (3)");
WebBrowser->OnDocumentComplete = NULL;
Now, I want to simulate a click on the hypertext link on the page, programmatically. I cannot find how...
Here is the definition of the link on the Web page:
- Code: Select all

Accueil

I tried with the
- Code: Select all
vForm = vForms.OleFunction("NamedItem", WideString("lien_accueil").c_bstr());
But that code has no effect. The vForm is the correct element, I can find it with the debugger, as it's "outertext" is correctly the text seen on screen. So the first line above is valid. But the "click" function has no effect.
Now the questions:
1- How can I simulate the HyperLink click?
2- Where could I find a listing of the valid functions I could use? I mean, OleFunction("click"), but what else?
Thank you for your help!


text:
Copyright FAQ
Here are some frequently asked questions about copyright, educational use of copyrighted works (fair use), and other intellectual property topics that the ULS has received over time. These answers do not constitute legal advice. Instead, they offer best practices in using copyrighted works for educational use at the University of Pittsburgh.
If your cannot find an answer to your question here or through other means, that does not alleviate you of the responsibility to comply with U.S. Copyright Law.
- What is copyright?
- What are these "exclusive rights" under U.S. Copyright Law?
- What is protected by copyright?
- What is not protected by copyright?
- Are images protected under copyright law?
- If I don't make money from using someone else's work, there's no harm done, right?
- What is "fair use"?
- What are the "four factors" of fair use?
- Are there any resources I can use to help me determine what is a fair use of a copyrighted work?
- What about works that I have written or produced? Can I use them any way I want to? What about publishing them on my web site?
- What is a "work made for hire"?
- Whose work at Pitt constitutes a work for hire?
- What can I do to protect my work under copyright law?
- Should I register a copyright for my work?
- How do I get the copyright symbol to appear on my works? Is there a certain format I have to use?
- What is the "public domain"?
- How do I know if a work is copyrighted or if it is in the public domain?
- Are all government publications in the public domain?
- If a book is out of print, do I have to worry about copyright?
- To what extent am I personally liable as a faculty member, student, or employee of the University of Pittsburgh for violating copyright law?
- How much information can I use from a copyrighted work without getting permission?
- How much of a book or article will the library scan and e-mail to me?
- When should I get permission to use a copyrighted work?
1. What is copyright?
Copyright is a set of rights given to a copyright owner or holder (an author, a filmmaker, a musician, or even a publisher) for an original and creative work fixed in a tangible medium of expression (an article, a book, a movie, a recording, a website, and more).
Copyright is a form of protection provided by the laws of the United States (title 17, U.S. Code). However, most countries in the world provide some form of copyright protection for works created by authors in their countries.
2. What are these "exclusive rights" under U.S. Copyright Law?
Section 106 of the 1976 Copyright Act generally gives the owner of copyright the right to do and to authorize others to do the following:
- Reproduce the work
- Prepare works based upon the original (also known as derivative works)
- Distribute copies of the work to the public (by sale or other transfer of ownership; by rental, lease, or lending)
- Perform the work publicly (if it's a literary, musical, dramatic, or choreographed works, or if it's a pictorial, graphic, or sculptural works–including images from a motion picture or other audiovisual works)
- Display the work publicly (if it's a literary, musical, dramatic, or choreographed works, or if it's a pictorial, graphic, or sculptural works–including images from a motion picture or other audiovisual works)
- Perform the work publicly or through digital audio transmission (if it's a sound recording)
3. What is protected by copyright?
"An original and creative work fixed in a tangible medium of expression"–in other words, things like articles, books, movies, recordings, pictures, website text and images, designs, and more.
According to the U.S. Copyright Office's helpful publication, Copyright Basics (Circular 1), these are some of the types of works that can be protected under U.S. Copyright Law:
- Literary works
- Musical works, including any accompanying words
- Dramatic works, including any accompanying music
- Pantomimes and choreographic works (such as dances)
- Pictorial, graphic, and sculptural works (such as paintings, designs, photographs, and images)
- Motion pictures and other audiovisual works (including TV shows, commercials, and others)
- Sound recordings (whether in a physical format, such as a CD, or in digital format, such as an iTunes file)
- Architectural works
These categories should be viewed broadly. For example, computer programs and most "compilations" may be considered as "literary works"; maps and architectural plans may be registered as "pictorial, graphic, and sculptural works."
4. What is not protected by copyright?
According to Copyright Basics, several types of works are generally not protected under U.S. copyright law. For example,
- Works that "have not been fixed in a tangible form of expression"–such as choreographic (dance) works that have not been notated or recorded or "in the moment" (improvisational) speeches or performances that have not been written or recorded
- Titles, names, short phrases, and slogans; familiar symbols or designs; simple variations of typographic ornamentation, lettering, or coloring; simple listings of ingredients or contents
- Ideas, procedures, methods, systems, processes, concepts, principles, discoveries, or devices. However, a description, explanation, or illustration may be protected by copyright.
- Works consisting entirely of information that is common property and containing no original authorship (for example: standard calendars, height and weight charts, tape measures and rulers, and lists or tables taken from public documents or other common sources). These works are considered neither original nor creative.
5. Are images protected under copyright law?
Yes. The U.S. Copyright Office states that
Copyright protects 'original works of authorship' that are fixed in a tangible form of expression. The fixation need not be directly perceptible so long as it may be communicated with the aid of a machine or device. (Copyright Basics [Circular 1])
"Original works of authorship" include "tangible forms of expression" such as "pictorial, graphic, and sculptural works."
In simpler words, copyright covers any and all images in any format, including digital images.
6. If I don't make money from using someone else's work, there's no harm done, right?
Wrong. If you are using a significant portion of someone else's work without permission, you are infringing the rights of the copyright owner, and you may be affecting the potential market value of the original work. In other words, your use of the work may not be a "fair use".
For example, if a professor makes copies of a book for each member of his/her class, that means that many fewer copies of the book will be sold. So even though the professor did not make any money, he/she still deprived the copyright owner of the work from receiving the royalties for those lost sales.
7. What is "fair use"?
According to the U.S. Copyright Office's Fair Use, index the rights of copyright owners are subject to limitations. These limitations are outlined in Sections 107 through 118 of the U.S. Copyright Law.
One of the more important limitations is the doctrine of "fair use." Fair use has developed through a substantial number of court decisions over the years and has been codified in section 107 of the copyright law.
Section 107 contains a list of the various purposes for which the reproduction of a particular work may be considered fair, such as criticism, comment, news reporting, teaching, scholarship, and research. Section 107 also sets out four factors to be considered in determining whether or not a particular use is fair.
8. What are the "four factors" of fair use?
Section 107 of U.S. Copyright Law provides four factors to consider when considering whether the use of copyrighted works is fair use.
- The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes
- The nature of the copyrighted work (e.g., whether it is factual or creative in nature)
- The amount and substantiality of the portion used in relation to the copyrighted work as a whole
- The effect of the use upon the potential market for, or value of, the copyrighted work
The U.S. Copyright Office's "Fair Use" Index notes that
The distinction between what is fair use and what is infringement in a particular case will not always be clear or easily defined. There is no specific number of words, lines, or notes that may safely be taken without permission. Acknowledging the source of the copyrighted material does not substitute for obtaining permission.
9. Are there any resources available to help me determine what may be a fair use of a copyrighted work?
Yes, thankfully, there are. Here are a few that we recommend you try:
- The "Fair Use Evaluator," an interactive tool from the American Library Association
- "Interactive Fair Use Checklist," a tool from The Ohio State Health Sciences Library
- "Using the four factor fair use test" from the University of Texas
- The "Fair Use Checklist" from Columbia University
Keep in mind that these resources provide guidance to help you determine what may be fair use of a copyrighted work. They do not provide a guarantee that your use is a fair one. Only an expert in intellectual and copyright law may be able to make that final determination.
10. What about works that I have written or produced? Can I use them any way I want to? What about publishing them on my web site?
This depends on whether or not you actually own the copyright to your work. In some cases, your work may be considered a "work made for hire" or you may have assigned or transferred your copyright to a publisher or other organization. If a publisher or university owns the copyright, you will need permission to use the work even if you are the author.
11. What is a "work made for hire"?
Section 101 of U.S. Copyright Law defines a work made for hire as:
(1) a work prepared by an employee within the scope of his or her employment; or
(2) a work specially ordered or commissioned for use as a contribution to a collective work, as a part of a motion picture or other audiovisual work, as a translation, as a supplementary work, as a compilation, as an instructional text, as a test, as answer material for a test, or as an atlas, if the parties expressly agree in a written instrument signed by them that the work shall be considered a work made for hire .
Generally, if you create a work under the direction or authority of an employer, the employer is entitled to the copyright instead of the author. See Section IV. E. of the University of Pittsburgh Policy 11-02-02 on copyright for information about how works for hire are defined at Pitt.
12. Whose work at Pitt constitutes a work for hire?
In general, the employer (i.e., the University of Pittsburgh) is by law the author of a work for hire and thus the owner of the work and copyright holder.
According to Section IV. E. of the University of Pittsburgh copyrights policy, works for hire at Pitt include works that are developed, in whole or in part, by university employees.
However, as Section II. A. of the policy states, universities have traditionally developed exceptions for "university authors" (faculty, students, post-docs, et al.) so that copyrights to scholarly works (such as books, articles, films, and other research output) by Pitt faculty and students are not considered works for hire. The copyright for these works is held by the creator (i.e., author, photographer, filmmaker, etc.).
Nevertheless, there are some notable exceptions to this policy (patents, works created jointly with outside agencies, course materials, among others). Which work counts as a work for hire and who holds the copyright to a work can get more complicated in these and other instances. Therefore, you'll want to take a closer look at Pitt's copyrights policy or contact the Office of General Counsel for more information.
13. What can I do to protect my work under copyright law?
Once a work has been "fixed in a tangible medium of expression" (that is to say, it's been written, typed, painted, filmed, photographed, recorded, scored, etc.), it is automatically protected under U.S. copyright law. You do not have to place a notice of copyright or a copyright symbol on a work or register the work with U.S. Copyright Office for a work to be considered copyrighted.
However, there may be some advantages for the creator or author in placing a copyright notice or symbol on a work or in registering a copyright. See "How to Secure a Copyright" in Copyright Basics (Circular 1) from the U.S. Copyright Office for more information.
14. Should I register a copyright for my work?
- Registration establishes a public record of the copyright claim by the author
- Registration is necessary for works of U.S. origin before a copyright infringement suit may be filed in court
- Registration within three months after publication or the work or prior to a copyright infringement may make statutory damages and attorney's fees available to the copyright holder in legal actions.
See Copyright Basics (Circular 1) from the U.S. Copyright Office for more information.
15. How do I get the copyright symbol to appear on my works? Is there a certain format I have to use?
See the "Notice of Copyright" section in Copyright Basics (Circular 1) from the U.S. Copyright Office for information and guidelines about copyright notices. It is important to note that a copyright notice is no longer required in order for a work to be protected by copyright law. However, if you do include such notice on your works (including web pages and digital images) it prevents others from claiming "innocent infringement" when unlawfully copying your work.
The © symbol can be produced on a Web page using HTML by typing © or ©. In Microsoft Word, the © symbol is produced by typing ALT+CTRL+C.
16. What is the "public domain"?
A work of authorship is in the "public domain" if it is no longer under copyright protection or if it failed to meet the requirements for copyright protection. Works in the public domain may be used freely without the permission of the former copyright owner.
17. How do I know if a work is copyrighted or if it is in the public domain?
The short answer? Tools such as "Is It Protected by Copyright?" (also known as the Digital Copyright Slider) may help you determine the copyright status of a work and whether it's in the public domain.
However, to be absolutely sure about the copyright status of any work, it is necessary to do a search with the U.S. Copyright Office or have an outside agency such as the Copyright Clearance Center investigate the status of a work.
The long answer?
It's complicated. This was changed significantly on October 29, 1998, with the passage into law of P.L. 105-298, Copyright Term Extension Act (also known as the Sonny Bono Term Extension Act). Basically, this law extended the duration of copyright by twenty years for all works which were under copyright protection as of October 29, 1998.
Works created on or after January 1, 1978
Section 302 of the U.S. Copyright Law states that "Copyright in a work created on or after January 1, 1978, subsists from its creation and, except as provided by the following subsections, endures for a term consisting of the life of the author and fifty [now seventy] years after the author's death." (Note: registration is no longer required for copyright protection since the Berne Convention took effect in 1989.)
Works created before January 1, 1978
Before this time, information was required to be registered with the U.S. Copyright Office in order to be protected under copyright laws for a 28-year term. Renewal for an additional term of 47 years was then possible. Almost everything published in the U.S. before 1924 is considered to be in the public domain (as of 1998) because it was published more than 75 years ago (until P.L. 105-298, the longest possible term of copyright). It is not simple, however to determine copyright status for materials created during this time period.
To help in the process of determining copyright status, you have your choice of several resources:
- "Copyright Term and the Public Domain in the United States" from the Cornell Copyright Information Center
- "Is It Protected by Copyright?" (also known as the Digital Copyright Slider), a tool from the American Library Association that allows for an interactive approach to help determine the copyright and public domain status of works published in the United States.
- Consulting legal counsel experienced in copyright and intellectual property issues is also sometimes necessary to help understand the intricacies of copyright status for certain works.
- Chapter 3: Duration of Copyright from Title 17 of the U.S. Copyright Law may help your understanding of the intricacies of copyright status for these works.
To be absolutely sure about the copyright status of any work, it is necessary to do a search with the U.S. Copyright Office or have an outside agency such as the Copyright Clearance Center investigate the status of a work. See How to Investigate the Copyright Status of a Work (Circular 22) from the U.S. Copyright Office, for more information.
18. Are all government publications in the public domain?
Generally, U.S. government publications are considered in the public domain, meaning they can be copied, transmitted, and otherwise used without restrictions.
There are exceptions, however.
U.S. government publications
- Some restrictions may apply if the U.S. government publication contains copyrighted information within it or was created by an outside government contractor. See Section 105 of the U.S. Copyright Statute for more details on this issue.
- If a publisher reprints government information, any enhancements or additions to the original work fall under the copyright of the publisher.
- U.S. Postal Service stamps are not in the public domain.
State government publications
- State government publications may or may not be copyrighted. It is necessary to determine whether or not this is the case before using these materials.
Foreign government publications
- Foreign government publications are usually considered to be under copyright in accordance with several international copyright treaties.
19. If a book is out-of-print, do I still need to be concerned about copyright?
Yes, you do. Out-of-print is not the same as out-of-copyright or in the public domain. If the book is not in the public domain, the copyright is still in effect and should be respected.
One possible exception is in the case of replacing lost, stolen, or damaged materials. This is mentioned in University of Pittsburgh Policy 10-04-01:
It is not permissible to copy an entire issue, volume, or complete work. However a copy may be made for replacement purposes if the item has been lost, stolen, or damaged, and
It has been determined that a copy is not available through normal trade sources at a fair price.
Note that this is for replacement purposes only and would not be applicable for distribution purposes. Normal trade sources would include the out-of-print market in this case.
20. To what extent am I personally liable as a faculty member, student, or employee of the University of Pittsburgh for violating copyright law?
Both the University and the individual may be liable in a civil suit for willful infringement of U.S. Copyright Law. Section 504 (c) (2) of the law states that willful infringement may result in damages of up to $150,000.
Section 504 (c)(2) further states that damages may be remitted (i.e., not enforced) under the following conditions:
The court shall remit statutory damages in any case where an infringer believed and had reasonable grounds for believing that his or her use of the copyrighted work was a fair use under section 107, if the infringer was: (i) an employee or agent of a nonprofit educational institution, library, or archives acting within the scope of his or her employment who, or such institution, library, or archives itself, which infringed by reproducing the work in copies or phonorecords; …
This would require the infringer to prove in court that he or she reasonably thought the use in question fell under fair use, however, and would not necessarily prevent the filing of a lawsuit or subsequent attorney and court fees.
Willful copyright infringement for commercial advantage or private financial gain carries criminal penalties.
21. How much information can I use from a copyrighted work without getting permission?
It's difficult to come by specific guidelines on the amount of a copyrighted work that can be used without permission by individuals. As the U.S. Copyright Office notes in its factsheet, "Fair Use," "There is no specific number of words, lines, or notes that may safely be taken without permission."
However, in Reproduction of Copyrighted Works by Educators and Librarians (Circular 21), the U.S. Copyright Office provides some guidelines and definitions on the amount of a work teachers can copy without permission under fair use. (See the section titled "Agreement on Guidelines for Classroom Copying in Not-For-Profit Educational Institutions With Respect to Books and Periodicals.")
Keep in mind these guidelines are aimed at educators and librarians, but they may provide a good rule of thumb for others using copyright materials. Keep in mind, too, that the guidelines are not law. They have, however, generally been agreed upon by the U.S. educational community and the publishing industry.
22. How much of a book or article will the library scan and e-mail to me?
When the ULS receives scanning requests for book chapters or articles, we consider the US Copyright Law's "Four Factors" of Fair Use to determine if the request would fall within the boundaries of Fair Use. This is highly dependent on the nature of the request. If you ever have any questions, please feel free to Ask Us!
23. When should I get permission to use a copyrighted work?
It's recommended that you get permission to use a copyrighted work when
- You're unsure of or can't determine the copyright status of a work
- You know in fact the copyright status of the work and using it would be considered an infringement
- You've done the "four factor" fair use analysis of your use of the work, and you can't determine whether your use is a fair one
- You've done the "four factor" analysis, and you know that your use is not a fair one
- You're unsure of how much of the original work you can reuse in your own work


text:
After the school year has ended, the three schools in our company each have a Pre-K summer camp and a School Age summer camp. Each class goes on 2-3 field trips a week. Our favorite field trip by far is our trip to Valley Hill Farm in Keysville, Ga. So far, I've taken 3 groups so far this summer.This is hands down, the best field trip EVER!!! It has become a beloved part of my summer and even though I am "officially" off for the summer, I am escorting the children on this trip again.
It's about a 45 minute drive out into the country. As soon as we get there, we are greeted by Chipper, a Jack Russell Terrier and Jessie, a Doberman Pincher. Occasionally, Chipper will hop on the bus to greet the kids~ I think he gets as excited as we do about these visits!
We make it to the farm by 9:30 or 10:00, but the horses have already been working.
As soon as we go over the "dos and don'ts" of the farm, we get ready to ride the horses. Mrs. Barbara, one of the owners, talks to the kids about rules and safety and talks about the horse's anatomy.
The kids line up and everybody gets a turn. After the first or second turn, the kids are free to pick whatever horse they choose to ride. Generally, we ride until the kids are tired or until the hay wagon arrives.
A few of our kids have been so excited, that they dressed for the day!
Wish you could see this better. Joey has his hat, boots, bandana, belt buckle and even a Sheriff's star!
Yes, that's Woody, from Toy Story!
After our rides, we're all pretty hot and the cool breeze of a hayride is most welcome. The horses are ready for a little rest and water, as well! The temp here Friday on our last trip was 101 degrees, so it's hot already, even first thing in the morning.
They have one area for the riding and work horses, a barn and area for the thoroughbreds, and other horses that have not been broken that roam freely on the acreage.
We love to see the foals on the farm with their moms. They are so precious!
The baby calves are pretty cute, too. They are not as skittish as the foals and often they will allow us to pet them.
We met some of the goats that live on the farm.
We saw eggs that had just been laid and chickens pecking. The bunnies were a big hit with the kids!
Earlier in the summer, a wild boar was caught on the farm and they've been getting him fat for the July 4th BBQ. He's not real friendly and didn't appreciate having his picture taken, so many of the shots I got didn't come out.
All along the hayride, Mr, Tommy stops and tells the children about this or that. One of the stories is about a little shack that was like The Little House on The Prairie.
Here's a shot of one of the ponds we go "mud boggin'" in.
The farm is now situated on what was once a catfish breeding farm, so there are ponds galore. Part of the hayride fun is riding through the corners of the pond at a quick pace, and "mud boggin'" through the muck. It's a bit smelly and messy, so I always tuck my camera away for that part of the trip.
This year, we've discovered a mulberry tree and learned that the wagon is just the perfect height to stop and pick a few berries and feel the breeze. They are quite tasty, but boy do they stain your hands!
As we pass the ponds, Mr. Tommy tells them about an alligator seen on the farm on occasion. The children are always looking for the alligator near the ponds we pass. Finally, we reach the pond where the gator was last spotted and Mr. Tommy pulls the tractor over.
Eventually, it's time to head back to the stables and have a picnic lunch.
By the time we return, the horses we rode earlier have been tended to, and are roaming free, often stopping to check if we have anything we'd like to share. We eat and then pack up to take buses full of happy and exhausted children back to school.
This is one of the best experiences I've had the opportunity to share with young children.They learn so much! In our technological world today, we forget how different life can be just a short drive away from you, many of our children had only seen many of these animals on tv and in books. This was truly an experience many of them will remember for a lifetime!
I haven't got a picture of me on a horse this year yet, but here's one from last year. I ride too, when time allows!
Thanks, Tommy and Barbara, for sharing Valley Hill Farm with us!
Happy Trails to you!


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I still just before oder a roadster for my daily commute and fun. last uncertainty is how air conditioner is effective in really hot and sticky down town Tokyo summer. Any suggestion from hotter and humid town?
I live in San Diego, and I find the air conditioner to be perfectly adequate. The only downside is that you can't set a temperature, you have to fiddle the fan and A/C knobs to get the setting you want.


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January 23, 2014
LAWT News Service
More than 325 Southland residents gathered in Hawthorne on Saturday, Jan.18, to celebrate the legacy of Martin Luther King, Jr. The event was co-hosted by the South Coast Air Quality Management District, state Sen. Roderick Wright and state Assemblymembers, Steven Bradford and Reginald Jones-Sawyer. It featured guest speakers, Donzaleigh Abernathy, daughter of the late Rev. Ralph Abernathy, and Denise Nicholas, an award-winning actress and author.
"Clean air is a basic human right," said William A. Burke, Ed.D., SCAQMD's Governing Board Chairman. "If Martin Luther King were alive today, I know he would fight for environmental justice for every man, woman, and child."
During the event held at the Hawthorne Memorial Center, Donzaleigh Abernathy, author of "Partners to History, Martin Luther King, Ralph David Abernathy and the Civil Rights Movement," shared her reflections on growing up with King, who she affectionately called "Uncle Martin." Her father was a close friend of King and another pillar of the American Civil Rights Movement.
Denise Nicholas shared her involvement with the Civil Rights Movement. She has starred in television shows such as "Room 222" and "In the Heat of the Night," garnering three Golden Globe nominations, three NAACP Image Awards, and two Emmy Awards.
SCAQMD Chairman Burke, Senator Roderick Wright, and Assemblymember, Reginald Jones-Sawyer delivered opening remarks at the event.
The event also featured a screening of SCAQMD's signature film, "The Right to Breathe."
SCAQMD is the air pollution control agency for Orange County and major portions of Los Angeles, San Bernardino and Riverside counties.


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The city of San Francisco is to suspend buying Apple computers following the companies decision to stop participation of the EPEAT system (used by government departments to determine the environmental impact of technology).
Officials from the San Francisco Department of Environment told the Wall Street Journal that Apple laptops and desktops "no longer qualify for purchase" and that they would be sending out letters in the next few weeks. The ban does not Apply to apple portable products such as the iPhone and iPad.
Apple recently removed its laptops and netbooks from the EPEAT (electronic product environmental assessment tool) system. Apple spokesperson Kristin Huguet has spoken out in defence of its decision in a statement to The Loop:
See also: Apple's EPEAT withdrawal raises recycling, disassembly concerns
"Apple takes a comprehensive approach to measuring our environmental impact and all of our products meet the strictest energy efficiency standards backed by the US government, Energy Star 5.2," she said. "We also lead the industry by reporting each product's greenhouse gas emissions on our website, and Apple products are superior in other important environmental areas not measured by EPEAT, such as removal of toxic materials."
San Francisco's CIO, Jon Walton, told the Wall Street Journal he would be backing the policy and no longer allow the purchase of Apple computers. Although agencies can apply for waviers through a "long" and "onerous" process.
It is unclear why Apple has removed itself from EPEAT, but it is rumoured that one of Apple's newest products the MacBook Pro with Retina Display would not be eligeable for certification from the scheme, because the computer's battery is glued into its case – which makes recycling the parts difficult. Apple is also rumoured to be expanding the MacBook Pro Retina Display line and that this may be the future direction of most Apple laptops.
See also: New MacBook Pro 13in Retina Display benchmarks revealed
The glued-in battery in the MacBook Pro Retina Display is mooted to be behind Apple's decision to withdraw from EPEAT.
The move is considered to be largely symbolic, and only around 500-700 of San Francisco's city computers (about 1-2% of the total) are made by Apple. A report in 2010 showed the city spent just $45,579 on Apple computers, not a large amount considering Apple sold 13.89 million Macs in total that year.
But San Francisco is Apple's home territory, which makes the situation awkward for the Cupertino-based company.


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When you think fingerprints, it's most often a law-and-order type of thing. You know, jail bookings, crime scene.
So when the city of Poway in north San Diego County approved a new high-tech entry system that requires skaterboarders to press a thumb pad on a turnstile before they can even think of grinding the rails, it raised a lot of eyebrows and looks of, oh brother, Big Brother.
I cut my teeth on a skateboard growing up. Literally chipped my front tooth trying to out-skate my big brother. But it was a ton of fun nonetheless and there's this certain sense of freedom and creativity that goes along with the experience, so it's sort of a strange concept for a kid to have to give up his/her prints.
The new restrictions at the Poway Skate Park are supposed to curb vandalism and criminal elements. The already existing security cameras are getting upgraded. And apparently the thumbprint scanner can be programmed to allow only skaters of certain ages to use the park at certain times. The park closes at 8 p.m.
Park users who break the rules will have their thumbprint revoked and will be denied entry the next time they try to skate. The ACLU says it's "overkill." One city official says if it works, a lot of other cities will follow. One city councilman says it's not "Big Brother. The thumbprints are not going to Homeland Security. They're being used specifically for this particular facility, and we want people to enjoy it."
Enjoy it. Right. Miki Vuckovich knows the thrill as well as the fun of skateboarding. Not only is he best buds with one of the best in the sport, Tony Hawk, he's the executive director of the Tony Hawk Foundation, which has helped fund 463 public skate parks in the country and worked with 1,500 communities. California, he says, has the most skate parks in the country with 200. Vuckovich adds he stopped skating at the park years ago because of the tall fence around it, saying, "It gives it a penitentiary feel."
The thumbprint turnstile entry is the "most creative and literally the most outlandish thing I've every heard of. It's unprecedented among the 3,000 skate parks across the country," says Vuckovich who is also a noted skateboard photographer. "It's completely counter to the free form of going skateboarding and relaxing, doing something personal and expressive and athletic. It's like checking into jail. It will drive people away and put youths at greater risk, driving them to skate in the streets and into traffic."
Some comments on blog posts include: "I'd rather just give them a urine sample." "It's getting out of hand, thumb printing in the Parks!"
But regardless of opinion, it's legal if it's used for the purpose of keeping bad elements out and not used for the purposes of prosecution, says professor David Steinberg of the Thomas Jefferson School of Law.
"If it is used in a criminal case, then it gets stickier" he added.
U.S. & World
News from around the country and around the globe
As to whether or not it's a good idea, Steinberg points out that we live in a democracy. There could be public protest or city officials can be voted out of office to keep such measures from being approved.
It cost a million bucks to build the Skate Park and $50,000 to install the new scanner and upgrades to protect that investment from criminal elements. By the way, the sheriff's station is around the corner.


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The Danish website TV2 Sporten is reporting that Brian Holmes – currently of HTC Columbia – will move to work with the new Luxembourg based team of Frank and Andy Schleck. Brian's contract with HTC Columbia expires at the end of this season. From the english translation of the original post, Brian Holmes is quoted as saying:
If you had asked me last week, I would have confirmed that I stop on HTC-Columbia. But I said to Brian Nygaard (CEO of Team Luxembourg, ed) that I need a couple extra days to think about me in


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John Legend & Will.I.Am "Yes We Can" Performance At Democratic Convention!
Will.i.am and John Legend performed "Yes We Can," / Courtesy of MSNBC
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


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The Berne Convention
Fact sheet P-08
Issued: 5th July 2004 Last amended: 28th October 2019
Fact sheet P-08: The Berne Convention
While details of copyright law will vary between nation states, the Berne Convention lays down a common framework and agreement between nations in respect to intellectual property rights.
- What is the Berne Convention?
The full title is the Berne Convention for the Protection of Literary and Artistic Works. It was first adopted in 1886 as an agreement to honour the rights of all authors who are nationals of countries that are party to the convention. The current version of the convention is the Paris Act of 1971. The convention is administered by the World Intellectual Property Organization, (WIPO).
- Who does it apply to?
The member countries form a Union, and the Act provides protection for the work of authors who are nationals of one of the countries of the Union, or where the work is first published (or simultaneously published) in a country that is a member of the Union.
For the purposes of the Convention, persons who are not nationals, but which have their habitual residence in a country of the Union, will be regarded as a national of the country.
The terms of the Convention also provide an incentive for countries that are not part of the Union to protect work by nationals of countries of the Union. It states that where a country outside the Union does not provide adequate protection to authors, countries of the Union are entitled to not extend protection to nationals of that country, beyond that which is granted by the country.
- Which countries are signed up to the convention?
176 countries have signed up to the convention, a full list of signatories for Berne conventions may be found at the Copyright Aid web site.
- What rights are provided?
An author from any country that is a signatory of the convention is awarded the same rights in all other countries that are signatories to the Convention as they allow their own nationals, as well as any rights granted by the Convention.
The Convention also sets out a minimum duration that copyright will apply in various types of work.
For the period of copyright, the copyright owner has the following exclusive rights. None of the actions below can be carried out without permission:
- The right to authorise translations of the work.
- The exclusive right to reproduce the work, though some provisions are made under national laws which typically allow limited private and educational use without infringement (as discussed on our page P-09: Copyright law, fair use).
- The right to authorise public performance or broadcast, and the communication of broadcasts and public performances.
- The right to authorise arrangements or other types of adaptation to the work.
- Recitation of the work, (or of a translation of the work).
- The exclusive right to adapt or alter the work.
The author also has the following moral rights:
- The author has the right to claim authorship
- The right to object to any treatment of the work which would be 'prejudicial to his honour or reputation'.
- Duration of rights
Although the Berne Convention states a copyright duration, this is in fact the minimum period of protection that must be provided by signatory countries. The national laws of individual countries may (and often do) provide a longer copyright duration. For further details please see our fact sheet P-10: Copyright Duration.
- Further reading
The World Intellectual Property Organization (WIPO) provides a full text copy of the Berne Convention.
This fact sheet is Copyright © UK Copyright Service and protected under UK and international law.
The use of this fact sheet is covered by the conditions of a Creative Commons Attribution-Non-Commercial-No Derivative Works License.
This fact sheet is intended only as an introduction to ideas and concepts only. It should not be treated as a definitive guide, nor should it be considered to cover every area of concern, or be regarded as legal advice.


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John Besh Owned Restaurants in the New Orleans Area
Never heard of John Besh? He's an extremely popular chef the world over, and he's one of New Orleans' favorite and most famous chefs and frequent TV personalities. Naturally, he owns more than half a dozen restaurants in and around … Continue reading


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Urology Services
Kessler's Urology Department is nationally and internationally recognized for the excellence of care provided to individuals with bladder problems due to spinal cord injury, brain injury, stroke, and other neurologic injuries or conditions, including multiple sclerosis.
We also offer a well established adult urology spina bifida clinic. For individuals with neurogenic bladder, the goals are to maintain healthy kidneys, prevent additional bladder problems, and to maintain a bladder management program that allows the person as much independence as possible.
Our Approach
To maintain these goals, the department provides education and teaching, bladder testing and treatment from a highly experienced team headed by Todd A. Linsenmeyer, M.D.. Dr. Linsenmeyer, recognized among the nation's leading physicians, is triple board certified in urology, physical medicine and rehabilitation, and spinal cord injury rehabilitation. He was the chairman of a recent national guideline on bladder management following SCI, as well as a national guideline on autonomic dysreflexia. He and members of the Urology Department are continue to explore new avenues of treatment through research on urinary tract infections, catheter care and male infertility.
Your Treatment
The professional staff in our Urology Department offer patients a range of advanced techniques and treatments to examine, assess and treat the often complex problem of the urinary system. Our focus is on helping each patient maintain the highest level of function and personal hygiene.
In addition, the Urology Department is involved in evaluation and management of male erectile dysfunction and infertility due to neurological causes … and works closely with female patients with spinal cord and other injuries on obstetric and gynecological issues.
For More Information
For more information about Kessler's Urology & Fertility Services, please contact:
West Orange Campus
1199 Pleasant Valley Way
West Orange, NJ 07052
973.731.3600 x2274
Contact us by email


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Growth Resources recommends an assessment process to reduce
risk and assure greater accuracy when hiring and promoting sales
reps. Our process includes an online assessment questionnaire to
define critical skills potential, preferred sales style, and key
motivational characteristics.
Your sales rep candidate can fill in our questionnaire on any computer
connected to the internet. Within 24 hours of completion, we send
you a report that summarizes the results and recommendations to
hire, or not.
The Executives Test Report:
Overview: Requires excellent customer relations
skills focused on working internal systems on the customer's
behalf and effectiveness at explaining and clarifying issues to
the customer; this is driven by the desire to increase business
and the ability to work long hours when necessary.
sample test report.


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Extraordinary Events Delivered
Welcome to The Event Group International
The Event Group International (TEGI) is a nationally recognized, full service, event design, planning, and management firm. Since inception in 1992, we have been customer-focused; with a direct, honest approach to customer service. We, at TEGI are straight forward, so sparing you the boring business introduction and getting to the point, here is what we do: We liberate you from the details and deliver an extraordinary event that exceeds your expectations. If you're reading this, we're convinced that you have an idea of how consuming managing an event can be. Things can quickly spiral out of control without proper planning, coordination, and execution. This is where partnering with the experienced TEGI team will make all the difference. The Event Group International will create a one-of-a kind, extraordinary event just for you. We are committed to raising the bar in all areas of event management and production by bringing over 25 years of professional experience to your special occasion.
Our team specializes in a variety of services ranging from budget planning, vendor negotiation, event coordination, event design and production logistics to security and entertainment – we know every detail matters. Whether selecting the ideal venue and location, developing event collateral, promoting the event, or offering on-site management on the day of your special occasion – we understand that every element is crucial to our clients. We communicate frequently throughout the entire event planning and execution process, ensuring the involvement and complete satisfaction of our customers. We devote ourselves to achieving your goals by creating a successful event that is a mem| orable experience for you and your guests.
To us it is not just another event… it is your vision and our passion.
Global Access Event Coordination
The Event Group International has had the privilege to work with some pretty amazing private, non profit, and corporate clients; planning a wide array of events. We have partnered with our clients to create weddings, birthday celebrations, reunions, specialty theme events, and bar/bat mitzvahs. Additionally, we have supported our corporate and non profit partners in creating fund raisers, holiday celebrations, annual galas, strategic off-site meetings, and team building seminars. Many of our clients have retained us on an on-going basis, entrusting us with all of their event planning and management needs. The TEGI team has worked all over the world, so, while we are based in the Washington DC metropolitan area, you don't have to be local to take full advantage of our superior services!
Award Winning Expertise and Service
The TEGI team believes in the art of good old-fashioned integrity based, quality service; where you come first and things get done correctly, efficiently and within budget. We believe in exceeding expectations not simply meeting them. Our motto is "There is no right way to do the wrong thing and there is more than one way to approach any challenge"; thus, we think creatively, outside the box, and work with you as your event partner to design the perfect guest experience for your unique event. We embody a unique composition of tradition, innovation, and evolving trends. We are never satisfied with the "status quo". Furthermore, we employ industry best practices and operate with the highest standards, delivering our clients professional, friendly, quality service. We don't bamboozle people with inane jargon; we're candid and super easy to work with. So forget inflated sales pitches and expect extraordinary professional results delivered with a smile. We free you from the hectic details so that you can maximize your time, enjoy the moment, and meet your event goals.
9994 Sowder Village Square, Suite 306
Manassas, VA 20109
Call: 800-689-3496
10 GlenLake Pkw., Suite 130
Atlanta, GA 30328
Call: 800-689-3496
Copyright 2019 The Event Group International


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Strauss Square
75201 United States
Click Here For Public Health and COVID-19 Updates
From Dallas North Tollway
- Turn onto the Dallas North Tollway South service road.
- Merge onto Dallas North Tollway South (toll required).
- Take the exit toward Harry Hines Blvd. downtown.
- Merge onto Harry Hines Blvd.
- Turn left at Moody St.
- Continue onto N. Pearl St.
- Turn left onto the Woodall Rodgers Fwy. service road.
- Turn right on the first road past the red glass Winspear Opera House onto Jack Evans.
- The entrance to Lexus Red Parking will be on your right.
From DFW Airport:
- Take the South exit out of DFW Airport.
- Merge onto TX-183 toward Irving/Dallas.
- TX-183 becomes I-35E South/US-77 South.
- Merge onto TX-366 West Woodall Rodgers Fwy.
- East toward I-45/Houston/US-75.
- Take the Pearl St. exit.
- Take a right (or head east) on the Woodall Rodgers service road.
- Turn right on the first road past the red glass Winspear Opera House onto Jack Evans (one street East of Pearl Street).
- The entrance to Lexus Red Parking will be on your right.
From US 75/I-45
- Take US 75/I-45 toward downtown Dallas.
- Take exit 1A toward I-35E S/Waco (Woodall Rodgers Fwy.)
- Take the Pearl St. exit.
- U-Turn at Pearl St. light and merge onto the eastbound Woodall Rodgers Fwy. service road.
- Turn right on Jack Evans St. (first road past the Winspear Opera House)
- The entrance to Lexus Red Parking will be on your right.
Via DART (Dallas Area Rapid Transit)
- Take the DART Red or Blue Line toward downtown.
- Exit at the Pearl St. DART Rail Station.
- The Center is three blocks north and one block east at Flora and Leonard St.
The AT&T Performing Arts Center offers underground, on-site, valet and self-parking options during performance times.
The Lexus Red Parking facility is located on the north end of Jack Evans Street, below the Winspear Opera House.
The Lexus Silver Parking facility is located below Dallas City Performance Hall, directly across (east) Jack Evans from the Wyly Theatre. There is a secure underground tunnel that provides direct access to the Wyly Theatre from Lexus Silver.
How to Purchase Parking
Parking may be purchased in advance through the Box Office, up to two hours before curtain; on the AT&T Performing Arts Center website, up to the day prior to the performance; or at the gate prior to an event, with cash or credit card. Event parking is available to all guests at the following rates:
Valet Parking $27
(There is limited valet parking available in both Lexus Red and Silver Parking. Advance purchase is strongly recommended.)
Self Parking $17
Season Subscribers receive discounts on prepaid parking.
Purchase Online
Purchase by Phone
Call the Box Office at 214-880-0202.
Daily Parking
Parking is also open in Lexus Red during non-event times. The facility is fully automated and payments can be made as you leave at either of the pay stations located on P1 or P2 levels. The pay stations accept cash or credit. For those who wish to pay within the exit lane, our exit stations only accept credit cards. You must have your ticket with you at the time of exit to process payment.
Daily Parking Rates During Non-Event Times
New Early Bird Parking
$6 Monday through Friday only, must be in before 9:00 a.m. and out before 6:00 p.m.
Hourly Rates
- Free up to 30 Minutes
- $6 up to 3 Hours
- $12 3 to 5 hours
- $15 Over 5 Hours
Lexus Priority Parking
Patrons driving Lexus vehicles have access to the Lexus Priority Parking spaces on Level 1 of Lexus Red. Lexus Priority Parking is limited to 50 spaces and is first come, first served. Plan to arrive early when visiting the Center to secure your priority space. Self-parking rates apply.
Designated Handicap Parking
Handicap parking spaces are located on all levels of Lexus Red and in Lexus Silver, adjacent to the elevators. These spaces are available on a first come, first served basis.
Box Office Parking
Parking is available in Lexus Red for those visiting the box office to purchase or pick up tickets in advance of a show. The first 30 minutes are free. After 30 minutes, the parking rate is $6 during non-performance times. Additionally, there are a few one-hour parking spaces on Flora Street outside the Information Center.
Will Call Parking/Lost Parking Pass
During performance times, a list of all those who have pre-purchased parking for that performance is located in Lexus Red. Patrons can check with the parking attendants to verify their purchase.
Parking Facility Height Limits
Vehicles can be no taller than 8' 4" on level P1, and 7' on levels P2 and P3 in Lexus Red. Vehicles can be no taller than 8' 2" for Lexus Silver.
Additional convenient parking is available throughout the Dallas Arts District.
The AT&T Performing Arts Center is compliant with The Americans with Disabilities Act. We welcome all patrons and offer a variety of services to meet special needs. For additional assistance, please contact the Box Office at 214-880-0202.
Elevator access is available from Lexus Red Parking and Lexus Silver Parking for patrons with limited mobility.
Both Lexus Red Parking and Lexus Silver Parking offer handicapped spaces.
Pets and Service Animals
The AT&T Performing Arts Center has a no pets allowed policy inside Center buildings. Any trained service animal is welcome.
Hearing Devices
Assistive Listening Devices are available in all venues. There is no charge for the device, but a valid ID is required. Please see a Guest Services representative on arrival.
Special Seating
Special seating locations for persons with disabilities may be arranged in advance by calling 214-880-0202.
Services for the Deaf
A TDD (Telecommunications Device for the Deaf) number is open during regular Box Office hours; please call 214-880-0202.
Urgent Message Delivery
We request mobile devices be silenced during performances. Please feel free to check your messages at an appropriate break or intermission. Additionally, Guest Services is happy to deliver urgent messages. 214-978-3620 should be provided as a point of contact number if urgent message delivery is expected. Patron name, section, row and seat number are required. Please see any Guest Services representative at the theater if you need to use this service.
Emergency/Security Hotline
Should an emergency arise during a performance, please call 214-978-3620.
Sign Language Interpretation
The Center offers sign language interpretation at select events throughout the year. Performances offering this service are indicated on their corresponding webpages. To find out more about this service, contact the Box Office at 214-880-0202.
Named Dallas' best outdoor venue by the Dallas Observer
The AT&T Performing Arts Center's outdoor performance venue is named for a late former mayor of Dallas, Annette Strauss. Located adjacent to Elaine D. and Charles A. Sammons Park, Annette Strauss Square provides a serene setting for outdoor performances, festivals and events.
The primary features of the venue include the large lawn, Shannon and Ted Skokos Pavilion, the Porch at Strauss Square and Performance Plaza. The exterior of the Skokos Pavilion is clad in diamond-shaped panels arranged in a random mixture of silver anodized aluminum and brushed zinc finishes. This mixture of finishes heightens the play of light reflecting on the building. The front of the stage house incorporates roller shutter doors, which retract to allow large speaker arrays to project during performances, then return to their protected enclosure when not in use. Concrete walls border the lawn to ensure patrons are not distracted by nearby traffic, and to provide a barrier for ticketed events.
The space, designed by Foster + Partners, is open to the public when not being utilized for private events. The venue can accommodate more than 2,000 visitors.
Please contact the Box Office for a specific seating plan for the show you are attending. Standard seating arrangements are shown in the Seating Charts tab.
Permitted Items for events in Strauss Square
The following is a list of items that are permitted in Strauss Square unless otherwise noted on the event page:
1. Chairs
- Structure does not matter
- Chair leg height not to exceed 4"
- Here are some examples
2. Blankets
Prohibited Items:
1. No Outside Food or Beverages
2. No Pets
3. No Strollers
4. No Smoking
5. No Weapons
6. No Umbrellas
7. No Bags or Coolers
8. No Laser Pointers


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Order By Phone 1-877-777-2646
Shopping Cart 0 Items
Home > Bowling Purse Keychain
Keychain with bowling purse and dangling pin.
Charms can be separated from keychain ring by opening the lobster claw clasp.
Flap on purse opens. Single pin can also be removed.
Keychain is 4" in length. Silvertone and enamel. Sturdy.


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The Kalamazoo Promise is the only scholarship of its kind. The program provides resident graduates of the Kalamazoo Public Schools with to up 100 percent of their tuition and mandatory fees for four years at Michigan's public universities and community colleges and the 15 private colleges associated with the Michigan Colleges Alliance. [1].
All students who graduate from KPS, are residing in the district, and have been KPS students four years or more. (Enrollment and residency must be continuous.)
The tuition benefit will be graduated on the basis of length of attendance in the Kalamazoo Public School system.
10 Things You Need to Know!
1. The Kalamazoo Promise is for ALL students of the
Kalamazoo Public Schools, but only for KPS students.
Students that attend charter schools do not earn credit toward Kalamazoo Promise scholarships during
the time that they are in these non-KPS schools.
2. You must reside within the boundaries of KPS.
3. You must have at least all of the high school years
(9-12) in KPS (enrollment & residency must be
continuous) and graduate from KPS
(Central / Loy Norrix / Phoenix).
4. The Kalamazoo Promise will not end.
5. The Kalamazoo Promise is a 4-year scholarship
(a bachelor degree or 130 credits, whichever
occurs first).
6. You have ten years from the time you graduate from
high school to use your Promise and can start and stop any time.
7. The Kalamazoo Promise covers tuition and
mandatory fees.
8. Students sign up for The Kalamazoo Promise at the
beginning of their senior year. Meetings are held for
all seniors each fall. There are two simple forms to fill out for The Kalamazoo Promise.
9. There is an appeal process for students during their
senior year, especially for hardship cases (e.g., custody, death in the family, and foster care placement).
10. All students using The Kalamazoo Promise at KVCC
may attend part-time.
Bob Jorth, Executive Administrator
125 W. Exchange Place
Kalamazoo, MI 49007
(269) 337-0037
Any of the following post-secondary institutions are eligible for use of The Kalamazoo Promise.
• Adrian College (MCA)
• Albion College (MCA)
• Alma College (MCA)
• Alpena Community College
• Andrews University (MCA)
• Aquinas College (MCA)
• Bay de Noc Community College
• Calvin College(MCA)
• Central Michigan University
• Delta College
• Eastern Michigan University
• Ferris State University
• Glen Oaks Community College
• Gogebic Community College
• Grand Rapids Community College
• Grand Valley State University • Great Lakes Maritime College —Division of
Northwestern Michigan College
• Henry Ford Community College • Hillsdale College (MCA)
• Hope College (MCA)
• Jackson Community College
• Kalamazoo College (MCA)
• Kalamazoo Electrical JATC (Apprenticeship)
• Kalamazoo Valley Community College • Kellogg Community College
• Kendall College of Art & Design of Ferris State University
• Kirtland Community College • Lake Michigan College
• Lake Superior State University
• Lansing Community College
• Macomb Community College
• Madonna University (MCA)
• Marygrove College (MCA)
• Michigan Career and Technical Institute*
• Michigan State University
• Michigan Technological University
• Mid Michigan Community College
• Monroe County Community College
• Montcalm Community College
• Mott Community College
• Muskegon Community College
• North Central Michigan College • Northern Michigan University
• Northwestern Michigan College
• Oakland Community College
• Oakland University
• Olivet College (MCA)
• Saginaw Valley State University
• Schoolcraft College
• Southwestern Michigan College
• St. Clair County Community College
• Siena Heights University (MCA)
• Spring Arbor University (MCA)
• University of Detroit Mercy (MCA)
• University of Michigan
• University of Michigan Dearborn • University of Michigan Flint
• Washtenaw Community College
• Wayne County Community College
• Wayne State University
• West Shore Community College
• Western Michigan University
*Students attending the Michigan Career and Technical Institute (MCTI) will only be awarded in the event that the
State of Michigan does not cover their tuition and fees.


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As you sit for hours, cushions can start to wear and flatten. With fully upholstered seat cushions you can rotate them any which way to make sure the best side if always facing up. Keep cushions fresh and looking great with the ability to rotate them any way because they are fully upholstered.
The Traditional Sofa's popular silhouette boasts elegant, English-style arms and T-front seat cushions. This is a smaller-scaled version of our traditional model to cater to apartments, townhouses, and condos. Ask in store for more customization options like custom fabrics and pillow colors, leather options, and stain-resistant performance fabrics.
The 2100 Traditional Apartment-Size Sofa by Huntington House at Find Your Furniture in the area. Product availability may vary. Contact us for the most current availability on this product.
The clean silhouette and plush, Down Blend cushions form the basis of this collection, but its available in five styles to best match your taste. For an understated and cozy look, choose the Casual model with rolled panel arms. For a sharp, modern vibe, this group is available with weltless track arms. The most classic face of this collection is the model with traditional, English-style arms and t-front seat cushions. Every home can have the craftsmen-quality pieces they crave with this versatile and stylish group.
The 2100 collection is a great option if you are looking for furniture in the area.
Browse other items in the 2100 collection from Find Your Furniture in the area.
This item has been tagged as: Sofa, Couch, Couches, Backless Sofas, Conversation Sofas, Conversational Sofas, Theater Seating, Theatre Seating, Home Theater Furniture, Angled Sofa, Davenport, Stationary Sofa, Stationary Couch, Home Theater Seating, Upholstered Sofa, Upholstered Furniture, Sofa Couch, Living Room Furniture, Furniture, Seating
Nothing on this page may be copied or reproduced without explicit permission.


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Keyword: cd5652bn
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Beginning Monday, June 15th
Safe & Smart Shopping
In-Store Shopping: Our store will return to normal hours. We are limiting the number of shoppers allowed in the store. We ask that you please read and follow our new Social Distancing Guidelines.
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Baltimore MD Isuzu Repair & ServiceJim Jennings Transmissions is a leader in the Baltimore area for the repair and service of all Isuzu vehicle types. Isuzu is a Japanese car manufacturer that is headquartered in Tokyo. Traditionally Isuzu has manufactured small to medium compact automobiles, as well as medium to large sized trucks. Isuzu manufacturers the trucks used by Budget Truck Rental.
Jim Jennings Transmissions offers the following drivetrain repair services for all Isuzu vehicle types. Our drivetrain technicians are professionally trained and certified specialists who are recognized by many in our area as being the best choice in the area for the repair and service of automatic and manual transmissions, transfer cases, differentials, driveshafts, u-joints, and cv joints for vehicle models manufactured by Isuzu.Transmission Repair & Service
- 4-Wheel Drive (4x4)
- Automatic Transmission
- Computer Diagnosis
- External Diagnosis
- Fluid & Filter Replacement
- Manual Transmission
- Performance Transmission
- Transmission Adjustment
- Transmission Cooler
- Transmission Rebuild
- Transmission Replacement
- Transmission Reseal
- Differential Diagnosis
- Differential Rebuild
- Differential Fluid
- Differential Parts
- Clutch Adjustment
- Clutch Kit Installation
- Clutch Slave Cylinder
- Axle Shafts
- U-Joints
- Transfer Case
- CV Joints
Jim Jennings Transmissions services and repairs the following vehicle models manufactured by Isuzu at our auto repair shop.


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A good round-up, here:
The threat of protests has been most effective when applied to companies with major consumer brands and enough market leverage to dictate what happens for a given crop. The classic case of this phenomenon was how MacDonalds, in three phone calls to major frozen French fry producers, put an end to biotech potatoes in the US and Canada. Potatoes are an extraordinarily difficult crop to improve through breeding because of their complex genetics and vegetative propagation. Biotechnology was a promising way to deliver traits for important pest issues as well as quality and health benefits, and the major potato buyers knew it. However; the risk from brand-damaging protests drove the decision.
You'll want to read the whole thing.


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| 14.7°C Dublin
Ireland must make "huge improvements" to have any chance of beating Wales on Saturday, according to stand-in skipper Jamie Heaslip.
Leinster loose-forward Heaslip, Andrew Trimble and Rob Kearney claimed the tries as Ireland saw off Scotland 28-6 in the RBS 6 Nations opener in Dublin on Sunday.
Number eight Heaslip admitted it was a "big shock" to discover captain Paul O'Connell had contracted a chest infection during the course of Saturday night.
Ireland boss Joe Schmidt only found out about O'Connell's illness seven hours before kick-off against Scotland.
The Munster lock called upon Ireland's team doctor at 4.30am on Sunday, having been completely fine on Saturday night.
Dan Tuohy stepped into the starting line-up, while Ireland had to call Rhys Ruddock to jet back into Dublin to act as 24th man.
Despite Ireland's three-try win, Heaslip conceded head coach Schmidt had ripped into his men after the final whistle.
"Huge improvements will be needed for next week," said 61-cap Heaslip.
"Joe had a couple of choice words for us in the changing rooms afterwards, and I'm sure there will be more on Monday night.
"Our poor analysts will be working on that and won't see the Super Bowl!
"It will be a huge challenge to go up against a team that's won this championship two years in a row.
"It was a big shock to us about Paul, we watched line-outs at seven o'clock on Saturday night with him.
"Paul had given us really good direction during the week, so we had the knowledge and then we had to bring the physicality and intensity, and we managed to do that.
"It's a big shame to lose a character like Paul, a great leader and an inspiration.
"But credit to Dan [Tuohy] who had a great game, and will give Joe a good headache."
Ireland boss Schmidt expects O'Connell to recover in time to face Wales next weekend.
"The day probably didn't start too well: I had a phone call at eight o'clock to say that Paul O'Connell had a chest infection and hadn't had much sleep.
"I had no idea before that: he was fine on Saturday night, I was talking to him then and he was pretty chipper.
"The doctor had been to see him at 4.30 on Sunday morning.
"There's no way he could have played a Test match after not sleeping.
"I'd be really surprised if he's not [back for the Wales match].
"He should be back by Tuesday, for training, and hopefully he can train fully on Thursday. I would be really confident of that."
Scotland dominated possession and territory in the first half until a searing Johnny Sexton break swung the momentum.
Captain Heaslip had a try ruled out for a foot in touch from that break, before Trimble nipped in moments later.
The hosts took total control after the break, even if Scotland wilted too easily.
Hailing the performances of brothers Rob and Dave Kearney, Schmidt said it was a "relief" to ride out the loss of O'Connell.
"It's a real relief to me that we've got through the game and got a win on the board," he said.
"The try for Andrew Trimble was fantastic because it came at the right time.
"We'd really been under the pump, with them having two thirds of territory and possession.
"Rob Kearney's try capped off a really good game for him, and his brother impressed there too."
Naivety cost Scotland any chance of victory, according to head coach Scott Johnson.
"We may have to go to some dark places and bring some torches; we may have to do that," said Johnson.
"There's a naivety that will get there by having some time in the saddle.
"This is where it's my job to see a silver lining.
"There's inexperience in that backline, they are still growing as lads. They don't understand they are doing the hard bits quite easily, but it's the finishing off.
"They were up against some wily customers who have been about around the block a bit."
Wing Sean Maitland suffered concussion, and will be assessed again on Monday, Johnson confirmed.
"He came off with concussion, and he's found he's got about three other ailments, so we'll tick them off as we go along," said Johnson.
PA Media


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Europe warns of Turkey Internet censorship
- Parliament also requires Internet providers to keep records on users%27 activities
- Critics say the law is an effort to tamp down anti-government protests
- Country has blocked 40%2C000 websites since 2007
ISTANBUL — Europe is voicing concern Thursday over new Turkish legislation that would tighten government controls over the Internet.
Turkey's Parliament on Wednesday approved measures allowing the government to block websites without seeking permission from a court and require Internet providers to keep records on Web users' activities for two years for authorities.
Martin Schulz, president of the European Parliament, said on Twitter Thursday that the legislation is a step back in an "already suffocating environment for media freedom."
Many people in Turkey say the law, which must still be signed by the president, is intended to silence dissent.
"One man can order a website to be closed, it's really anti-democratic," said lawyer Serhat Koc, an activist with Turkey's Pirate Party, which has been campaigning against the bill.
Turkey's Parliament approved the law late Wednesday with a show of hands. Critics believe the law is part of a surveillance network to tamp down anti-government protests. Last month, police violently dispersed hundreds of demonstrators who rallied in Istanbul, Ankara and the coastal city of Izmir. Protesters flew banners and chanted slogans that brought a crackdown by riot police.
The bill was unveiled in December, a day after family members of top politicians were implicated in a wide-ranging corruption probe targeting the prime minister's family and inner political circle. Prime Minister Recep Tayyip Erdogan has so far been able to contain the probe by sacking hundreds of prosecutors and judges and reassigning thousands of police, saying his government is the victim of an international plot to undermine Turkey's world standing.
But in recent weeks videotapes and audio recordings from wiretaps have surfaced online that implicate Erdogan and his associates in shady dealings with business groups.
Geoffrey King, internet advocacy coordinator for the Committee to Protect Journalists, said his group is "disappointed" that Turkey has taken a step that gives the government broad censorship powers to prevent news of such scandals from being made public.
"Clearly if these amendments were to pass they would be very useful in clamping down on embarrassing information coming out," he said.
"We will remain vigilant about its application to the press and its effect on the press in Turkey," King said. "The Internet has the potential to be the greatest enabler of human expression. It also has the potential to be the greatest tool of social control."
So far Washington has refrained from criticizing its ally directly but has registered concern about Internet freedom.
"As the Turkish government evaluates its approach to Internet freedom, we hope the highest standards of openness and free expression will be protected," said State Department spokeswoman Katherine Pfaff in comments published on CPJ's website.
The law requires service providers to take down objectionable content within four hours and any page found in violation by the country's telecom authority or face fines up to $44,500. It would also close loopholes and technical work-arounds that are popular in a country that has already blocked an estimated 40,000 sites since 2007.
"This is not just about blocking access to certain types of content. They are trying to build up a new infrastructure to surveil people and collect data about all Internet users from Turkey," said Yaman Akdeniz, law professor at Istanbul's Bilgi University. "This obviously has serious implications, unprecedented I would say."
Turkey's current laws are designed to protect minors from harmful content. Many of the sites blocked are pornographic but some alternative media outlets and video sharing sites have also been banned.
Business groups have also weighed in. The Turkish Industry and Business Association penned a letter this week to the Family and Social Policies Ministry that proposed the bill. It warned that the restrictions would undermine investment and undermine the separation of powers by allowing the executive to censor content at will.
Turkey is a very wired country. It has one of the highest Internet usage rates in Europe with about 33 million registered Facebook accounts in a country of about 76 million people.
With government pressure on traditional media outlets like newspapers and television stations well-documented, many people go online to share and receive news.
"The only reliable information to obtain for the Turkish people and people living in Turkey is through social media and alternative news sites," Akdeniz said. "Facebook groups and Twitter have become crucially important for many people including myself."
That has led top politicians like Erdogan to condemn sites like Twitter as a tool used for extremists. During the height of the Gezi Park protests last June the prime minister declared, "To me, social media is the worst menace to society."
But rather than crack down on social media Erdogan's AK Party initially chose to fight fire with fire. This summer the party reportedly enlisted around 6,000 online volunteers to boost its presence online.
But that has apparently not been enough, said Akdeniz, and the government may resort to cruder methods to control the online sphere.
"There are other countries like Iran, Syria and China that try to deploy similar controls and unfortunately Turkey is moving toward that direction," he said.