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Teaser Thursday- Work Boots and Tees
I sat back and listened while Dr. Hernandez and Delia talked about the grounding thing and how Delia wouldn't leave me home alone until everyone decided I could handle it. They both kept looking at me as if they expected me to say something, but I didn't have anything to add. All I knew was I wanted to go home.
I kept waiting for Dr. Hernandez to bring up him. Even though the doctor had said he couldn't tell Delia anything without my permission, I was afraid he would break the rule. But the whole time, he didn't say a word about it.
When he finally said it was time for Delia to leave, I let out a long breath and relaxed so much I almost slid out of my chair.
"I'll discharge Jim tomorrow afternoon." Dr. Hernandez closed my folder. "I'd like to see him once a week for a few weeks as an outpatient to monitor his medication. When we're sure the meds are working right, we'll drop down to having him come in once a month. That won't be a problem, will it?"
"No, I'll make sure he gets here." Delia smiled at me. "You know, Jim, you impress me."
"Huh?" I sat up and stared at her.
"You could have tried this sooner." She paused. "You could have succeeded. Or you might not have tried to get better. You're a lot stronger than you realize."
"I guess." I wasn't in the mood for compliments. I'd only ended up in the hospital—and in Ludington—because I was a criminal. That wasn't anything to be proud of.
"I'll see you tomorrow." She stood. "Thanks, Dr. Hernandez."
"You're welcome."
He got up and opened the door for her, then closed it behind her. I stayed in my chair, figuring Dr. Hernandez would tell me if it was time for me to go back to group.
"Delia seems to really care about you," he said.
"I'm glad she brought you to live with her." He sat down again. "I think with her support, you're going to continue improving."
"Yeah," I said again. I hoped he was right, but even Delia's support wouldn't make my past go away. "Um, thanks for not telling her what we were talking about before."
"I can't tell her unless you say I can," he said. "You know that. You can be proud of yourself for telling me, though. I saw how hard it was for you."
"I never told anyone else what he did." My heartbeat sped up, and I reminded myself it was okay to talk about him now. He wouldn't find out, and even if he did, he couldn't hurt me anymore.
"I know. I'm glad you trusted me enough to tell me." Dr. Hernandez opened my folder again and wrote something. "Okay. You're on track for going home tomorrow, as long as nothing changes between now and then. You're going to see me once a week for a medication check. You'll continue seeing Terry at the counseling center once a week as well, and Delia's going to bring you to the shop with her daily for a while."
"I'm not really thrilled about that," I said. "What if the person who messaged me actually does spread the link around? Even if they don't, some people check the registry anyway to make sure their kids are safe or whatever. For all I know, people here have already seen my name on the list. I don't want to screw up Delia's business."
"That isn't something for you to worry about," he said firmly. "Delia will take care of her business. She wants you to take care of yourself. It seems as if you have more to talk about right now, but unfortunately, it's time for you to go back to group and for me to meet with my next client. Are you okay to go?"
"No problem." I stood up. "Thanks."
"You're welcome." He got up and opened the door. "I have to walk you back to the group room. Policy. Tomorrow I'll meet with you when Delia comes to pick you up instead of in the morning. Okay?"
I followed him back down the hall like the obedient kid I was supposed to be.


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Strip Sugar - Enhances Your Toolbox
Since sugaring was introduced to North America from Europe in 1988 devotees have been influenced by manufacturers who have divided them into 2 groups:
Those who like to use their gloved hand and a single piece for the service- Spa and reject Strip sugar as being beneath them.
Those who use the Strip .sugar to replace their limited, antiquated wax
We're different. We support business professionals who are trying to enjoy their work and earn a decent living so we have combined BOTH types.
Salon Sugar has education for both methods and in the case of hand or Spa System we use a 2-day education plan. For the first half of the first day we use your waxing talent and convert it to the Strip sugar. You can apply Strip sugar to cover 1/2 a man's back and use 1 strip to take all the hair off then do the same for the other side. Imagine how quickly and inexpensively you can accomplish this service. It works eqally well for the legs.
After lunch you are introduced to Hand/Spa sugar: the aplication, angle, pressure and flick to remove in an easy flowing motion. Your Educator is an experienced salon professional who can guide you so that over the next day you master this skill. When you are finished you have the skills to replace wax, and save the stress to your body
Our Strip sugar only class takes a half day to tweak your technique so you can be as fast or faster than waxing and use very little product.

subset: commoncrawl


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Premiere Stages Play Festival
deadline: 1/3/16
Beginning October 1, 2015 through January 3, 2016, Premiere Stages will accept submissions of unproduced new plays from playwrights born or currently residing in the greater metropolitan area (New Jersey, New York, Connecticut, and Pennsylvania). There is no fee to enter. All plays submitted to the festival are evaluated by a professional panel of theatre producers, dramaturgs, playwrights, scholars and publishers.
Four of the submitted plays will be selected for staged readings with Equity casts in March 2016 and awarded cash prizes. Following the March readings, the winner of Play Festival is selected for a full production during Premiere Stages' 2016 mainstage season and awarded $2000; a second play will be selected for a 29-hour Staged Reading and be awarded $750, and the two other finalist writers will be awarded $500.
At Premiere Stages, we pride ourselves on a uniquely accelerated process in which plays we find particularly promising are developed and fully produced within a year of submission. In many professional theatres the time span between meeting a writer, staging a reading and producing the play can be years. At Premiere Stages, immediately following the Spring Readings, two plays enter an intensive development phase. Playwrights work with a director, dramaturg, and design team to develop the play for a staged workshop or full production only a few months later. When we find a writer we believe in, our Play Festival process allows Premiere Stages to fully commit the time, talent, and resources necessary to share their work with a broad regional audience.
Premiere Stages' productions offer playwrights the chance to see their work fully realized on stage. We hope, however, that the plays developed at Premiere will go on to subsequent productions throughout the country. Because of this, playwrights whose scripts we produce retain the coveted "World Premiere" brand on their plays. Premiere Stages also strives to facilitate relationships between playwrights and other theatre professionals who we think will respond to their work. Plays are consistently reviewed by the New York Times and scouted by major publishing houses. Multiple Festival plays have been honored by the American Theatre Critics Association.
Premiere Stages will accept full scripts from literary agents or theatre professionals familiar with our work. All other writers are required to submit a 10-page script sample and synopsis. Please review full submission requirements and guidelines here.
Geva Theatre Festival
deadline: 3/31/16
The following guidelines apply to submissions for our Festival of New Theatre, Plays in Progress and general production consideration.
Playwrights with professional representation may have their agents send full manuscripts at any time. Please note that lawyers and law firms do not qualify as professional representation.
To best accommodate our schedule of new play activities, we have an Inquiry Window, during which playwrights who are not working with an agent may send a submission inquiry. This year's window is fromNovember 1, 2015 to March 31, 2016. Inquiries submitted outside this time period cannot be processed. Looking for other places to submit your play before the next Inquiry Window? The blog Play Submissions Helperkeeps an updated list of new play deadlines. Before submitting a play for consideration, please look at our production history and at the lists of new plays we have commissioned or produced, as an indication of the kind of work we are likely to produce.
Please do not send us the first draft of a play. Due to the number of scripts we receive, we can only read any play one time, so make sure you are sending us your best work. Plays for consideration in our play development series must not have had more than one production at another theatre.
To have your play considered, submit the following:
● A cover letter introducing yourself, with your full contact information.
● Your creative resume and a development or production history of this play. If the play has had other developmental readings or productions, they must be included here.
● A description of this play, no more than ½ page. This need not be a summary of the plot – we welcome a description of the play's world, characters and conflict, and your reasons for writing it.
● A complete list of characters.
● A ten-page dialogue sample. Pages do not need to come from the beginning of your text but must be sequential.
● Please include a stamped, self-addressed envelope if you would like materials to be returned.
Ashland New Plays Festival
deadline: January 15th (or when 400 qualifying scripts have been received)
ANPF's flagship festival is an international playwriting competition that culminates in the reading of four new plays culled from hundreds of submissions by a cadre of volunteer readers. This unique and much-loved five-day festival in Ashland, Oregon, features professional actors from the Oregon Shakespeare Festival and the community. The event includes rehearsals and two staged readings of each winning play. Four winning playwrights receive a $1,000 stipend and local accommodations. Submissions will be accepted until January 15, 2016 or when 400 qualifying scripts have been received.
Midtown International Theatre Festival
deadline: 2/22/16
website: http://www.midtownfestival.org/
MITF: Spring is a combination of short plays and musicals, a Variety division, the Short Play Lab, and staged readings.
Short plays and musicals are the mainstay of the MITF Short Subjects. We're looking for any kind of short play or musical that fits the guidelines:
* 30 - 60 min. long
* Easy to produce in a no-frills festival
* Any genre. (Plays using guns as props will not be considered).
* Union and non-union shows are accepted.
* Plays must be sent in Word Document or PDF File.
* Pages MUST be numbered and script must be in standard playscript format.*
The Festival will take place at the Workshop Theater's Jewel Box Theater, 312 W. 36th St., NYC. MITF: Spring runs from March 7-27. The Short Play Lab runsSaturday, March 12 - Sunday, March 13.
Short plays and musicals receive 3 performances, all in the same week. Producers receive a share of the profits, if any. Shows receive a tech rehearsal equal to 2.5 times the running time of the show.
The Variety division spans cabaret, magic, improv, sketch comedy, standup, and burlesque. Acts can be solo or group affairs, so long as they fit within an hour, including setup and strike, and so long as they bring their own music director and so forth. The Festival provides a keyboard and amp. Shows receive a 1-hour tech rehearsal and a share of the profits, if any.
The Short Play Lab is just like the regular Short Play Labs throughout the year: 2 programs of about 10 short plays each (not to exceed 10 min. in length), each program performed twice. The Festival takes the door; 2 cash prizes are awarded to the most popular shows, 1 from each program. Each show receives no more than 20 min. of tech rehearsal.
For all shows, the Festival provides a theatre (the WorkShop Theater JewelBox), shared scenery (rehearsal cubes, a table, and 4 chairs), front-of-house staff, a board op (NOT a lighting designer), and a keyboard plus amp if necessary. Shows must be fully produced (off book!).
In addition to the fully produced shows, there will also be staged readings on weekday afternoons. Producers wishing to present a staged reading must make sure their reading doesn't exceed 3 hours and must pay a $100 fee. The Festival doesn't provide a board op or any technical rehearsal to speak of.
To submit a project, mark it clearly "MITF: Spring," and let us know whether it is a short play or musical, a variety act, a 10-min. play, or a staged reading. We'll curate the entries as they come in, so you can start working on them as soon as possible.
Please send all playscripts and all Variety submissions (video reels, youtube, etc.), to: firstname.lastname@example.com
We look forward to your submissions!
Submission Deadline For Short Subjects Is February 22, 2016.
Submission Deadline For Short Play Lab and Variety is February 27, 2016.
*12 pt Times Roman; character names in the middle on their own line; line spaces between speeches and stage directions; indented stage directions; 1" margins all around.
Mcknight Advancement Grant
Deadline: Jan. 8th
website: https://pwcenter.org/programs/mcknight-advancement-fellowships
The McKnight Advancement Fellowships recognize playwrights whose work demonstrates exceptional artistic merit and excellence in the field, and whose primary residence is in the state of Minnesota. The fellowship includes:
- A $25,000 stipend
- $2,500 to support a play development workshop and other professional expenses
- $1,400 in travel funds
Past recipients include: David Adjmi, Carlyle Brown, Lisa D'Amour, Barbara Field, Keli Garrett, Jeffrey Hatcher, Melanie Marnich, Gregory Moss, Kira Obolensky, Dominic Orlando, Christina Ham, and Martín Zimmerman.
McKnight National Residency
Deadline: Dec. 10th
website: https://pwcenter.org/programs/mcknight-national-residency-and-commission
Supported by a grant from the McKnight Foundation, this program aids in the commissioning and development of new works from nationally recognized playwrights. Benefits include:
- A $14,000 commission
- At least two U.S. round-trip airline tickets
- Housing during the residency period
- Up to $5,750 in workshop funds to support the development of the play
- A public reading of the commissioned play
Past recipients include: Kia Corthron, Kate Fodor, Daniel Alexander Jones, Sibyl Kempson, Craig Lucas, Taylor Mac, Ruth Margraff, Dan O'Brien, Betty Shamieh, Kathleen Tolan, and Mac Wellman.
Lama Theatre
deadline: 12/13/15
Lama Theater Company's Monthly Question! The Monthly Question is a reading series of new and bold writing (short plays/ Monologues/ poems/ Songs) around Lama's monthly question that will be performed at The Kraine Theater, NYC.
Our Mission: Lama means WHY in Hebrew. The Lama Theater Company is a writer/director-driven, nonprofit company that continually raises questions and encourages bold new writing from within the nation and around the world to inspire different points of view and theatrical visions.
Important dates:
December 13th - playwrights/poets/song writers submission deadline!
December 16th - announcement of chosen works.
December 21st - performance night at 8:30pm.
Casting the actors on the spot at 8:30pm, show at 9:30pm. Location: The Kraine Theater, NYC.
· Scripts must be related to our monthly question.
· Lama has been affected by current worldly events and the hatred that seems to be overly apparent. OurDecember question is :
What inspires you when you read the question? We are interested in what you are thinking about and how the question might affect the work you do. Gather whatever inspiration the questions give you, and use it to fuel your chosen discipline. The questions are open to many interpretations!
· When you submit please keep in mind that Lama encourage artistic exploration, provoking and risk-taking writing.
· Short plays are limited to 8 pages in standard playwriting formats. (You can submit your 10 pages play but please keep in mind that we might ask you to make a few cuts.)
· Poems/ Monologues are limited to 2 pages.
· Song samples should be mp3 and no more than 3 minutes.
· Only submissions by electronic attachment will be accepted, Microsoft Word document or PDF.
· Playwrights can be from anywhere, but plays must be in English.
· Submit a BLIND copy of your script and include a list of characters/descriptions.
· E-mail your Script/Song/Poem to: email@example.com
· The subject line should include the title of the play.
· Please fill your contact info and the name of your play at our website:
· Any Questions about Lama's monthly question? Please email us firstname.lastname@example.com and we'll help you out!
· For updates and more info about Lama follow our page https://www.facebook.com/lamatheatercompany
The Julliard School's Lila Acheson Wallace Playwright Program
Deadline: Dec. 15th
website: www.juilliard.edu/apply-audition/application-audition-requirements/playwrights-program-application-requirements
The Lila Acheson Wallace American Playwrights Program encourages and aids the development of new and diverse voices in the American theater.
Under the direction of Christopher Durang and Marsha Norman the Playwrights Program offers one-year, tuition-free, graduate level fellowships to four writers. Selected playwrights may be invited to continue their studies through a second academic year, thereby completing a total of 52 credits for the two-year fellowship period and earning an Artist Diploma in Playwriting.
Juilliard's Playwrights Program is purposely small and allows the artists to focus on the practical aspects of dramatic writing while at the same time they are encouraged to take advantage of the wealth of resources within Juilliard's walls, and those afforded via the School's prime location on Broadway — the greater New York City theater scene. Students may take any class in the Drama Division and are encouraged to see productions around the city by receiving free or discounted tickets to many events on- and off-Broadway. The essence of the Playwrights Program lies in the weekly master class with the playwright heads focusing on dramatic structure and the cultivation of each writer's individual voice. Twice monthly lab readings of the students' work allow the writers, with the help of Juilliard acting students and alumni, to tackle the practical aspects of creating a new play. In addition, seminars centering on other aspects of the theatrical profession are planned on a quarterly basis. The year's end culminates when students in the playwrights residency present their work to professionals from New York and around the country in a showcase evening. The intention is that these events will create a bridge for these artists between Juilliard and the larger community.
Robert Rauschenberg Artist as Activist 2016
Deadline: 12/7/15
website: http://www.rauschenbergfoundation.org/artist-activist-fellows
The Artist as Activist Fellowship provides independent artists and art collectives with a demonstrated commitment to applying their creative work to the public sphere up to $100,000 over two years along with access to opportunities for professional advancement. Fellows are identified through a highly competitive open call for proposals. In 2015 more than 600 applicants from 42 states, spanning artistic genres and thematic focus, were narrowed to six fellows with the help of 30 field experts from across the U.S. This inaugural cohort of Fellows is tackling timely issues—from climate change to caste-based sexual violence to mass incarceration.
Fellows are identified through a highly competitive open call for proposals. In 2015 more than 600 applicants from 42 states, spanning artistic genres and thematic focus, were narrowed to six fellows with the help of 30 field experts from across the U.S. This inaugural cohort of Fellows is tackling timely issues—from climate change to caste-based sexual violence to mass incarceration.
Applying lessons from the inaugural round of fellowship applications, the foundation will use an alternating thematic frame to guide future open call for proposals. During the 2016 and 2017 fellowship cycles, the thematic frame is racial justice through the lens of mass incarceration. Artists with ambitious projects that tackle this critical issue are invited to seek up to $100,000 in support.
Racial justice with particular focus on mass incarceration
US-based artists and artist collectives seeking to work full-time on an
ambitious creative work tackling this issue
May 1, 2016 – April 30, 2018
Up to $100,000 over a two-year period
December 7, 2015, 5:00 pm (EST)
Late April 2016
November 16, 2015, 10:00 am (EST)
For more information, including application instructions, http://www.rauschenbergfoundation.org/artist-activist-fellows
deadine: 12/15/15 @ 5pm EST
Playwrights are invited to 10-Minute Plays that address one of the following three themes:
Each year Source Festival stages 18 10-Minute plays for a five performance run here in Washington. Each selected playwright will receive a $100 stipend, dramatugical support, and a fully staged production during the Source Festival in June 2016. (Read about the 3 Full-Length Plays that inspired our themes.)
DEADLINE: December 15, 2015 by 5:00pm EST.
-- Lama Theater Company's Monthly Question! The Monthly Question is a reading series of new and bold writing (short plays/ Monologues/ poems/ Songs) around Lama's monthly question that will be performed at The Kraine Theater, NYC.
Our Mission: Lama means WHY in Hebrew. The Lama Theater Company is a writer/director-driven, nonprofit company that continually raises questions and encourages bold new writing from within the nation and around the world to inspire different points of view and theatrical visions.
Important dates:
December 13th - playwrights/poets/song writers submission deadline!
December 16th - announcement of chosen works.
December 21st - performance night at 8:30pm.
Casting the actors on the spot at 8:30pm, show at 9:30pm. Location: The Kraine Theater, NYC.
· Scripts must be related to our monthly question.
· Lama has been affected by current worldly events and the hatred that seems to be overly apparent. OurDecember question is :
What inspires you when you read the question? We are interested in what you are thinking about and how the question might affect the work you do. Gather whatever inspiration the questions give you, and use it to fuel your chosen discipline. The questions are open to many interpretations!
· When you submit please keep in mind that Lama encourage artistic exploration, provoking and risk-taking writing.
· Short plays are limited to 8 pages in standard playwriting formats. (You can submit your 10 pages play but please keep in mind that we might ask you to make a few cuts.)
· Poems/ Monologues are limited to 2 pages.
· Song samples should be mp3 and no more than 3 minutes.
· Only submissions by electronic attachment will be accepted, Microsoft Word document or PDF.
· Playwrights can be from anywhere, but plays must be in English.
· Submit a BLIND copy of your script and include a list of characters/descriptions.
· E-mail your Script/Song/Poem to: firstname.lastname@example.com
· The subject line should include the title of the play.
· Please fill your contact info and the name of your play at our website:
· Any Questions about Lama's monthly question? Please email us firstname.lastname@example.com and we'll help you out!
· For updates and more info about Lama follow our page https://www.facebook.com/lamatheatercompan
NYFA Artists Fellowship
Deadline: 1/28/16
website: https://www.nyfa.org/Content/Show/Artists'%20Fellowships
Artists' Fellowships are not project grants but are instead intended to fund an artist's vision as displayed across a single criterion of work. Fellowships are not awarded to interpretative artists such as dancers or actors, applicants must be the originators of the work, ie. choreographers or playwrights. NYFA is committed to supporting artists from diverse cultural backgrounds at all stages of their professional careers. In 2015, NYFA awarded 91 Fellowships to 95 awardees with 4 collaborations totaling an amount of $642,000. Who Can Apply? To be eligible for the award, applicants must meet the following requirements:
- You must be 25 years old or older.
-You must be a current resident of New York State and/or one of the Indian Nations located in New York State for at least the two consecutive years prior to the application deadline.
-You must not be enrolled in a graduate or undergraduate degree program of any kind at the time of the application deadline.
-You must not have received a NYFA Fellowship in any discipline in the past five years. -you must not be a NYFA employee, member of the NYFA Board of Trustees or Artists' Advisory Committee, an immediate family member of any of the above, or an immediate family member of a 2015/2016 panelist.
How Do I Apply?
-Create a new application online All applications and support materials must be uploaded and submitted via the online application at https://apply.nyfa.org/ , NYFA does not accept any physical copies. Applicants must create an account with submittable.com in order to access the application form and to upload their support materials, If you do not already have an user account with submittable.com, you must create one with your name and email address in order to apply. Once you've created a login, you can use this to submit to any organization that accepts applications supported by submittable. Enter your details and click Create Account and Continue. A verification email will be sent to your email address, check your inbox and click on the link provided in the email to verify your account.
- Begin your online application. Select your category or categories. Applicants may apply in up to two categories per year but will only be awarded in one. Should you receive an award in 2 categories, you will have to choose which category to be recognized in. Applicants use the same login details to create applications in either category but must submit a separate application and support materials for each category. List any collaborations. Collaborating artists must apply together with one application. A collaboration is defined as up to three artists who can clearly demonstrate an ongoing collaborative career. Collaborating artists can apply with an account under a collaborative artist name or with an individually named account providing that, in either case, all collaborators are listed under the Applicant Information section of the application form. Collaborator's names should be separated by a " / " in the Name field. Should a collaborative application receive an award, the grant will be divided evenly between the 2 collaborating artists. All individual applicants must clearly state their respective roles and must meet eligibility requirements.
- Fill out your online application. You must fill out your Applicant Information, Work Statement, any additional statements and upload your Work Samples and Résumé. Each application will have varying components depending on the discipline in which an applicant is applying so please refer to the category guidelines for further assistance in completing your application.
-Upload your Work Samples. Work samples are a representation of your artistic work within the last five years. All Work Samples are submitted through the application, NYFA accepts a variety of file formats to support your application which will vary depending on the discipline in which you are applying so please refer to the category guidelines for further assistance.
-Submit your application. When you have finished filling out your information and have completed the Work Statement, additional statements and uploaded your Work Samples, simply click on the Submit button on the bottom of the application form to submit your application. Once submitted, you will no longer be able to make changes to your application so make sure you have reviewed everything carefully before submitting. FAQ What is an Artists' Fellowship? Artists' Fellowships, awarded in fifteen different disciplines over a threeyear period, are $7,000 cash awards made to individual originating artists living and working in the state of New York and or Indian Nations located therein for unrestricted use. Artists' Fellowships are not project grants but are intended to fund an artist's vision or voice, regardless of the level of his or her artistic development. How are Fellows selected? Artists' Fellowships are chosen based on the single criterion of work that demonstrates a compelling vision as defined by the assembled panel's collective opinion. Materials are reviewed and voted on by the panelists in elimination rounds which produce a smaller pool for each round. An artist's advancement is a product of the collective vote of the panel. A single panelist cannot ensure an applicant's success or failure. Panel selections are reviewed by the Artists' Advisory Committee and by NYFA's Board of Trustees. Neither the Committee nor the Board reviews the work of applicants or makes any aesthetic judgments. Panelists' names are kept confidential until the awards are announced.
NYFA is committed to supporting New York State artists of diverse cultural, sexual, and ethnic backgrounds. NYFA does not discriminate based on the age, gender, ethnicity, sexuality, or ability/disability of artists, and welcomes work whose content reflects the lived experiences of the applicants. 3 How is work reviewed? In visual arts categories, an artist's digital images are viewed four at a time, horizontally, in the order uploaded by the applicant. Moderators will read aloud the materials, dimensions, and date of the first and fifth images to the panel. In categories accepting video samples, panelists review up to a total of 4 minutes of an applicant's work samples, and may scan through the entire work in later rounds. In literary categories, manuscripts are reviewed by five readers across the state before assembling at NYFA for the final decision. For all categories, an applicant's statements are available for panelists to read as they review support materials. NOTE: This review process is not anonymous. Applicants' names are known by the panelists in all categories. How are panels assembled?
Recommendations for potential panelists come from many sources, including; the Artists' Advisory Committee, arts and cultural organizations around New York State and Indian Nations located therein, and suggestions from practicing artists. All potential panelists must be practicing artists and must receive three recommendations from their field. The Artists' Advisory Committee then approves final choices that reflect considerations of genre, age, ethnicity, and geography within New York State and Indian Nations located therein. Panels are held separately with different panelists for each category. Applicants may participate in this process by suggesting themselves or others as panel candidates on the application. NOTE: Panelists change each year. When are the fellowships announced? All applicants will be notified of final decisions in late Summer of 2016. The names of all Fellows, Finalists and the panelists who selected them will be listed online at www.nyfa.org. If I receive an award, what must I do? Fellows must first verify their New York State residency or Indian Nation residency within New York State. Once a recipient has received notification of their award, they are required to submit documentation verifying their residency for the years 2014 and 2015. Acceptable documents include tax forms, phone bills, utility bills, bank statements, driver's license, etc. Grants are given in one payment of $7,000 upon verification of residency.
Yale Institute for Music Theatre
Deadline: Jan. 8th
website: http://drama.yale.edu/YIMT/institute-home
Established in 2009, the YALE INSTITUTE FOR MUSIC THEATRE is a program of Yale's Binger Center for New Theatre that bridges the gap between training and the professional world for emerging composers, book writers, and lyricists. The Institute seeks distinctive and original music theatre works to be developed in an intensive two-week summer lab at Yale School of Drama. The Institute matches the authors of the selected works with collaborators, including professional directors and music directors, as well as a company of actors and singers that includes professionals and current Yale students. The lab culminates with open rehearsal readings of each project, presented as part of New Haven's International Festival of Arts & Ideas.
Under the leadership of Artistic Director Mark Brokaw, two original music theatre works will be selected for the 2016 Institute, which will take place June 13–28 in New Haven. Online applications are being accepted now through January 8, 2016, 11:59PM (EST). Click here for more information and to apply.


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Solarte 3-for-3, Blash homers
Bill Center, longtime sportswriter for U-T San Diego, is an employee of the Padres.Right-handed pitching prospects Jacob Nix and Dinelson Lamet turned in strong starts Friday night while Jabari Blash homered, Alex Dickerson extended his hitting streak to 18 games and Yangervis Solarte had three hits in his second rehab
Bill Center, longtime sportswriter for U-T San Diego, is an employee of the Padres.
Right-handed pitching prospects Jacob Nix and Dinelson Lamet turned in strong starts Friday night while Jabari Blash homered, Alex Dickerson extended his hitting streak to 18 games and Yangervis Solarte had three hits in his second rehab game for Triple-A El Paso.
The hitting heroics weren't quite enough, however, as Round Rock scored a 14-10 victory at El Paso to end the Chihuahuas six-game winning streak and club-record, eight-game home winning streak.
Solarte was 3-for-3 with a double, a triple and a walk with two runs scored. In two rehab starts with El Paso, Solarte, who played both second and third Friday night, is 5-for-7 with a double and two triples.
Blash hit a two-run homer in four at-bats shortly after being activated at El Paso. Dickerson (.409) had a double in four at-bats with two RBIs and two runs scored while extending the longest hitting streak in Chihuahuas history. Nix, 20, the Padres third-round pick last June, allowed three hits with five strikeouts over five innings to lower his earned run average to 2.10 for Class A Fort Wayne.
Lamet, 23, allowed a run on five hits and four walks with three strikeouts in five innings to lower his ERA to 1.69 for high Single-A Lake Elsinore, which scored a 5-4 win over Bakersfield at The Diamond on center fielder Franchy Cordero's eighth-inning homer.
Cordero (.283) was 2-for-3 with his fourth homer and two RBIs for the Storm (19-23). Left fielder Luis Tejada (.194) was also 2-for-3 with his fourth homer. First baseman Trae Santos (.200) was 1-for-3 with a two-run triple.
Right-hander Blake Rogers followed Lamet and allowed two runs (one earned) on two hits in two innings in his first outing for Lake Elsinore. Right-hander Ben Paullus (1-0) allowed a run on two hits with a strikeout in an inning to pick up the win. Right-hander Colby Blueberg (1.35 ERA) worked a perfect ninth to get his seventh save.
Rogers and Paullus joined the Storm from extended spring training earlier Friday. The Storm placed right-hander Bryan Verbitsky on the seven-day, California League disabled list and transferred right-handed reliever Aaron Cressley to extended spring training in Arizona.
There was one other move in the Padres system Friday. To activate Blash, El Paso transferred infielder Diego Goris to extended spring training.
TRIPLE-A EL PASO (22-18) - Round Rock 14, CHIHUAHUAS 10 - C Rocky Gale (.300) was 3-for-4 with a RBI and two runs scored. SS Nick Noonan (.307) was 2-for-4 with a double, two RBIs and a run scored. INF-OF Ryan Schimpf (.307) was 2-for-4 with a RBI and run scored. Starting RHP Carlos Pimental (2-3, 8.77 ERA) allowed 10 runs on 11 hits and a walk in an inning plus five hitters. RHP Seth Rosin (8.31) allowed two runs on four hits and a walk in two innings. RHP Aaron Northcraft (5.75) allowed two runs on five hits with three strikeouts in four innings. LHP Frank Garces (3.97) allowed a hit with two strikeouts in a scoreless inning. RHP Leonel Campos (4.86) allowed a walk in an otherwise perfect ninth.
DOUBLE-A SAN ANTONIO (13-27) - Missions 5, FRISCO 4: 1B Mike Olt (.270) had a three-run homer in three at-bats. 3B Gabriel Quintana (.230) was 3-for-4 with a double and two RBIs. Starting RHP Kyle Lloyd (4.63 ERA) allowed three runs on four hits and four walks with a strikeout in four innings. RHP Rafael De Paula (1-21, 4.14) allowed a run on a hit in 1 2/3 innings. RHP Eric Yardley (3.09) allowed two hits with a strikeout in a scoreless two-thirds of an inning. LHP Kyle McGrath (1.93) allowed two hits with two strikeouts in 1 2/3 scoreless innings. RHP Jason Jester (2.70) struck out two in a perfect inning to get his sixth save.
CLASS A FORT WAYNE (21-20) - West Michigan 3, TIN CAPS 1: RHP Austin Smith (0-3, 3.95 ERA) followed Nix and allowed three runs on five hits and two walks with a strikeout in four innings. SS Ruddy Giron (.double, .183), RF Mason Smith (.171) and 3B Kodie Tidwell (.195) were all 2-for-4. CF Michael Gettys (.281) had an RBI triple in four at-bats.


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It is inevitable that clients will need to update their version of iMIS in order to keep up with new functionality and features of iMIS. When this upgrade is scheduled, it is imperative that the Real Magnet integrations team is notified. The Real Magnet integration with iMIS is managed in conjunction with our partner ATS. Any upgrade to iMIS must include a notification to email@example.com
Upgrading iMIS
Once your upgrade has been scheduled, send an email to firstname.lastname@example.com, ATS will coordinate a time to update the configuration settings for your integration and in turn update the Real Magnet team if there are any configuration changes necessary.
Technical Details
- ATSLicensekey – This is the License Key provided by ATS. The License key will be specific to your installation of iMIS. To obtain an ATSLicenseKey you must provide your iMIS version and Serial Number
- ImisWebServerURL
- ASIMembershipWebService.MembershipWebService
- iMIS versions: 10.x or higher
- A valid SSL certificate
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Connection Strings
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Real Magnet IP addresses
This information can be found in the installation documentation, ensure that the Real Magnet IP addresses have been white-listed.
Halting Integration Services
Prior to the upgrade, Real Magnet can disable tracking and then re-enable once the upgrade is completed.
Additional Notes:
- Ensure that you supply Real Magnet with a time frame for this upgrade, we can then monitor your Real Magnet integration service, or temporarily disable your upload jobs.
- Some of these jobs may be connected to a Marketing Automation campaign, it would be best if that Real magnet user were notified that there may be an impact to their campaign.


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Waiting for the Sun
A year's worth of climbing on Escudo's east face
by Jean-Daniel Nicolet
Patagonia remains an unconquered country, an oasis of solitude, an ideal place for discovery and adventure. It is battered by winds and endures the violent assaults of capricious weather. The lay of this land offers no obstacle to the winds; it is an empire of the sky. The gusts sweep through everything, beating down vegetation and humans alike in their way. The Torres del Paine region is carved by mountainous relief, the horizon opening up to abruptly severed cliffs that seem smooth and inaccessible. They are the most beautiful granite walls on this planet, and they taunt and intrigue.
The commitment must be total, the adventure, seductive. Our dream is to open up a big-wall route. Plotting a path through these formidable granite shields constitutes a challenge that is somewhat crazy. The meteorological conditions are unfavorable, the immensity of these faces less than engaging. Driven by a passion for the mountains, we attempt (twice) an ascent on the fantastic wall of Escudo, the Shield. The scene is set; the actors are left to play.
Veni, vidi…but not vici.
As for veni: Nine friends from Neuchatel, Switzerland (Thierry Bionda, Denis Burdet, Régis Dubois, Christian Meillard, Jean-Daniel Nicolet, Jean-François Robert, Pierre Robert, Yann Smith, Jean-Michel Zweiacker) spent the months of January and February, 1997, in the Torres del Paine National Park in Chilean Patagonia, with two objectives: the Torre Sur and the El Escudo.
As for vidi: a majestic landscape, impressive faces, a wild and somewhat hostile nature.
And as for vici—alas, it's more complicated. In spite of elaborate battle plans and attack strategies, when the mountain (and, above all, the weather) says "no," it's no. The Patagonian wind did not fail to live up to its reputation. The rain and the snow seemed to appraise us; as for the sun, we didn't see it for more than 48 hours during the month and a half we spent at the foot of the faces. Under such circumstances, the fight becomes unequal, and our morale had difficulty moving beyond zero. Christian's bad fall didn't help the situation either. In other words, the conditions were difficult. And to hear the locals, who hadn't seen a summer that rotten in nine years, one could only tell oneself that the die were cast. We left a little disappointed, but not discouraged. The experience was still beautiful. Defeat is part of the game, even if it sometimes hurts one's ego.
Back in Switzerland, we dressed our wounds. Most of the injuries were to our morale, for Christian and Thierry (broken tibia and ankle, tom fingers), to their physique. We would be back. For my part, I was sure of it, as was Jean-Michel. As if to keep us from changing our mind, we had left materials and freeze-fried food at Werner and Cecilia's, our hosts and the owners of a guest house in Puerto Natales. But when?
In the end, the project quickly took shape and we decided to return to finish the route I had started with Yann, Regis, and Pierre on the southeast face of the Escudo. We decided to take up this climb again because it is more of a wall climb than the south face—and also because we had already climbed 500 meters (about half the face) on our last expedition. Little Louis (Jean-François) was immediately interested; he would accompany us as photographer for part of the trip.
On November 30, 1997, after some time in the United States (including Yosemite, where we climbed Zenyatta Mondatta on El Capitan), Jean-Michel and I arrive in Puerto Natales. We are soon joined by Little Louis, who comes directly from Switzerland. That leaves us two days to get everything ready. This time, we had decided to come earlier in the season. Would the month of December be preferable? Our first day in Puerto Natales leaves us dreaming. The sky is black, and it rains all day. Come on! No panic—the weather here in Puerto Natales is not the same as in the Torres, and, besides, in those mountains, the conditions change very quickly and are different from one valley to the next. So…patience.
We meet up with Lionel Daudet. He is back in Puerto Natales after having spent a couple of days in the park. He intends to repeat The Dream, Brad Jarrett, Chris Breemer, and Christian Santelices' mythical route, established in 1995 up the middle of Escudo. We will be "neighbors" on the wall. Unfortunately, Lionel has had to come back to town to take care of a bladder infection.
Little Louis finally arrives. Time begins to feel like it is dragging here. Even though it is a small city of some 13,000 inhabitants, we feel oppressed and are impatient to leave Puerto Natales behind to find ourselves face-to-face with our objective.
On December 3, we finish gathering together all of our food and the following day take a bus toward the park with our 250 kilos of gear. While Jean-Michel busies himself dealing with the administrative problems, we dispatch Little Louis to the lodge at the foot of the mountain with our equipment. We rent four horses; thanks to inflation, they cost more than the last time around, and furthermore, they will not go all the way up to the Torres base camp, but only to the Chilean camp, which means an extra day of carrying for us. Within five days, we have moved all of our equipment to the base of the wall at the rate of three to four trips per person.
Here we are at the foot of our goal. We set up our camp on the glacier split by crevasses and covered with piles of rocks and dirt. We prepare as good a platform as possible for our tent, and, despite the hope that we won't spend more than a day or two at the foot of the wall (the climate has been relatively mild until now), we build walls to protect us from the wind and bad conditions. You never know.
The space is sobering; we are surrounded by gigantic cliff walls. The face of Escudo is 1200 meters high and blocks our view and any access to other slopes. The proportions are completely distorted; because we are used to distances in the Alps, we are unable to measure our insignificance in this Goliath-like landscape.
The first part of the route is made up of 50 to 60° slabs that come together at a snow bench. We estimate at first that three pitches will get us to the névé. Actually, it takes seven.
We are on the attack, ready and confident. One can't be jinxed twice in a row. Upon waking the next day, however, I have a feeling of déja-vu. No, it can't be—not this again. It has snowed 20 centimeters during the night—truly difficult on morale, but we try to make the best of a lousy situation regardless. In the end, a day of rest is welcome after five days of hauling supplies. We brew coffee (the real stuff, with our Italian coffee pot; for caffeine addicts such as us, it's more a necessity than a luxury), shuffle the cards, divide up for a game of two against three. Time passes slowly.
The wind blows throughout the next night, bringing us a wonderful surprise. In the morning, the sky has cleared, the snow has melted, and the slabs are, for the most part, dry. In one day, with Jean-Michel, we free-climb the first seven pitches, slabs that took a month's effort to aid the first time around when they were covered with snow. We fix 350 meters of rope in a sort of umbilical cord that connects the base of the wall to the snow bench. From there, the wall soars into an overhang. The following day again is branded with bad weather. Despite the poor conditions, we haul up equipment—long, tiresome work, especially on the slabs.
October 12 is the big departure, and we flake out the ropes. Belayed by Little Louis, I repeat two pitches above the snow bench. Jean-Michel pulls up the rest of the equipment and retrieves the fixed ropes. While I'm fighting my way up the first tough aid pitch, I hear Jean-Michel calling me. He tells me that Lionel, who started up The Dream that morning, is giving up on his solo attempt. He is still weak from the antibiotics and not 100 percent up for such an undertaking. Instead, he would like to join us. Excluding the issue of food, whether we continue with three or four people doesn't change anything for us, and we're happy to take on this unexpected passenger.
Two of us move upward while the other two rest in the ledges. The next day, I continue the ascent with Lionel. Three pitches remain before we reach our high point from the year before—three pitches up familiar terrain before the big question mark. What will happen next? Will the route be obvious? The hours we spent scrutinizing the wall allowed us to plot out a logical course via a crack some 100 meters long; but in order to reach it, we will have to traverse a seemingly blank area without any noticeable weaknesses. We fear we will have to rely on rivets. Furthermore, there still remains the infamous double crack formed by questionable flakes. It has intrigued us since day one.
Lionel repeats two traverse pitches out of three and agrees with the A3+ grade we had given them. In four days, we repeat the 12 pitches opened up in January and February. The weather has been mild. It certainly isn't warm, but if the conditions remain the same, we have high hopes of success.
It is Jean-Michel and Little Louis's turn to lead the next section. From the portaledge, I watch them fix the ropes. Ah—what luck to stay "in bed" while our friends work. For Lionel and myself, it's a day of rest. Not completely, however; we have to melt snow, preparing the approximately 80 liters of water necessary for the rest of the ascent. We have already fixed 150 meters of rope since the snow bench, and we estimate that 200 meters higher, it will become too difficult and too long to jug the lines each morning. We will have to move the snow camp 200 meters higher in the middle of the wall. No more snow benches—no more benches, period. We will be suspended in open air.
I watch Jean-Michel, who has reached the flake system, a double crack 15 meters high. The middle flake, sandwiched between the wall and the outer flake, makes one think of a sheet of paper. About ten centimeters thick at its base and two at its tip, it is not welded to its surroundings, existing instead in a precarious equilibrium, balanced by the winds. It is only when one reaches the top of the flake that one becomes aware of its fragility. Upon Jean-Michel's return, I ask him how the crack was.
"Expanding!" he responds—when aid-climbing, a word to fear.
After the flake, Jean-Michel protects another half pitch along a soft, sandy slat with rivets. We are right in the middle of the question mark zone and hope the climbing higher up will be better.
It snows the next night. When we wake, everything is covered with ice. It looks like a day of rest. Lionel, who had just finished taking his prescription of antibiotics, has a relapse. The fever sets in again, and despite the numerous drinks prepared by Little Louis, he is delirious throughout the night.
The sun makes an appearance in the middle of the day, and I no longer can stay put. I gear up, and Jean-Michel takes over for Lionel. I complete the pitch begun the preceding day. Our fears were justified. There is no other way to proceed than right up the middle with a line of rivets—14 in all. What a nightmare.
Lionel is again on antibiotics and in a critical state. He must go back down. Little Louis will accompany him. Jean-Michel and I find ourselves back to our original plans. What follows passes as if in a dream: We move the camp from the snow bank to the 15th belay beneath a roof, just under the black dike. This is Escudo's "vein," which cuts diagonally through the face and reminds one of a large scar. It takes us all day to haul our gear and set up our second camp.
Now we are in open space. I am not very far from the comer of a big dihedral, but it is impossible to see what it looks like. I am impatient to find out more…perhaps a bit too impatient: The hook I am on pops, and I fall 15 meters. I scream out, cursing; even if it doesn't change much, it at least serves to calm me down. The only thing I can do is climb back up and repeat the traverse on hooks. This time, I concentrate a little more, and finally reach the dihedral. The surface of the rock is sandy, but the crack is perfect, climbing up 20 vertical meters to end underneath a roof. I belay from there. I cannot see the continuation of the route and will have to be patient.
I spend nine hours hanging at this belay—nine hours during which Jean-Michel likewise will experience fear and the occasional adrenaline rush. He also tastes the "pleasures" of flight. I watch him place a green cam in an offwidth. Two seconds later, he is no longer five meters above the anchor, but five meters below me. He starts again from scratch, but this time he makes it through the offwidth and disappears from view, hidden by the roof. By leaning backward, I can see him, and call up, "Everything okay?" An unsettled grunt explains that the crack continues another 15 meters, but that it is quite precarious. And as for the next move… another big question mark.
We had positioned ourselves to get to a crack that began a little to the left. From where he is, Jean-Michel can see only smooth rock. Thirteen rivets later, he has climbed diagonally up to the left and arrived exactly upon the start of the line we wanted. It is more than we had hoped for. The crack, where two absolutely compact and overhanging walls meet, goes up more than 100 meters. We had doubted its true existence; whether it was the play of shadows and light or the different color of the seam, doubt had set in. But there it is. Magnificent. Fifty meters above us, it disappears, but by some divine providence, another crack begins some three meters to the left and continues uninterrupted to a series of roofs that we reach within three pitches. An unsullied line, the only weakness in this overhanging section of the wall, where the overhang increases the beauty of the climb, adding another dimension to our happiness, to our being the first climbers to move through here. It is magical. It is like a dream.
Well, not quite. When you dream, you sleep. For us, the hours of sleep are rare. For three days, the weather remains mild: little wind with the occasional ray of sun, but neither rain nor snow. The temperature remains wintry, however. In these conditions, we don't have the right to dawdle, even if fatigue sets in. Our hands are cracked by the cold, and handling all of our iron makes us suffer enormously. The chapstick no longer helps. It is equally impossible to climb with gloves on. The up and down on the fixed ropes exhausts us.
We have moved beyond the roofs to reach a highly structured area. From the glacier, we had guessed that the face would kick back at this exact point. In reality, that is not the case, and the wall remains at an incline, hanging over us. Furthermore, there's no obvious line. Several ways are possible. But which one do we follow to reach the shoulder? We know we are not far from the summit, but it is difficult to orient oneself on these huge walls. We curse ourselves for not having brought along a photograph of the wall. We left the glacier ten days ago, and the weather has remained relatively mild. We know it won't last; the barometer is spinning. Tomorrow, we absolutely must finish the route.
When we wake up, the sky is still clear, and the sun is still in view, but we haven't finished retrieving the ropes when the wind picks up. Funny—we had almost forgotten it. It blows in with Patagonian force, swinging us along in huge pendulums.
Jean-Michel attacks what we believe is the last pitch. For seven hours, he fights to move forward. The wind is joined by snow. The temperature dips significantly; everything freezes instantaneously. A resurgence of water in the middle of the wall transforms itself into icicles at an incredible rate. We had expected an easy pitch, but instead the wall is still overhanging and the placements remain difficult to get. And amidst the uncertainty of the route, the gusts of wind, and the snow, there comes the crushing pressures of time. The situation becomes more and more critical. Our progress becomes difficult and very slow. The gusts of wind are so violently strong that we are immobilized occasionally. In a word, it's hell. Finally, after 55 meters of effort, pulling out all the stops on a perfect A4 climb, Jean-Michel reaches a ledge. He is at the end of the steep wall, just beneath the shoulder. He climbed up exactly where he needed to. This time, I'm positive it wasn't just coincidence. He really does have a sense of the route.
I clean the pitch, stripping five- to ten-millimeter sheets of ice from the rope in order to jumar. When I join Jean-Michel on the ledge, it is 4 p.m. Before us lies a 5.8 crack. The rock flattens, and the shoulder is just 60 meters away.
What should we do? Go on to bivy wherever we can? In these conditions it would be suicide. Downclimb to a protected spot and leave all of the pieces in place with a fixed rope in order to finish the pitch tomorrow? If the ropes freeze, there will be no way to climb back up. Downclimb and retrieve everything along the way? For now, that seems to be the best solution.
In retrospect, we still believe we made the right decision. The weather the following days did not improve. We had already mildly frostbitten several fingers; another bivouac would have been dramatic. We had made it through all of the cruxes and to the end of the steep wall. Our lives are worth more than one 5.8 pitch. At least we have the satisfaction of leaving a clean route without any fixed ropes.
We fold up the portaledge, close the bag, and begin the descent. In these conditions, it will not be easy. The first rappel goes all right. On the second, we can neither see from one belay station to the next nor understand one another. The ropes fly in all directions. We finally meet up at one belay station with a bag, one fixed rope, and three 60-meter ropes. According to the laws of gravity, a rope should fall down when we throw it; instead, it remains completely taut, held up vertically by the wind. We spend an hour untangling everything and working out a technique. The answer: fold each strand of rope. Don't let anything fly loose. It is a gigantic task, but it works.
At 11 p.m., we reach the portaledge, having retrieved everything except the last belay anchor (which, of course, is stuck). We will look into that tomorrow. For now, we're well on our way. The following day, Jean-Michel loosens the ropes while I take down the camp. We embark upon the last 15 rappels. Our practiced technique this next day is perfect, and we arrive at the tent at 8 p.m. We treat ourselves to a day of rest and within three days, we carry down all of our gear in two trips. We arrive in Puerto Natales the evening of the 24th. We've been working like animals some 22 days. We are wrecked—but we are happy.
Summary of Statistics
AREA: Torres del Paine National Park, Chilean Patagonia
ATTEMPT: Et Si Le Soleil Ne Revenait Pas….(VI 5.10 A4, 900m) on the east face of El
Escudo, December 2-24, 1997, Jean-Michel Zweiacker, Jean-Daniel Nicolet, Jean-François Robert as photographer (up to the 12th pitch), the continuation of a route begun in January/February 1997 by Jean-Daniel Nicolet, Yann Smith, Pierre Robert, and Régis Dubois


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Sightings from the Treehouse: Modern Day Book Burning
'Sightings from the Treehouse' is a new blog series on the environment from Power Wise Director, Bob Donaghue. See the first post, Fossil Fuel Industry Coup.
The destruction of Creation for power and greed is the moral issue of all time. Clergy everywhere need to take a leadership role on this moral issue and educate and prepare their congregations to care for Creation. The moral underpinnings of society's impact on Creation offer many avenues to explore and can form the basis of future liturgy. In the meantime, the destruction of Creation is being blurred by conservative politicians, special interests and ignored by the media.
As early as 1896, Arrhenius presented a paper on climate change, On the Influence of Carbonic Acid in the Air Upon the Temperature on the Ground. There was little follow up for more than a half century, until climate change was discussed publicly by President Johnson and others in the 1960s. During the 1970's, Exxon Mobil (aka Exxon) conducted research on climate change and its potential impacts on the biosphere. By the 1980's, the company recognized not only the deleterious effects from greenhouse gases on the planet, but also the deleterious effects on their future bottom line. At this point, Exxon chose deception over leadership and aggressively cast doubt on the science of climate change. Koch Industries joined the bandwagon in the 1990's.
Today, several states are investigating Exxon's early research and efforts to mislead the public, and are seeking legal recourse to penalize Exxon for their actions. In the meantime, some in Congress are running interference for them by threatening attorneys general of several states for investigating the company's actions in misleading the public. They claim it violates the company's First Amendment rights obtained by the 2010 Citizen's United Supreme Court decision.
In parallel, President Trump and his cabinet are eliminating references to climate change in government policy and programs, defunding research, and withdrawing from the Paris Climate Accord. Congressional science committees, led by politicians with no science background, are outspoken climate deniers preventing rationale discourse in Congress on this critical national security issue. For some historical context, the Bush/Cheney Administration eliminated references to climate change in government programs and pressured leading scientists on climate change to tone down their assertions. They also withdrew from the Kyoto Protocols. Same story, different day.
Governors and legislatures in Florida, Wisconsin and Idaho and other conservative states are also suppressing climate change knowledge. Even some local school boards are changing information in science books due to the influence of the Koch Brothers and their Heartland Institute.
The destruction or interference of the free-flow of information in an open society is analogous to the book burnings of the past. Throughout history, this practice occurred in China, Germany and the United States and many other places for the following reasons:
- Contrary to cultural, religious or political philosophies
- Censorship
- Replace facts with propaganda to achieve an agenda
- Slow advancement of competing ideas or technologies
As the ecological catastrophe unfolds from increasing global warming, the worst effects will be felt by our children or grandchildren. We are leaving them a very troubled world. Each year is hotter than the last. Natural systems are trying to adapt to changing climates throughout the world. Violent storms, sea level rise, disease, drought, famine, mass migration are current and future consequences of not drastically reducing fossil fuel emissions.
It is not time for "book burning" by politicians and special interests. It is time for awareness and action, particularly by our youth for they will inherit our mess. Under the current US administration, the most powerful and influential country in the world not only resist efforts to mitigate the effects of climate change, but obstructs access to knowledge and resources needed to address this global calamity. Be on the lookout for increased propaganda extolling the virtues of economic growth at the expense of environmental protection.
Why "dumb down" and confuse society on climate change? Simple, it is power and profits. This same approach was used by the Heartland Institute and others to justify their denial of scientific facts linking tobacco smoking and cancer. It delayed action on this public health threat for a generation. We cannot wait another generation on climate change.
What else can be done to lessen the effects of obstructionism on climate change education and progress? Here are a few ideas:
- Vote and encourage your friends and family to vote for candidates who support action on climate change.
- Support efforts to legally confront Exxon Mobil and others for deliberately deceiving the public and shareholders on climate change.
- Demand the media cover climate change more effectively, fairly and often.
- Urge your local TV weather stations to adopt The Weather Channel's policy on climate change.
- Challenge propaganda in all its forms that minimize the effects of climate disruption by man.
- Insist government meet their primary responsibility of protecting personal property, public safety and resources by adapting to the effects of climate change.
- A youth revolution is needed in government, education and business to replace antiquated thinking and actions.
- Call on clergy to take a leadership role confronting the moral issue of all time. Pope Francis is leading the charge on climate change in his encyclical, Laudato Si, by challenging society to stop this sin against Creation.
Many of these ideas will be examined in more detail in coming Sightings from the Treehouse blogs. Stay tuned.


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Partytable Cover Tango
Appleaing partytable cover for the visual upgrading of your partytables or as protection against wear and tear. The ideal match for exclusive events. The cover fits perfectly to the table's moulds and can be attached easily. Its easy to clean and iron-free. Fire-retardant fabric and loops on demand.


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Integrations: Websites
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The great 2016 presidential debate twitter roundup
Is this a moment of silence to mourn for our decaying democracy?
On Monday night, Hillary Clinton and Donald Trump went head to head for the first Presidential Debate of the 2016 election. Lester Holt moderated, and while the audience was told to remain quiet (a rule they did not always follow…) Twitter was ablaze with commentary. Check out the following selection of tweets from the big night to see what everyone thought about the issues, the candidates, and the election!
1. Desperation and fear
Pretty sure I've seen traumatizing internet videos that have given me more faith in humanity than this presidential debate. #debates
— Ryan Lightbody (@Lightbody08) September 27, 2016
Is this a moment of silence to mourn our dying democracy!?!?#Debates2016 #debates
— Paperback writer (@sallykohn) September 27, 2016
Need to pick my poison for this debate. Vodka? Tequila? Wine? Xanax? All three? #debates
— Logan Levkoff, Ph.D. (@LoganLevkoff) September 27, 2016
2. How do we create more jobs?
Yes equal pay for women.. But didn't @HillaryClinton vote against that? #debates
— 4/20 👑 (@SailorGoonBih) September 27, 2016
Trump has many of his products made in other countries, so sir you're apart of the problem. #Debates #debatenight
— Willie W.♌ (@xtra_will_e) September 27, 2016
this single prong approach of BROWN PPL RUINED OUR ECONOMY is so boring I'M BORED W/ U DON #debates
— casey mcquiston (mostly not here) ❤💙 (@casey_mcquiston) September 27, 2016
3. Clean energy
"I did not say that…" #debates https://t.co/7j48htdt7h
— Marlow Stern (@MarlowNYC) September 27, 2016
Hillary needs to visit Toronto if she thinks green energy creates jobs and helps the economy. Rest in peace Toronto middle class. #debates
— Lauren Southern (@Lauren_Southern) September 27, 2016
Trump believes in all forms of energy. Especially hot air#debates
— brian (@brizapatap) September 27, 2016
32nd interruption… tell my family is loved them! #drink #Debates2016 #debates
— W. Kamau Bell (@wkamaubell) September 27, 2016
30 minutes in. This is horrible. #Debates
— ian bremmer (@ianbremmer) September 27, 2016
He's already yelling. This is going to be a long night. #Debates
— deray (@deray) September 27, 2016
5. Where are Trump's tax returns?
"It's a routine audit….which I've been undergoing for 15 years." – Trump #debatenight #debates
— Toby Muresianu (@tobymuresianu) September 27, 2016
Did Trump just say that NOT paying your taxes is SMART? Is he really encouraging people to stop paying taxes? O_O #Debates
— Hannah Hart (@harto) September 27, 2016
Trump issues challenge to Clinton: I'll release my taxes when Clinton released her 30,000 deleted emails (while pointing at her) #debates
— Katie Pavlich (@KatiePavlich) September 27, 2016
6. Race
yall heard that right? Trump wants "stop & frisk" across the country. he is a nonsense man. #debatenight #debates
— Baratunde (@baratunde) September 27, 2016
Hillary on race:
1. Restore trust
2. More training for 👮♀ 👮🏻
3. Bring communities together 🙏🏽
4. Stop gun epidemic#debates #debatenight
— Kaivan Shroff (@KaivanShroff) September 27, 2016
Trump says that African-Americans have never had it worse. Maybe he's talking about Lester Holt having to run this shitshow #Debates
— Mary McCormack (@marycmccormack) September 27, 2016
7. No, seriously, we need to talk about racism
"I think implicit bias is a problem for everyone, not just police." Wow. It's like watching Hillary dodge bullets in slow motion. #debates
— CQ (@coketweet) September 27, 2016
African-Americans don't only live in "inner cities." #debates
— T. Denise Anderson (@thesoulstepford) September 27, 2016
Trump shames Clinton for #superpredator,something hopefully even his most "deplorable" supporters agree was a horrible thing to say #debates
— Shirtless Pundit 🇺🇸 (@zachhaller) September 27, 2016
8. Are we still seriously still talking about Obama's birth certificate?
"Nobod was caring much about it."
BECAUSE THE REST OF US KNOW HE WAS BORN HERE, DUMMY #debates
— Kate Spencer (@katespencer) September 27, 2016
Donald Trump is now pretending his pursuit of #Birtherism was noble. Perhaps he can address aliens is Roswell? #debatenight #debates
— Montel Williams (@Montel_Williams) September 27, 2016
No "birth certificate" scare until we got a black president. No "health" scare until a woman. And no tax returns from a con artist. #debates
— Chris Rocky (@chrisrockyoz) September 27, 2016
9. Cyber security
LESTER: Let's talk about cyber warfare
TRUMP: Computer users are fat#debates
— Insignificant Other (@ElleOhHell) September 27, 2016
"What did we learn with DNC hack? We learned that Bernie Sanders was taken advantage of by your people." ~ Trump#debates #debatenight
— Tennessee GOP (@TEN_GOP) September 27, 2016
Trump talks about cybersecurity like he's in an episode of Law and Order from 1997. #debates
— Trae Crowder (@traecrowder) September 27, 2016
10. Terrorism
Take a shot for every time Hillary blames Bush.
I'm already drunk. #Debates #DebateNight
— #ThePersistence (@ScottPresler) September 27, 2016
"If we took the oil there'd be no ISIS." If we killed every civilian there'd be no ISIS, but unfortunately war crimes are illegal #debates
— Ben Clark (@Bean__Clark) September 27, 2016
but is anyone gonna talk about the home grown terror of the dylann roof variety? or nah. #debates
— Bim Adewunmi (@bimadew) September 27, 2016
11. The not-so-silent audience
"I have a much better temperament than Clinton has." — Trump
The crowd literally laughs in response.#debates #debatenight
— Charlotte Clymer🏳🌈 (@cmclymer) September 27, 2016
"I have a much better temperament" than Hillary, Donald Trump says.
The audience laughs. THEY ACTUALLY LAUGHED#Debates #DebateNight
— Gabe Ortíz (@TUSK81) September 27, 2016
RT @dabeard "..my strongest asset, maybe by far, is my temprmnt"-#Trump You're response, Secretary Clinton? pic.twitter.com/pxjhGc9QUr #debates
— Dr Kelly Sennholz (@MtnMD) September 27, 2016
12. Nuclear weapons
"I would not do [nuclear] first strike" well that's … good I guess. #debates
— Seth Brake (@SethDBrake) September 27, 2016
.@HillaryClinton: "[@realDonaldTrump's] cavalier attitude about nuclear weapons is so deeply troubling." #debatenight #Debates2016 #debates
— Megyn Kelly (@megynkelly) September 27, 2016
Hillary Clinton is literally taking a moment to reassure the world we're a sane country. Think about that. #debates
— Henry Melcher (@henrymelcher) September 27, 2016
13. Is Lester Holt OK?
Lester Holt's moderating style#debates pic.twitter.com/99IQtjq2tN
— Brent Black (@brentalfloss) September 27, 2016
Holt is going so far out his way to be "fair" to Trump that he's unfairly letting him walk all over him. #Debates
— Ravi V. Patel (@showmetheravi) September 27, 2016
Lester! Punch somebody! #debates
— Chris Ross (@mestasenesta) September 27, 2016
14. Who won?
omg hillary is incredible tonight. INCREDIBLE. calm, steady, strong, powerful, PRESIDENTIAL. she is ready for white house. #debates
— tyler oakley (@tyleroakley) September 27, 2016
Hillary just locked down the SJW vote by whining about Trump's sexism… and lost everyone else. #Debates #DebateNight #Debates2016
— Matt Forney (@basedmattforney) September 27, 2016
90 minutes of hardly any actual substance and still no good ideas of how to help this great country we call home. #Debates
— Shaun Mattson (@shaunmatts) September 27, 2016
15. How is the audience doing?
Me tonight. #debates #debatenight #Debates2016 pic.twitter.com/EKIKnqxPGj
— Andre Sword & Andre Shield (@BlackNerd) September 27, 2016
For the next debate, let's just get drunk and do coloring books…#debates
— DeepStateofDisbelief (@notjessagain) September 27, 2016
Thanks to #debatenight I learned that no matter how unemployed u are,dont be a debate moderator.No matter how tempting,just DON'T. #debates
— Jessica (@jesikaaa25) September 27, 2016
See you again in October!


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Nilavembu drink – innumerable medicinal benefits
Nilavembu has become popular after the serious prevalence of Dengue fever. Its botanical name is Andrographis paniculata. It tastes bitter and generates heat. Having the medicinal property to cure fever different types of fever it has been widely recommended currently to have the water extract of Nilavembu against Dengue. But the extract is not only prepared with Nilavembu but with nine other herbal medicines. The details of its preparation are elaborated by Dr.G.Muthulakshmi, Assistant Medical Officer - Pharmacy for Indian Medicines, Arignar Anna Government Hospital, Chennai.
"The powder used to prepare Nilavembu drink is mixed with other powders of Sukku (dry ginger), Parpaadagam (Mollugo), Vettiver (Vettiveria), Vilamichai root (Plectranthus), Koraikizhangu (Nutgrass), Paeipudal (Snake gourd), Milagu (Pepper) and Sandhanam (Sandal). Generally, merely boiling the leaves or roots or the whole plant of Nilavembu is adequate to cure fever-related illness. It also provides immunity to our body. It is also helpful in curing lever related diseases, low appetite, and also cures skin itches and rashes. It can also cure a headache, sneezing, cough and sinus related illness. It is proven to cure hyperthyroidism and tumors in the uterus.
Besides the medicinal benefits of Nilavembu, other herbs added to it like dry ginger serves as an anti-inflammatory agent. A headache can be cured within a few minutes by applying the ginger paste on the forehead. Adding coriander seed, pepper and cardamom to dry ginger, powdering them together and boiling the powder with water along with palm jaggery can be consumed daily to cure nose block and cold, weariness and making one energetic. Toxic fever can be cured by consuming the extract of dry ginger, pepper, garlic and neem leaf three times for two days.
Parpaadagam is one of the key herbs used in Siddha medicine. It is available in traditional medicine shops. After thoroughly cleaning it with water, grind 5 g of it and mix it with buttermilk. It can be given to children suffering from dysentery and high fever. Its leaves can be ground with milk and applied on the head and then taking bath will improve eyesight and cool down body temperature, and also brings down body odor.
Vettiver is added to the extract of Nilavembu drink. It belongs to grass family and is native to India. It cools down the body temperature and it is fragrant and provides energy. The dry roots of Vettiver can be powdered and soaked in 200-400 mL of water. The extract can be consumed 30 – 65 mL daily to cure fever and gastric diseases. Using of fan made of Vettiver will relieve skin irritation and also satiates thirstiness.
Vilamichai roots are fragrant and help in cooling down body temperature. It is mixed with the hair oil to prevent hair loss and improve hair growth. It is used to get rid of heat-related illness during summer. It can be added to drinking water along with Vettiver to add fragrance to drinking water and gain cooling effect.
Koraikizhangu acts as a diuretic and also facilitates sweating so as to send out toxic chemicals from the body. It also helps in reducing body weight. Applying its paste along with milk on the head improves memory. It can cure fits and fever. Dysentery and blood pressure can be cured by consuming half a teaspoon of its powder twice daily along with honey or milk, before food.
Paeipudal brings down fever. Its leaves can be ground and applied as a paste on the head to cure alopecia. Severe eczema with ooze out and itching can be cured by applying the paste using its leaves. The leaves can be boiled with water and filtered. It can be applied on the chronic wounds, foul-smelling wounds and boils due to diabetes.
There is a specific role played by pepper in Nilavembu drink. It contains minerals such as calcium, phosphorus, iron and also vitamins like thiamin, riboflavin and niacin. To cure running nose and cold take in the powder of pepper mixed with honey. Severe cold can be cured by consuming pepper powder fried in ghee, half a teaspoon, thrice daily. The heaviness of head and headache can be cured by consuming pepper with jaggery, two times a day.
Sandal plays a significant role in curing fever. Fever can be brought down by consuming sandal extract, made by taking half a teaspoon of sandal powder boiled with a half glass of water, filtered and 50 mL of it is taken in thrice daily. Irritation during urination can be cured by drinking half a teaspoon of sandal powder boiled in half a liter of water. Bleeding piles can be cured by drinking two teaspoons of sandal powder boiled in half a liter of water.
Hence, there is a specific medicinal value for each of the ingredient added to Nilvambu drink. By drinking the multi-herbal drink with varied medicinal properties there is no doubt that any type of fever can be cured.
(This article written in Tamil by Maria Belsin has been reproduced in English by V Amalan Stanley)


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A weekly roundup of the most important news from the advertising awards world
After awarding amazing websites and digital experiences all year long, FWA now offers the public to select its favorite.
You can vote for the FWA People Choice Awards at https://thefwa.com/pca
FWA's visitors choose the PCA winner by participating in a public vote with each visitor able to cast a single vote. The 12 finalists are the 12 FWA's of the Month (FOTM) for the given year. The FOTM with the highest number of votes after a 10 day period of voting is declared the People's Choice for the given year.
This time of the year also marks the vote for the Annual Awards of Awwwards.
The public is invited to vote at http://www.awwwards.com/annual-awards-2016/ for
- the site of the year
- the developer of the year
- the experimental/innovative site of the year
- the agency of the year
- the independent/freelance of the year
- the e-commerce site of the year
And also
- Call for entries for the AEAF Awards 2017 http://aeaf.tv/
- Entries deadline for the ANDY Awards is on January 13th http://andyawards.com/
Story of the Week: ANDY Awards
To promote their 2017 competition the ANDY Awards have launched an ad campaign created by Deutsch North America and produced by SuperFiction in South Korea. The "Save The Ideas" campaign animated four members of the 2017 jury in humorous PSA's urging creatives around the world to send them their work.
Some other awards competitions go as far as creating fictional characters to create a narrative. This year, El Ojo de Iberoamerica brought back its character and got her to drop F-bombs in the name of Latin unity.
Humor is definitely an easy way to gain attention in the awards competition cottage industry. Especially if you make fun of the process itself. Kudos to the 2017 campaign for the North American Effies by Walrus.
My favorite piece this year for this specific type of work goes to the FIBRA Awards of Romania. Their "Droga vs Bogusky" campaign speaks directly to the ultra-niche audience of advertising nerds.
Quote of the Week
Before you create that podcast in 2017, ask yourself: am i interesting enough? do I need a fake NPR voice? does it need to be an hour long?
- Najma Sharif on Twitter


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(This first appeared in the Sunday Guardian)
As the summer sun in New Delhi charred everything it could get its rays on, world leaders descended on India's capital for the BRICS summit. The summit got off to an awkward start. Apparently, the Russian delegates got drunk on their flight here and were hitting on the wives of other delegates. While the Indians were busy making sure their guests had more food on their plate than any normal human being could possibly eat in one sitting, the Chinese delegates were going around giving everyone wedgies and forcefully taking their money. The South African delegates were just happy to be get out of the house for once because no one ever invites them to any summit and they wanted to use this opportunity to show off their sparkling personality.
The dysfunction was not limited to the lower-rung delegates. There were more cat fights among the heads of state than there are during a Spice Girls world tour. They couldn't even decide what to order for lunch! Hu 'What you looking at MotherF***er Spice' Jintao wanted to have authentic Indian cuisine because the Indian food available in China is too Chinese for his taste. Dmitry 'Assassin Spice' Medvedev wanted to try this new bistro in Hauz Khas that he had read about in 'Ballistic Missiles Weekly,' Manmohan 'Baby Spice' Singh wanted to skip lunch entirely because his stomach was still working on a piece of chicken he had eaten for dinner yesterday while Dilma 'Here to make it a non-sausage fest Spice' Rouseff would go for whatever the group decided because she was tired of circling the mall and all she wanted was to sit down somewhere and have a refreshing glass of ice tea. The leaders finally decided to order from McDonalds so that no one got what they wanted and everybody could claim to have compromised. This also helped in breaking the ice as all the leaders agreed that while they may have problems with each other, nothing is worse than western capitalism wrapped in a bun.
This thawing of the ice also allowed the Indian Prime Minister to release his inner 'Funmohan.' All these non-Indians get him, man! They know that beneath the tough exterior lies the real Manmohan. This super-Manmohan-who is funny, sensitive and caring-is nestled between the buzzer connected to an office in 10 Janpath and a hologram of the 1873 edition of the Oxford English dictionary. Manmohan Singh at an international summit is like that episode of a sitcom in which the character with the least amount of camera time suddenly finds himself at the centre of attention. It is a bizzaro world in which he is treated with kindness & respect. People actually listen to what Manmohan has to say and don't collapse into a coma as soon as he opens his mouth. He schmoozes at these shindigs. And sometimes, even lets a journalist ask him a real question! Though not an Indian journalist. Those wankers have got it out for him. He talks to real journalists from real newspapers. Indians and hacks not allowed.
This year the jovial atmosphere of the summit was ruined by a few so called non-violent Tibetans. Not only did they harm themselves, they almost caused an international incident. How dare they think that they can avail the freedoms guaranteed to them under the Indian constitution? They didn't even bother going through the proper channels! And by proper channels I mean the dear leader of Indian news. Did they even give him a single interview? No! Did they have the decency to rent a fake mob? No! Did they hire former journalists as their PR agents who would advice them on what time to protest so as to draw the maximum amount of coverage or how to make a crowd of a few hundred people seem like thousands? No! Such amateurs. They didn't even try to come up with catchy slogans. There were no pictures of Gandhi. And no obeisance was being paid to the glory of Bharat Mata. YAWN! Get your oppressed soul off my lawn.
I, for one, am tired of such ad-hominem attacks on the government. You use British Raj-era tactics on your own people a couple of times and suddenly they start questioning your democratic credentials. What you don't understand is that this was for the Tibetans' own protection. These people are so flammable that they needed to be kept indoors, away from Delhi's extreme weather. So what if they can't visit Tibet? They can 'street view' it on Google Maps and see what China has done to their erstwhile home. And if there is one thing we can be assured off, it is that China is very kind to territories it occupies. Just ask the people in Aksai Chin. They probably don't even remember that they were once part of India! And as for the people from Manipur who got arrested because of racial profiling, well, s**t happens, get over it. They were simply collateral damage in the arduous task of maintaining law & order. If they don't want this to happen again, they should try not to look so Chinese all the time.
Frankly, there is enough freedom in this country. You can say and do whatever you want as long as you don't hurt the made up sentiments of everyone else or cause the government any perceived embarrassment or don't point out things which might inconvenience people with a lot riding on some really big projects. All they're asking for is a little mutual respect. You respect their right to do whatever they want and they will respect your right to not be transported-under 'mysterious circumstances,' of course-to the big twitterverse in the sky. Capiche?
In an unrelated story, does any freshly democratic country want an old, well-written but barely used constitution? Asking for a friend whose country doesn't seem to have much use for one anymore.


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You came from 0905 - Civil Engineering
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Active filters: x Year: 2019 x Subject: 0905 - Civil Engineering x Data format: application/pdf x Data format: text/plain [remove all]
|results 1-2
|Supplementary data for the paper: "Multiscale evaluation of potential damage in jetted laterals"Dataset2019Bakker, R.R. (Richard); Barnhoorn, A. (Auke)
|Sonic anemometer wind speed field for urban wind flows around a noise barrier (acoustic screen) and weather station supplementary dataset (temperature, wind, solar)Dataset2019Chrysochoidis-Antsos, N. (Nikolaos)


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Here's a fun question for your chilly (probably) January day. If you want to specify, write the specific place you'd like to be in the section for 'other' answers! Now spill!
The blog dedicated to the pursuit of eternal adventure and exotic getaways
I would rent vacation homes all across America. I like using sites like HereStay and HomeAway to find deals on vacation rentals, so I think I would do that.


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To purchase any of John's Jewellery
You can contact us via Phone, writing, email and Facebook
Click on the email address link below
Follow John on Facebook
John travels to Various Craft shows around Australia.
To keep up with the latest news on when he will be near you, please go to:
If you wish to speak with someone personally you can contact us during daylight hours
AEST between 9:00 am and 5:00 pm only Please
Phone +61 (0)2 9665 2264
Mail to:
John Hablitschek Gems Pty Ltd
PO Box 124
Randwick NSW 2031
If you are ever in Sydney Australia you can meet John and see his jewellery
at Paddington Craft Market Oxford Street Paddington
on Saturday's until 4:00pm
- We ship worldwide using Australia Post standard Airmail, depending on your location.
- Australian buyers: AU$7.00 registered (recommended), AU$10.00 express (if you're in a hurry).
- Insurance : Optional Highly recommend for international customers AU$7.50 for first AU$100 then AU$2 per AU$100 spent.
- If item is not insured, we will not be held responsible if item is lost or damaged in transit.
- Insured items lost or damaged in transit will be refunded on completion of insurance claim.
- Combine your purchases and save on Shipping.
Merchandise refund is given only on returns made within 7 business days (international customers 21 days) of the original receiving date if there is a manufacturers fault.
Our items are inspected before dispatching, so chances of this are virtually nil.
Shipping and insurance costs are not refundable.


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Meagan Rawlings
One of the makeup trends continuing through to Winter 2016 is the dark lip. The darker the better and anything goes... think black plum, deep bluey purples and rich dark browns.
Here is my list of the hottest dark lip colours for Winter.
MAC - Dark Side and Instigator
Kylie Jenner - True Brown K Lip Kit
Mellow Cosmetics - Chocolate and New York
Jeffree Star - Weirdo
Colour Pop - LAX


text: So many times on HF, I monitor with the external speaker and the hand mic. Many times, I find myself switching between the hand mic and my Pro7 head set. I wanted a mic switch and didn't know MFJ had one. This little gem worked out of the box, no problems. On the back side are the audio in/out. It's possible to use your favorite mic on a different radio by adjusting the jumpers on the board. I used an audio splitter to send it to the speaker and the head set. A simple push of that little red button sure beats swapping mics any day. This MFJ 1260 is a keeper.


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Getting in Touch
We are located at 1498 Third Avenue between 84th and 85th street- on the west side of the street directly across McDonald's in a five story town house on the second floor.
For your convenience the 4, 5, 6 subways line are located at 86th and Lexington Avenue approximately 2 blocks from the office. We are also one avenue away from the new Second Avenue Q Line. MTA city buses also stop at 86th and Third Avenue.
Dr. Glenn Reit D.D.S.
1498 Third Avenue
New York, NY 10028
E firstname.lastname@example.com
The practice has evening and Saturday appointments!
English, French, Spanish and Russian speaking team members
We participate with the following PPO dental insurance carriers:
We also accept most other PPO Insurance carriers payments. Please call the practice for clarification if you do not have the above insurance.


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It's a weekend and I am being lazy. I've got no willpower on doing anything at all especially today and pathetically, I've been on bed all day wif my ol' lappy. Boy! i'm definitely ruining my life...being pathetically lazy...hehehe...
I've been doing a lot of blog hopping these days and had stumbled many interesting local blogs to read. One of 'em, for sure became an addiction for me as I love real stories about Love, Life and Emotions. I've been finishing reading his previous post till to date and it is indeed an eye opener.
I hope he'll update soon. *Wink*
Another that caught me interest is a letter sent to one of the bloggers. It's a long one but a good read for anyone. A big sympathy to what had happened to "me". It's funny how people could have the heart to take advantage out of sincerity of a person over a silly cause. It's funny how a guy could go out and do things with a girl all the time but can still be embarrassed to accept her of who she is. It's funny, because of obesity, people could overlook the inner beauty a person could have.
So do size really matters especially in relationship? Some say it does. Others say, it doesn't matter but actions do speaks louder than words. But i do met people saying that it truly doesn't matter. And this number increases these days. Has people changed their perspective on beauty? Is "fat" the in thing of this decade? Maybe "fat" with the limits, i guess. Maybe a little chubby but not wobbly. In brunei, it's inevitable that the lifestyle plays a major role in the big numbers of obesities. Eating has always been a big part of socializing with friends and family. Though, workouts and exercising has an increasing interests in the hearts of the bruneians lately, eating out is the next best thing after doing such exercising. I do admit, i fall into this category. A food lover who "sometimes" exercises and then , eat. Teehee... It runs in the family and my friends too. I do have skinny friends that has my lifestyle. :p
Anyway back to the point, are people willing to accept their partners as chubby? The letter I've mentioned above, seems to say, chubby is a no-no. But then, I've seen a couple, the girlfriend is chubby and the boyfriend is somehow "small" for her...I mean smaller in size and smaller in height. It looked awkward but they obviously do look happy. Hmmm.... Having a teddy bear won't kill, right!
Well guys, even if you dreamed of having a voluptuous women for your wifey, just remember, outer beauty won't last long, they might boom anytime, any age and sexy doesn't make you happy for a lifetime. What's most important, what you can see inside ....and something else more to combine with..hehehe :)
Sunday, August 19, 2007
Mademoiselle & her Random-ness #2
PosTed By Hazelmoi at 5:42 PM
Labels: Love?, obese, Random-ness
0 Say What?:
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$ 44.99
Can You Believe This gorgeous jumpsuit? It's the most perfectly unique ensemble I have laid my eyes on! I need to make it mine all mine before it's gone, I do believe I'm falling in love. Wait. What? You mean, love can happen this fast? Well, it must because this darling has swept me off my feet. Hold my iced coffee, will you dear, so I can get this play suit safely in my closet. This jumpsuit features a V neck front with button design, wide leg style and light weight linen fabric.
Juniors Sizes: S-XL
Collections: Jumpsuits & Rompers, The Chic Find Boutique New Arrivals


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