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When the new John Jay report came out in May--lauded in some quarters and lambasted in others--I remember thinking, "I wonder what Mary Gail Frawley-O'Dea thinks about it." Frawley-O'Dea, a psychologist and author, is one of the country's leading experts on child abuse, and was the only psychologist invited to address the historic 2002 meeting of the U.S. bishops in Dallas. Her book Treating the Adult Survivor of Childhood Sexual Abuse: A Psychoanalytic Perspective, co-authored in 1994, has become a classic text. In 2007, her book Perversion of Power: Sexual Abuse in the Catholic Church, was published; that same year co-edited volume, Predatory Priests, Silenced Victims: The Sexual Abuse Crisis and the Catholic Church, was also released (Full disclosure: that last book was the result of a conference on sex abuse, in which I delivered a paper that became a chapter in her edited book.) In short, she's as much of an expert on the topic of child sexual abuse as anyone can be. So her comments on the John Jay Report on the "Causes and Contexts" of the crisis need to be taken seriously. She offers her analysis at NCR. Some of her conclusions:
It is troublesome to me that [Lead investigator Karen] Terry and her colleagues failed to qualify the limitations of the report or sufficiently use qualifying language. Much, not all, of the John Jay source material was data self-reported by bishops, priests and church-operated treatment centers. Self-reports in research are regularly viewed with skepticism because there is no way to validate the accuracy of what is being surveyed. Since we know from grand jury reports and lawsuits that dioceses and provincial officers have been derelict in sharing all that they know about the history of abuse in their domains, Terry should have expressed the potential limitations of self-reported data -- in any research and particularly in this study.
What the John Jay researchers know about perpetrating priests is also conditional because officials can only supply the records of priests who have been accused. Too often, the research team uses assertive language about the number of abusive priests or the number of victims rather than qualifying these as accused or reported perpetrators and only victims who have come forward. While acknowledging that abuse is both underreported and reported years after the fact, Terry does not convey tentativeness about her findings. There are reasonable, literature-based extrapolations that can be made to conclude that the actual number of victims over 60 years is closer to at least 35,000 than 11,000 and that there are priests who perpetrated but were never accused. In addition, priests already accused may well have had more victims who have never come forward. Terry should have included statements about the significant likelihood that the number of reported victims and of reported perpetrators are both understated.
The same absence of qualification applies to the report's discussion about recidivism. If many perpetrators are never reported, it is likely that many more are reported only once although they have offended again. When Terry talks about priests who have only one victim, she again should have qualified that with some discussion of probable understatement.
John Jay's assertion that the bishops failed to understand the scope of sexual abuse in the church or the damage it did to victims is not empirically supported in the report and simply is not credible. The Catholic church has had a sexual abuse problem with monks and priests since at least the Middle Ages and there have been numerous canonical and policy documents addressing the issue since then, often cautioning secrecy to protect the institution. In 1984, Dominican Fr. Thomas Doyle, Fr. Mike Peterson and Ray Mouton were scheduled to present their report to the bishops and were canceled by Boston Cardinal Bernard Law, suggesting an investment in not knowing what was available to be known.
Since Dallas, there have been more than a few reports of bishops keeping accused priests in ministry and, of course, the second Philadelphia Grand Jury Report details ecclesiastical mishandling of sexual abuse since 2002 that is all too familiar. Finally, if bishops really did not understand how terribly sacrilegious and devastating sexual abuse was, why did they work tirelessly to keep it secret? More than the average American man or woman, Catholic officials knew about sexual abuse and chose to protect the church and priests at the expense of souls entrusted to their care.
Read the rest at NCR.
(Those points are important, however, as they underscore problems that need to be addressed in further studies in several fields.)
Me thinks Mr. Smith doth protest too muc habout ''tone;'' already serious studenys are finding the ritique bot hbalanced and motivating of further work.
I did no tsee her wishing the report just written by psychologist, but rather a strong call for interdisciplinary study and peer review.
The deliverer of 'go away' news to these men was not Law. He had a youngish axillary William Levada from Los Angeles who was on the report evaluation committee, deliver the 'go away' news. Rome's bidding is always rewarded .. yes!
The inaccuracy of the data is legend. Is Philadelphia any different that San Francisco? What about the Jesuits hierarchy and decades of hidding their head in the sand. Not only did the bishops not fully report reported cases of abuse they also denied credible accusations. If the statue of limitations prohibited criminal consequence was that reported in the JJ Report?
Clergy abuse was systematic, widespread and taking on historic proportions. We see by the actions of Cardinals Law and Mahoney, Bishop Finn in KC that there is much to criticize. But out of the thousands (tens of thousands?) of instances of clergy abuse how many times have the bishops criticized their own? Cardinals Law and Levada were rewarded.
I was raped and abused by a priest. The church has denied it; it is not in the JJ Report. The JJ Report is a fraud promoted to coverup the cesspool of clergy abuse with the image of a rose. It still stinks.
In fact, when I've responded to this issue in the past, I've pointed out that three different Jesuit universities convened conferences to explore and address the Crisis in the Church in 2004 (Boston College, University of San Francisco, and Santa Clara University) the subject of child abuse was addressed from a multitude of disciplines, from church governance, through to the field of psychology, and civil law and canon law to name a few.
Ms. Mary Gail Frawley-O'Dea's critique in my opinion is fair.
This sounds to me like the definition of an ongoing criminal conspiracy. As I have stated before, the Bishops will only take this seriously when one of their own (read - another bishop) is indicted, tried and sent to prison. How possible could Philadelphia's vicar of clergy be indicted and not Cardinal Bevilacqua? Given his notorious iron-hand control, it is just no credible that he didn't know and condone about every transfer of pedophile priest.
I say, indict them all, let a jury figure it out.
Yes, absolutely ''reported''. It is a central and highly important characteristic of the data covered in the JJ Report - of the abuse cases in the study which happened between 1950 and 1985, over 85% of them were first reported to any Church authority in 2002 or later.
Tim, if you reported your abuse to the police, or to Church authorities, before the statute of limitations had run out, then you are a unique and rare person.


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Emil Richards
Stones by mallet instrumentalist Emil Richards (born 1932) is the intransigent yet tacit Space-Age work of the 60's, always bubbling, never boring, hardly hailed. Released in 1966 on the Uni Records label, its overarching topic of transcoding the forms and esoteric powers of the 12 birthstones is intriguing at first sight but utterly neglected after the very first note already. Richards does not gaze onto the stones in awe, he does not risk the meticulous look that New Age or Ambient artists claim for themselves. Instead, he unleashes chaotic structures, worships the polyhedric finish and whets the many twisted vertebrae; the geometrically ordered beauty and rounded edges of the 12 sacrosanct sparklers are of secondary importance. Moog synthesizers meet more conventional instruments.
Emil Richards gathers a sextet with him as the synthesizer player and mallet instrumentalist at the epicenter, Paul Beaver on the clavinet and Moog hardware, Mike Craden as the percussionist, Dave Mackay on the piano, Joe Porcaro on the drums and Bill Plummer on the bass. Stones is unlike anything the Exotica devotee has ever heard. Space-Age albums like the 101 Strings' Astro-Sounds From Beyond The Year 2000 or Enoch Light's Spaced Out (both released in 1969) are genteel, uplifting and easygoing in comparison, but their playful quirkiness is easily outdone by Stones. This is an alienating album of the Free Jazz kind. The are a few soothing instances, but apart from these gems, the album is bustling, bursting, burning, blustering, bubbling and takes the listener on a wild crusade to, through and beyond many microscopic (or even intergalactic?) destinations, all of them unique and envisioned by Emil Richards. Without further ado – for there is much ado on the LP itself –, I dare to take the outlandish journey.
One does not need to listen to the first full second of the opener Garnet (January) to catch Emil Richard's drift he is going to take with this album… a mere 500 milliseconds ought to be enough to be either enormously excited or blatantly estranged. Texture- and timbre-wise, not much can beat Garnet: Indian goblet drums, wonky synth flecks, dissonant Space-Age splinters and glacial vibraphones create a strangely comforting yet quirky-hazy atmosphere in which the euphony is as jagged as the crystalline granularity. Everything glitters and bounces. Add castanets and organ droplets to the scene, and you got yourself a galactic glob of glee. I was not aware of January for being such a weird month! Amethyst (February) then unleashes bubbling Moog farts of the oscillating kind, car horn-evoking mirages as well as tropical marimbas in tandem with a delicate conga beat, curiously enough on the left speaker only; the right one is reserved for the messier, rockier and more effervescent eruptions. Paul Beaver and Emil Richards seem to battle themselves, Joe Porcaro meanwhile fires his drum kit through the roof, with its frizzling hi-hats and cymbals clanging constantly.
A title like Bloodstone (March) sounds both pernicious and Oriental, but both assumptions are lessened by the sheer weirdness of the arrangement. The warped timpani are the signature element and leave a threatening impression, the remaining ingredients, however, are anything but soaked in galactosamines. Bubbling wah-wah blebs, a Honky Tonk impression by Dave Mackay on the piano, chimera chimes and rapidly firing xylophone spirals forcefully clash, making Bloodstone a Third-Stream tohubohu that is as hard to swallow as the titular stone. Diamond (April) then takes things down a notch or two while still retaining the craziness. A galloping drum pattern is entangled with a lachrymose Calypso music box, luminescent melodies of the jolly kind swirl next to the over-the-top raspy Moog pointillism. As expected, the dissonances grow at times, but the group always finds its way back to sun-dried territories. The term cyberspace was not invented until 1983, but this tune depicts an oasis of that kind, gleaming and fracturing like a diamond.
Whereas the über-accessible Emerald (May) is a truly awe-inspiring piece of Ambient Exotica (♥) with sitar-esque gamelan airflows, refreshing wind chimes, multiple layers of mysterious but genuinely warmhearted bells, whistles and gongs as well as an enormously haunting synth string melody in-between the vibraphone-created alcoves, side A ends with a comic relief version of a pandemonium called Moonstone (June) that places a downwards-spiraling xylophone motif next to a wobbling Space-Age Moog haze. The xylophone then whirls in serpentine ways above and beyond the laser-like sounds. Desperation and genius are dancing with each other, and I for one am glad that this track is rather short, for it would be unbearable if it was any longer.
Side B is less adamantly ebullient. It opens with Ruby (July), a orchestra bell-fueled conga-accentuated and cymbal-smashing piece of enormously bouncing and screeching synth guttersnipes of the eupeptic and exotic kind thanks to the warm marimbaphone placenta, with Sardonyx (August) then boosting the Exotica factor even more by putting the xylophone into the limelight; a limelight which is soon enough swallowed by interplanetary harpsichords, synthetic kettle drums and the vivid chirping of space birds. The brazen-aqueous physiognomy of this tune make it a rather enchanting one. Sapphire (September) is another hodgepodge that kicks off with orchestra bells and later moves to bouncing mosquito susurrations, polyphonous xylophone cascades and dial tone maelstroms. Chaos as usual, but strangely melodious. Or it is the brain that finally adjusts to the noise?
The following Opal (October) is the best tune of side B despite its beatless structure. Relying on an enigmatic ambience, Emil Richards and cohorts stitch space shawms, coruscating clavichords and pulsating buzzes together. The result is the king of all eerie Space-Age tunes and a mind-blowing audio experiment that resembles Tony Scott's Voyage Into A Black Hole (1988) which surfaced 20+ years later. Topaz (November) is the languorous lullaby for the kids with shedloads of iridescent chimes and glockenspiels, a scattered rhythm and magnanimous luminosity. Everything glisters, twinkles, scintillates, floats. A highly accessible incarnation, frosty and sparkling, with the added omnipresence of a pitch-black backdrop. The finale is called Turquoise (December), a track that mirrors the comicality of Moonstone (June) but adds a mellifluously vesiculating glassy-glossy vibraphone aorta to sleazy piano chords and gyrating Moog gales. It is yet again – and naturally for the last time – a surprisingly melodious and luring critter in comparison to side A, a worthy closer.
Two things or tendencies come to mind in terms of Emil Richard's Stones: it swirls truly in a class – or galaxy – of its own, and it is incredibly labyrinthine or downright melodramatic. It is a unique and faithful Space-Age album, climbing the tone ladders up and down, breathes the hazardous haphazard harshness of the harpsichords, synths and Moog coils and depends as much on chance, contingency, improvisation and Free Jazz as on a wealth of textures. It is easy to be impressed by the many surfaces, given the fact that electronic devices are used throughout, but gaze through the translucent helix, and you find an oxymoronic formulaic nucleus called variety. The energy level of this album is huge, especially side A bursts at the seams and can turn away many a listener in no time. No wonder the subtitle of the album is New Sound Element (foreshadowing Richards' 1967 corker New Time Element). In Emil Richards' parallel universe, the term Easy Listening has yet to be coined.
Side B is much better, for it is calmer, less purposefully acidic, although the Ambientoid Emerald (May) on side A proves to be the exception of that observation and lies up to the other cozy foil Opal (October). Exotica fans are definitely not the target group of this release, but might find its elements convincing, especially so the huge amount of mallet instruments and chimes. Those who know Martin Denny's Moog album and hope for something similar will be shell-shocked by Stones, though. The whole album is a flurry, a void, a black hole and a supernova all at once. The esoteric idea of worshipping these stones seems strongly New Age-focused, but Stones cannot even be fleetingly linked to the – back then brand-new – idea(l) of transfiguration via synth carpets. It is a demanding album which becomes tamer over its course, but remains eclectic, polylayered and twisted ad infinitum. If you do not know it yet, you better prelisten to it. It has been re-issued in 2012 and is thus available in its original vinyl shape as well as a download version and on CD where it is coupled with Emil Richards' superbly psychedelic Exotica suite called Journey To Bliss (1968).
Exotica Review 319: Emil Richards – Stones (1966). Originally published on Mar. 1, 2014 at AmbientExotica.com.


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The auditorium at Northside Alternative Middle School (NAMS)–North is now a Texas Historical Landmark.
More than 80 years ago, the building was part of the original Locke Hill Elementary School. Locke Hill is one of the pioneer schools that joined together to form Northside ISD in 1949.
NISD officials gathered with members of the Locke Hill Student Alumni Group to unveil the historical marker now located in the front of the building. Students from the current Locke Hill ES on DeZavala Road performed an old and new version of the Locke Hill school song. This is the first time that the song has been sung in the building since 1976 when the school was relocated to its current location on DeZavala Road to accommodate growth and new building standards.
The auditorium was built in 1934 by the federal Works Progress Administration (WPA) and is made of limestone from a nearby quarry. The building is still used today as a Northside ISD meeting space and as a cafeteria for students at NAMS–North.
This is actually not the first historical marker in Northside ISD or first involving Locke Hill Elementary School. There is another historical marker at the DeZavala location in honor of the school which will celebrate its 150th year of continuous operation in 2018.
Visit our Facebook page for an album of pictures from the event.
Pictured unveiling the marker are (from l-r) Betty Sherrod, 5th graders Imani De la Garza and Amani Coleman, and Elaine DeMunbrun. Sherrod and DeMunbrun represented the Locke Hill Student Alumni group.


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The Big Day Out For Dogs, is Dogs Victoria's annual festive community event and open day. This year it is being held on Sunday 8 December 2019 at KCC Park (State Dog Centre), 655 Westernport Highway, Skye.
The event showcases a wide variety of breeds, clubs and dog activities to the public, plus a great opportunity to spoil our canine friends at the Canine Christmas Market, and shop for last minute Christmas gifts.
Book before Monday 21 October 2019 for Early Bird price.
Bookings close Monday 25 November 2019
****We are looking for food vendors for the event! If you are interested please email firstname.lastname@example.com or phone 9788 2509***


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As a mom, I bet many women out there didn't know much about preeclampsia or hyperemesis gravidarum until Duchess Kate talked about her condition. And, there are many health consequences of pregnancy that no one will tell you about,
While you might be aware that stress, anxiety, excess weight gain during pregnancy, smoking, drinking, and drug use during pregnancy can adversely affect your baby. But how much do you know about the long-term impacts of pregnancy on your body?
We all have a reasonable idea about pregnancy and the long-term consequences that pregnancy can have on our child. We know that smoking and drug use while pregnancy is dangerous; we know that gaining a large amount of weight during pregnancy can increase complications, and we are now discovering that stress and anxiety in pregnant women can impact the baby as well. Did you know that there could be times that you pick to have a baby, which might put you at the risk of cancer? It's not just this. Read on to learn more about possible health consequences of pregnancy:
1. Pregnancy Affects Vision:
The hormonal changes during pregnancy can influence your eyes and vision. It could lead to a swollen cornea and a slight change in its shape due to fluid retention, triggered by hormonal shifts. A swollen cornea refracts images in different ways, thereby distorting vision. Few pregnant women may also experience dry eye syndrome where the eye produces less than normal 'tear film' and therefore are less lubricated. Thankfully these conditions subside after pregnancy and once the hormones stabilize, but it could be a good idea to visit your optometrist throughout the pregnancy, especially if you've already had vision difficulties before pregnancy.
2. Gestational Diabetes Is Not As Rare As You Presumed:
It's a form of diabetes that develops in women who had no history of diabetes before pregnancy, but occurs due to the interaction between insulin production and hormones. During the advanced stages of pregnancy, your body churns out higher levels of estrogen, cortisol and human placental lactogen that make you less sensitive to insulin. On the other hand gestational diabetes is easier to treat than you think just as its incidence is more than you thought. But, you would need timely treatment to avoid and serious implications for you and your baby. It might call for immediate attention if your baby is born preterm and has its blood sugar issues.
3. Pregnancy May Reduce Risk Of Breast Cancer:
Ovaries produce endogenous hormones namely estrogen and progesterone. Studies show that exposure to these hormones, especially over prolonged periods, can stimulate cell growth and reduce the risk of breast cancer, when compared to those who never gave birth or a late age pregnancy, say after 35 because you could accumulate cells to transform into cancer. Pregnancy also seems to lead to cell maturity in a way that they are less likely to develop cancer. Early pregnancies might also reduce the risk of breast cancer by half.
4. Lessens The Risk Of Ovarian Cancer:
Women who become pregnant for the first time late in life are less in comparison to the women who had first pregnancies at a young age; The first group of women had a high chance of developing ovarian cancer. The probable reason that scientists can think of is that ovaries of older women are more scarred due to years of menstruation, and a late pregnancy clears off the damaged issue.
5. Blood Clots In Pregnant And Post-Birth Women:
It has been found that there is a 10-time higher likelihood of developing blood clots in pregnant women than non-pregnant women of their age. The probable reasons researchers suggest are hormones leading to a slow blood flow, which cause an increased clotting threshold. This is primarily due to high estrogen levels, and possible vein damage in the fetal growth in your abdomen. If these clots break into the blood stream, the can go anchor at a different point in the body, which is a big problem. However, the risks of fetal clots are more in the first trimester and the first six weeks postpartum, after which the risk declines. The risks could be warded off if there has been no history of clotting problems. It's important that pregnant women keep moving and don't lead a sedentary lifestyle. They could even consider wearing compression socks that can prevent clotting.
What were the pregnancy related health issues that you were not warned about? Write us back!


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We are located at 26 Elm Street, just north of the intersection of Central Street (Route 4), in the center of Woodstock, Vermont next to The Prince and The Pauper Restaurant. Our main entrance is at the rear of the building, down the driveway. Our administrative office is open Monday-Friday, 9:00 AM-5:00PM.
Open by appointment.
Please call or email in advance so that we may may better assist you.
We encourage researchers to submit a Research Request Form prior to visiting the History Center.
Museum Hours
The museum will be open from June 19 to October 12, 2019.
Regular tours are: Wednesday-Friday, 11:00 am-4:00 pm.
Admission is free during regular tour season.
Please contact the main office if you would like to schedule a special tour during the year. A charge of $10 per person will be issued during the non-regular tour season. Access to the building may be limited due to changing exhibits and upgrades to the facility.


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This week, we're presenting stories about scientific ambitions and dreams -- and the ways in which they meet reality.
Part 1: Planetary geologist Sara Mazrouei misses out on a dream opportunity -- because of where she was born.
Sara Mazrouei is a PhD candidate in planetary geology at the University of Toronto. She's also a science communicator with a passion for sharing the wonders of the universe with the public. Sara is a big advocate for women in STEM. One day she'll go dancing on the Moon.
Part 2: Working in conservation, marine ecologist Madhavi Colton faces down despair as the challenges feel overwhelming.
Madhavi Colton is the Program Director at the Coral Reef Alliance. She oversees an international portfolio of community-driven conservation programs that are addressing local threats to reefs, including over-fishing, poor water quality, sedimentation, and habitat destruction. Madhavi is also spearheading new scientific research into how ecosystems adapt to the effects of climate change and is applying this knowledge to develop innovative approaches to coral conservation. Her expertise lies in building partnerships between academic researchers, non-profit organizations, governments and local communities to implement durable conservation solutions. She has worked in California, Hawai'i, the Mesoamerican region, Indonesia, Fiji and Australia. Madhavi has a Ph.D. in Marine Ecology from the University of Melbourne, Australia.
Episode Transcript
Part 1: Sara Mazrouei
Since I can remember I've always had a fascination with outer space. I remember vividly standing in our backyard staring at Comet Hale-Bopp when I was ten years old, night after night, wondering why everyone else wasn't out there staring at it. After all, a comet that bright with such a shiny tail was sort of a once-in-a-lifetime thing to see, or at least that's what I kept hearing.
I saw my first total solar eclipse through a cheap pinhole projector, which was basically two index cards, one with a whole poked through, in 1999. I remember the sky getting dark and birds flying home as if it was nighttime.
Out of these unique, spectacular, out-of-the-ordinary events fueled my passion for space. It wasn't like everyday life.
At the age of thirteen, my family and I emigrated to Canada. My parents wanted to give my sister and I the chance to study whatever we wanted to and to become whoever we wanted to, something that wasn't always possible in Iran where we were born.
Moving across the ocean, leaving family and friends behind, learning a new language, adapting to a new culture and the huge transition of high school all made for a big challenge. But now that I was Canadian, I could dream big and I could become anything that I wanted to.
So I dreamt big. I wanted to become a rocket scientist and work for NASA. So I worked hard and I graduated the top of my class with a bachelor's in Space Science from York University where I went on to do my master's.
I still remember the first time I got to sit in on an OSIRIS-REx team meeting, the space mission to an asteroid, the one that Canada is currently contributing to. I was in a room full of intelligent people talking about why they wanted to send this spacecraft to an asteroid, how they were going to do it and what instruments they were going to use. It was such a high. My heart was beating so fast and I had to keep pinching myself to make sure I wasn't dreaming.
As I was finishing my master's, I got an interview with the European Space Agency for a young graduate trainee position for a year. Usually, one Canadian a year gets selected for that position.
I still remember the 4:00 a.m. phone call about an invitation to go to the Netherlands for an interview. I was so thrilled about even getting an interview or going to Europe for the first time that I barely heard the lady apologizing for getting the time zones wrong. And I still get dizzy remembering running around my department screaming, "I got it, I got it," a few months after when I got offered the position. It was such a great feeling, such a joy.
And my parents, as expected, were over the moon too. Their emigration wasn't in vain. Their daughter was going to work for the European NASA.
I still relive the year that I spent in the Netherlands. Sometimes, I feel like it was a dream, working alongside mission scientists, getting to see space missions up close. It was there that I was sure I wanted to go on and become the chief planetary scientist of a mission.
So I returned back home to Canada, my land of opportunity, to pursue a PhD in planetary science.
In the summer of 2016, I got selected as the only Canadian and one of the few interns for an internship with the Lunar and Planetary Science Institute in Houston. This would be an internship in collaboration with NASA Johnson Space Center. I was getting one step closer to my dream. I was going to work with NASA.
So that summer, I packed up my suitcase, put on my luggage tag that reads, "One day I'll go dancing on the moon," and headed to Houston.
Unfortunately, that excitement was so short lived. The first day of the internship was meant to include a half-day visit to NASA Johnson Space Center to see the lunar rocks that the Apollo astronauts had brought back. During the morning training, they told us that all non-U.S. citizens, meaning the one Australian intern, the three European interns and me, would need to be accompanied by a NASA employee at all times, even if we wanted to go to the bathroom. That all sounded bizarre but I could live with it. After all, I was going to NASA.
So after lunch, as we were packing up to go to the parking lot to go to NASA, an assistant walked up to me and said, "I'm sorry, Sara, but your security clearance hasn't come through yet so you won't be able to join us."
And when I asked why my security clearance was the only one that hadn't come through yet, she said, "I don't know. Sometimes it takes longer."
But I knew why. I had read on the NASA website that if you were born in certain countries you might require additional in-depth security checks.
So as everyone got to go to NASA to see the lunar rocks that the Apollo astronauts had brought back, I sat at the library and went through a full range of emotions: anger, sadness, disbelief.
But I kept following-up, asking when my security clearance would come through. Finally, after a couple of weeks, that same assistant walked up to me, pulled me away from my intern friends and asked if I could walk to a different room to talk. That walk seemed like the longest walk of my life as she kept making small talk about my delicate cardigan and giving me alternatives to hand washing it.
As an introvert, I hate small talk. That day, I hated it even more as I could feel my heart at my throat, nervous about what she actually wanted to talk about.
The little chitchat carried on until we got to the room. It was one of those important looking boardrooms with a long table in the middle and fancy leather chairs all around. I picked the chair closest to the door anticipating that I would need more air.
She finally pulled out a piece of paper and said, "I'm really sorry but you didn't get a security clearance."
My heart dropped to my stomach and tears started to roll down as I read this single line that was written on that piece of paper. "Her security clearance is denied because she's a citizen of a country that supports terrorism."
I tried to explain to her that I'm a Canadian citizen, that I've lived in Canada since I was thirteen, that I'm a good citizen. I pay my taxes, I recycle, I try to help those in need, that I was born in Iran. That I had purposely not gone back since emigrating, that I didn't take the chance to say goodbye to any of my grandparents nor did I get to celebrate any of my cousins' weddings or graduations with them, all because if, one day, I got the chance to work with NASA in the U.S. I didn't want to have to say I visited Iran.
The reason I chose space and astronomy was to get away from the politics and wars that dictate our world. I thought, in pursuit of studying things outside of our planet, international collaboration without any bureaucracy would come into play. And even though NASA was a government agency, I thought that science would trump all, especially in the Obama Era.
She said that it didn't matter. I mean, when you look at our pale blue dot from space, none of this matters. But now, here I was. The one thing I was trying to get away from all these years was the one thing standing between me and my dreams.
So I went back to my desk with puffy eyes and a red nose and told my intern friends and they were all angry and in disbelief. Then I called my parents and I cried. Then I took onto Twitter and wrote about it asking Justin Trudeau, Chris Hadfield, and Anousheh Ansari for help.
NASA Watch picked up on it and retweeted. The next day I got pulled into a room with the head of HR, my supervisor there, and a man red to his ears out of anger. He was from NASA. Apparently, my tweet had made a lot of people angry. They even told me that I was there by mistake, that had anyone caught the fact that I was born in Iran I wouldn't have been offered the internship. They told me to be more honest next time.
As if I hadn't clearly indicated my country of birth on my application, as if the person requesting the U.S. visa for me hadn't typed in the words "Iran" or Iran as they call it in my place of birth.
So I called up my PhD supervisor in Toronto and told her I wanted to come home, that I didn't want to be in a place by mistake, that all my dreams had been shattered. That if I can't get somewhere or be selected for something, I want it to be because I'm not good enough. I don't have a problem with not being good enough. I can always work harder and be good enough. But I can't do a damn thing about where I was born.
She said that I could come home or that I could stay and try and make the best of it. She reminded me of the reasons that I went there in the first place, to make new collaborations, gain new skills, put something valuable on my resume. And she reminded me that NASA wasn't the only place that I could work at.
So I stayed the entire ten weeks and worked my ass off just to prove to those people that I deserve to be there just as much as any of the other interns, and that I was there because I'm a good scientist, and that my place of birth wouldn't take anything away from that.
No one from my intern group got to go back for another visit to NASA JSC. And no one talked about it. They said there just wasn't enough time. But no one talked about it and no one really blamed me, but I blame me. Maybe if I hadn't raised so much hell over not being able to go with the other interns, they would have been able to go back for more visits.
So at the end of that internship, I came back to Toronto to continue my PhD. But I came back a completely different person. The plane ride back felt so different than the plane ride there. My heart felt so heavy.
I tried talking to a few people about it when I got back but no one really understood the significance of it, other than my parents and my sister. They could also feel my sadness. The door to my dreams had been shut not because I hadn't worked hard enough but because of politics.
Now, I always knew that working at NASA was a big dream and maybe even just that, a dream, but it always served as motivation to make me work harder. The thing that used to be a source of joy and brightened my mood was no longer a source of it. I was and still am in a love-hate relationship with my PhD. How can I sit there day after day using data from NASA to try and make new discoveries when they wouldn't even let me step foot on their facilities? How is this fair? What am I doing all of this for?
In the midst of my sadness and struggle, I found something else that gave my life a new goal and meaning. It mainly started when I went to watch the movie Hidden Figures with some friends from school, hearing everyone be amazed at how things were done at NASA before and how much things have changed, I couldn't help but laugh about it. Yes, we've come a long way but we have an even longer way to go. And why does it matter where you were born when you're trying to study things out of this world?
It was after watching the film that I realized the true importance and beauty of science communication. I realized just how important it is for me to get up there and talk about my research and exciting science stories. I no longer wanted to hide the fact that I was born in Iran. It's important for me to get up there and talk about science and the excitement of space and have people hear it from me, a woman of color, a woman who was born in Iran with the goal of helping people realize that gender, race, or place of birth doesn't define a human being.
Now, I made my peace with my sadness. I made a special place for it in my heart and I carry it with me every single day. Some days it still comes out in the form of tears. But most days, it comes out as fuel and passion. Fuel and passion for educating others, sharing the excitement of science, and putting a new face to scientists.
Thank you.
Part 2: Madhavi Colton
So in seventh grade, I won the math prize. Let me tell you that winning the math prize in seventh grade is the least cool thing you can do. No one wants to be friends with a girl who wins the math prize in seventh grade. So, like many young girls, I start to hide. I hide my smarts. I downplay my abilities. I say that I'm doing less well than I actually am.
And this becomes a habit then it becomes a comfortable space to live in. But the one thing that those mean kids in seventh grade can't do is take away my optimism. In fact, my family nickname is Miss Enthusiasm.
So Miss Enthusiasm goes off to college, because Miss Enthusiasm, because me, because I am going to save the world. I have fallen in love with wild places. I love huge mountains and rocky coasts with big waves and the immovable expanses of deserts. I am going to college and I'm going to study Biology because Biology is the science that tells us how the world works. By understanding how the world works, I am going to save the world.
The first job, conservation job, I get after I graduate is at the Natural Resources Defense Council. Really cool. I'm the assistant to the office manager but, hey, I'm working at NRDC. I am going to save the world.
So there's an older, wiser woman at NRDC who I take aside and I admit my ambitions to her. She says, "Look, if you're serious about doing conservation science, you need a graduate degree."
So I get a master's. Then I realize the older, wiser woman wasn't specific enough and that if I wanted to be serious about saving the world through conservation science, I actually need a PhD. So I spend hundreds of hours underwater in the Southern Ocean trying to count fish.
I lose a very expensive camera to a shark. I lose my breakfast, lunch, and dinner to the ocean swells. I almost lose a diver. My GPS craps out on me in the middle of crossing a surf zone and I run a boat aground, twice. I get hypothermia, I get a PhD.
And now, I've got it. I can go out and I can save the world.
About five years ago, I got my dream job. I got a job at the Coral Reef Alliance which is a small international nonprofit organization with a mission, an ambitious mission that is uniting communities to save coral reefs. Get that, save coral reefs. I am going to work for an organization and I am going to save coral reefs.
I remember showing up my first day, walking down this narrow, cramped hallway and the carpet was a hideous shade of blue. And I walk down this narrow, crowded hallway and I open the door to my office. I have an office with a door! I have made it. The office has a door and it has a window, and the window looks out on a brick wall of the neighboring building. But look, I've got a door.
The catch is I don't actually know much about coral reefs at all. I studied fish in the Southern Ocean, and so I get to work reading and I get to work learning. I'm the kind of person that I need to touch the things I read so I start printing out scientific papers and I start stacking them on my desk. Each of those papers, I write earnest notes in the margin and I highlight them with a yellow highlighter. And these stacks grow in my office.
All of my reading tells me that coral reefs are in trouble. The models are saying we have 30 to 50 years until the negative effects of climate change are happening so frequently that the reefs can't recover between those negative bouts. And everybody is saying, "Oh no, 30 to 50 years."
But Miss Enthusiasm is like, "30 to 50 years, I can make a difference. I can save coral reefs. That's a timeframe that I can work with."
A little over two years ago, waters around the world started to heat up. And when the water around the coral reef gets too warm and it stays too warm for too long, the corals expel the tiny algae that live in their cells and they turn bright white. This process is called bleaching. Those algae provide the corals with food and so when the corals kick out the algae, they start to starve. If that bleaching event goes on long enough, they start to die.
And the news started coming in from everywhere around the world. It was coming in at conferences. It was coming in through news centers. It was coming in through emails. The New York fucking Times had as its headline that reefs were dying. In the backdrop, there's me. And I get up every morning and I get dressed and I go to work. And I'm going to work because I'm going to save coral reefs.
I have a daughter and I wake up in the middle of the night, at first to feed her and, then later, in an absolute state of panic about the world we're leaving her. And I get up in the morning and I get dressed and I go to work.
That seventh grade voice gets louder and louder until I believe it, until I know that I can't do shit. No one can do anything. And I get up and I get dressed. And I go to work.
In April of this year, I brought a group of researchers together and we'd all been working and thinking about how corals deal with climate change. We had three very different modeling frameworks to try and understand how corals can adapt to or how corals can evolve to deal with climate change.
At this workshop in April, we got some early results that suggest that, actually, the rate of evolution for corals can be fast enough to keep up with climate change if we have certain criteria in place. Those criteria are things like the coral population sizes are large enough, they have enough diversity, those diverse, healthy reefs are connected to each other by the movement of baby corals.
The thing is that we can actually control some of those things. We know that improving water quality for reefs, reducing overfishing helps those populations grow. It helps them get to sexual reproduction and that's when you start shuffling genes together. We know that those baby corals can take those new genetic ideas to new places.
Starting in April of this year, I started to think that maybe, just maybe, there's something that we can do. Maybe, just maybe, our actions can actually make a difference for coral reefs. It's only in the last two weeks that I felt like maybe I can make a difference. Maybe my actions can actually help.
Thank you.


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Telemann, one of the greatest composers to have ever lived and the inspiration for my composition, "Telechamber".
There is an old saying that goes "Give someone a fish and they will eat for a day, teach them HOW to fish and they will eat for the rest of their life". In terms of composition this is also true, we learn from our predecessors and peers to hone our skills and with the knowledge passed on, we have a nice "meal" and don't go "hungry". With this in mind I would like to share how I have composed the piece Telechamber, to give insight to my methods and so we can all sit at the table of composition and feast together!
Here is the piece, have a quick listen and then I will go into the details of how I created it.
The first thing to do is figure out our ensemble. Georg Philipp Telemann was born in 1681 and was an active composer in the Baroque period, so to make the sound of this time, we must use the instruments that were readily available.
For Telechamber I have used the following instrumentation,
- Tenor Recorder
- Soprano Recorder
- Piccolo Recorder
- Violins
- Violas
- Cellos
- Organ (Floeten)
Setting up Pro Tools
You want to follow industry guidelines and make sure your session always has the correct layout and all parts are named and labeled. This isn't just for looking professional, it is a workflow that allows us to develop complex pieces without the session becoming confusing later on. I have described a routing method of Chrissy Tignor Fisher in a previous blog and if you would like to learn more about it then please CLICK THIS LINK. The method that Chrissy was so humble to share with us is a reflection of the "teach someone to fish" sentiment that I have mentioned earlier in this blog. In the last month of using this method I have seen incredible results and without this routing method I would have not been able to arrange Holst's "Mars the Bringer of War" for MIDI orchestra.
You will notice in the picture above that I have routed the MIDI to pass through Kontakt and into their corresponding audio tracks. For now, don't worry about the MIXDOWN and PRINT tracks, they are for the mastered version to send out of Pro Tools and I will talk about them in more detail later in this blog.
Another thing to be aware of when setting up your session is to arrange the instruments as they would be found in a musical score. The conventions for instrument layout in scores are standardised and you will find that the instruments are arranged in a logical manner, broken down into mini-ensembles or families of instruments and within those families, the instruments ascend from lowest in pitch to highest in pitch. To add to this, the standard for an ensemble of this nature would be to arrange the string family at the bottom of the score, the keyboard instruments above the strings and the recorder family at the top of the score. If we were to have brass in this ensemble then they would fit in between the recorders and keyboards, and if percussion were present, then it would be located underneath the brass. Laying out the instruments in this way means that people who are new to the session can quickly locate the various instruments, without confusion.
To simplify, this is the standard layout of an orchestra when reading from a score;
- Woodwind
- Brass
- Percussion
- Strings (Keyboards included with strings and always above them)
Musical Techniques
We now have our session laid out and are ready to make some music! Because I have used a baroque ensemble and my inspiration was from Telemann, it makes sense to use musical techniques and harmonies that were common in that time. One of the main techniques of the baroque period was the use Polyphony and if we break the word down then all is revealed.
- Poly (Many)
- Phone (Sound)
- Polyphonia (Many Sounds)
The greek word "Polyphonia" became adopted into the English language and by the early 19th Century it became the word we know today as "Polyphony". Today, we use the word to describe the interplay of musical voices conversing simultaneously. A good technique to write polyphonic music is the canon, where one voice plays a melody and another voice plays the same melody, starting at a different time. The result is very effective and I'm sure many of you remember singing Frere Jacques as a child, one person would start to sing; Frere Jacques, Frere Jacques, Dormez-Vous….when one would hit "Dormez-Vous" then the next person would join in singing the song from the start. This is an example of canon in a very simple form.
Telchamber starts with a canon and then moves into imitation, here is a breakdown of the music.
Tenor recorder.
The soprano recorder enters four bars after the tenor and is an exact copy until the piccolo enters.
The piccolo enters and uses the same rhythmic motif as the tenor and soprano, then starts a new melody.
We put the parts together and we have some sweet polyphony!
With polyphony, you want each individual line to be its own melody that is interesting when played in isolation and also work when played with the group. I like to think of it as musical bird-song, the different animals chirping together to make the soundscape.
The three lines you have heard with the recorders is the musical content in the piece and the strings and keyboards just double up to add to the effect.
Style of Playing
The notes are taken care of, now we need to make it sound like an authentic ensemble. In the baroque days, techniques like vibrato were used sparingly and as an ornament only. This has been a subject of debate amongst music scholars and when playing in the modern-day, we tend to saturate everything with vibrato (try not to use vibrato when playing violin, it is actually very hard and takes a lot of concentration!). Because I love playing music in an authentic manner I have tried to find a setting in Session Strings Pro that sounds like the player is not playing with vibrato, the closest I could find is the setting "Portamento" which is an indicator for the performer to play closer to the bridge of their instrument (strings).
Funnily enough the portamento setting sounds more like gut-strings, which were used in the baroque era. Gut-strings are the first thing a player of period-instruments will tell you to use to get an authentic sound and this is because the tone of gut is very different to the tone of modern metal strings.
So we have the sound for our strings, now we need to make the MIDI sequenced tracks perform like a baroque player. When playing early music, it is common to use shorter notes than actually written. For example, if we were to read a half-note (2 beats, 4/4 time) then you would actually play something closer to a dotted quarter-note (1.5 beats). This separation gives the music lilt and adds definition to the music. As well as playing the notes shorter than written, the use of a "bouncing-bow" on short notes or repeated phrases adds to the style of playing. To match this to the music I have written and to make the MIDI sequence and sampler perform as it were a cyber-baroque performer, I have used keyswitches and shortened every note.
Notice in the MIDI sequence the are notes on E1 and F1, (we know that those notes are outside of the violins range) they are sequenced to trigger the keyswitches. You can assign the keyswitches to trigger any effect you need (and that you have available) wherever you choose.
Listen to how the keyswitches and separation give life to performance, although it doesn't sound exactly like a real performer, it is a great deal better than just letting the MIDI belt it out like a computer (poor little guy just does what it is programmed to! lol). Thanks for staying with me if you have made it this far, we have one more topic to cover then we can part ways until next time!
Printing and Mastering
Once the track is complete (musically) and is mixed, it is time to print off a mastered version. Many people like to master the track afterwards in a separate session but I thought for this one I would master as I go! Remember the MIXDOWN and PRINT tracks I mentioned earlier? Now is their time to shine. For this example I have output all of the audio tracks to an aux track called MIXDOWN and inserted a Maxim limiter on it. The ceiling of the Maxim is set to -0.3dB and the Threshold is set at -6.7dB, this pushes the audio to make it louder and prouder and makes it sit at a level that really grabs your attention. Next I have output the MIXDOWN track to the PRINT track and hit the record button. As the song plays through, Pro Tools records the mastered version onto the PRINT track and you are left with a .wav at the same sample rate as the session. Instead of Bouncing the PRINT track, Export it! That is the purpose of the PRINT track, to save us from the dreaded bounce! Bouncing vs. Printing is a topic that is outside the scope of todays blog but I highly recommend doing some research into it.
Here is a quick recap on what we have covered today;
- Instrumentation
- Setting up Pro Tools to Industry Standard
- Musical Techniques
- Style of Playing
- Printing and Mastering
I will leave you with another listen to the complete song now and while listening try to listen out for all of the elements were covered in today's blog.
I am learning all the time and the process is all about sharing. If you give someone a composition, they will listen for a day, teach them how to compose and they will have music for the rest of their life!
Thanks for reading and see you soon! 🙂


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FOUR WEEKS HAS BEEN THE HARDEST, but also the most rewarding journey of my life, and it's only the beginning.
Before I departed from the Orlando Recovery Center (ORC) in April of 2018, I shared my story, in what turned out to be a pivotal moment in my recovery. I wrote nothing down. I didn't labor over the words. Instead, I asked God to provide me with the words to speak. Words that would bring glory to Him, and healing to myself and others. Like all the words He'd been gifting me with daily as I moved through this journey, He didn't fail me at that moment.
My story wasn't about the past; all the events that had happened that I believed defined me. It wasn't about my disorders and addictions either. It wasn't about my accomplishments or failures. Instead, it was about the journey itself. The journey of discovery I had been on all along. And what I discovered is this—alone I am weak. Alone I am prideful, angry, selfish, and filled with shame. Alone, my choices are self-serving and destructive. Alone, the voices that whisper, "You are not good enough, thin enough, strong enough—you need more,"—those voices win.
Through God's mercy, I am empowered. Through His grace, I am forgiven. Through His love, I am enough. It is only through surrendering everything to Him I am saved and that I continue to be strengthened and blessed each day.
That evening, the story I shared was markedly different from the story I would have written at any other point in my life. It was an end, but also a beginning. I shared my past. But only in the sense, it had brought me to this place. The culmination of all the events, both good and bad, that had happened. The events themselves were not me and in the process of discovering that, I learned acceptance.
I shared my scars, both the ones I had inflicted, and the ones inflicted upon me. The scars would always remain, but they would no longer define me, and in that, I learned forgiveness.
I shared my guilt. The shame I carried for the selfish choices I had made and the pain I had caused. The overwhelming feelings of worthlessness and doubt I had carried with me for so long and the voices that had always whispered in my ear, "You are not enough." The voices are still there, but they grow quieter still and in their place is God's voice, "You are my beloved child and you are always enough;" and through that, I've gained strength.
I shared my journey within the walls of ORC. The lessons I'd learned; the tears I'd cried; the armor I'd shed and the power of daily and total surrender. In that I found healing.
I shared what I had learned and what had impacted me the most. That when I am active in my addiction and in my despair, the world revolves around me. I make choices only to serve myself; to feed my addiction. Depression, anxiety, isolation—all these things affect me and take me further and further under.
My addiction locks me in a destructive cycle that seems never ending in its power. I sink further and further beneath the surface until suddenly I am drowning in a sea of my own making. I feel powerless. Because I AM. It's only in accepting that powerlessness that I slowly float back toward the surface. It is only when I finally surrender everything that the chains holding me down finally break and I can truly swim to freedom.
One of the last things I shared that night was how deeply my addiction and selfish choices affect the people who love me most. I only had the words because my husband, in one of our phone conversations during my stay, had put it into a staggering perspective for me. He said, "Jen, do you remember the moment the doctors told us that Emma had stage four cancer? How helpless and hopeless you felt. How you would have taken it from her in a heartbeat?" I said yes.
I would never forget that moment. What I'd felt at that moment was a complete and total powerlessness. Here was my child, an extension of my soul, and she would have to fight for her life; suffer physically and mentally as she battled this disease with the outcome yet unknown. It was one of the few moments in my life where I gladly fell to my knees, willing to give anything if only she would be spared.
John's reply rocked me to my core, "That's how I've felt watching you."
What I didn't realize when I was in the middle of my struggle was how I impacted those around me. The people who love me the most; who are rooting for me. I thought my choices were only about myself. That I suffered alone. And so, I pushed and pushed, broke promise after promise. I lied, cheated and stole to feed the beast and then looked up surprised when I found myself alone.
What I've realized on the other side is that I don't live in a vacuum. That every choice I make that keeps me on the path to destruction affects others. My husband and children who watch in fear and anguish, wishing I could see myself the way they do; praying I'll come back to them. My parents and siblings, who hurt for me and many times in frustration lash out, only wanting me to come back home.
What I did was selfish and hurtful. I cocooned myself thinking it was only about me, but I was so wrong. Foolish really. When I regained any sense of clarity and could step back and look at myself, at first, I didn't like what I saw at all. I'd carved a path of destruction that bled into the heart of what meant the most to me. I had hurt the people I loved repeatedly. They were tired of my words. My words held no meaning anymore because I had overused and abused them.
When my husband shared that insight with me, I wept. I wept for him, for our daughters, for every person I had let down. And I wept for myself. In those moments I realized just how wrong I had been. How selfish and manipulative my actions had been. How my choices had caused so much helplessness and hopelessness in the lives of the people who loved me.
Once you know something, you can't 'unknow" it. You may ignore it, but you can't ever 'unknow' it. I now knew, with resounding clarity, the extent of the damage I had inflicted. My words would not be enough anymore. It would only be my daily actions and the choices I had yet to make that would restore their trust.
While my family was an integral part of my decision to seek treatment, the greater part of the equation was myself. I was tired. I no longer wanted to live in the grip of addiction. I no longer wanted these destructive things to have power over me. I wanted to be free. I wanted to know peace.
The path I'm on now is one I take one day at a time. It's one I entrust to God's keeping in all things. It's one where I surrender daily to His plan for me. It's one where when the trials of this world come, and they do, I don't worry because I know God has me, come what may. It's freedom like I've never experienced. A peace like I've never known.
Each time I feel any doubt, each time I encounter a craving, or those voices try to overtake me, I pray. I ask God to take it, to direct my steps and to give me the strength to prevail. He always does. I immerse myself in my relationship with Him, seeking His guidance in all things. I trust in His plan for me and in His promises because He has shown repeatedly that He is steadfast and faithful.
It seems like such a simple thing, but it has taken me a lifetime to reach this place. I can tell you sincerely, though, that I would not change a minute of the journey that has brought me here. It took every joy, every heartache, every tear to bring me to this place. But I am so grateful that I am here. At this moment. In this life.
I pray that if even one poem, one word, one thought from Four Weeks touches you, that you let that seed take root. That you know you are worth the journey. That you are so much stronger than the chains binding you. That a life filled with peace, love, and joy await you on the other side of the curtain. How do I know this?
Because I am standing on the other side, and the view is beautiful, and the road ahead—filled with hope and promise.
© 2019 Jennifer N. Fenwick, excerpt from Four Weeks © 2018
There is a surrendering to your story and then a knowing that you don't have to stay in your story. —CHARLOTTE BARON-REIDFour Weeks: A Journey from Darkness by Jennifer N. Fenwick, is available now on Amazon


text: Home Shop by Department Toys Pre-school & Infant Traditional Toys Melissa and Doug Animal Rescue Shape Sorting Truck Melissa and Doug Animal Rescue Shape Sorting Truck £16.00 Product code: 15180 With this rugged safari shape-sorter truck, two cheerful people are ready to zoom across the savannah to help their animal friends. The alligator, zebra, rhinoceros, elephant, giraffe, hippopotamus, and lion fit into the sides of the wooden truck toy through die-cut slots, so this exciting toy is perfect for imaginative play and fine motor skills . . . and much more!Read more Quantity: In stock Add to bagAdd to wishlist Share Facebook Twitter Fast Delivery Free Click & Collect Gift Wrap Want it on Wednesday, 23rd October? Place your order within 12 hrs 50 mins and select Nominated Delivery at the checkout. Enjoy same day Click & Collect to our Norwich stores or 2 working days to Jarrold Cromer or Jarrold Wymondham on orders received by 14:00 (Mon-Sat) Read More We offer a gift wrapping service on most items online - Look for the option in the checkout . Read More Product Details Melissa and Doug Animal Rescue Shape Sorting Truck Animal rescue rangers to the rescue! With this rugged safari shape-sorter truck, two cheerful people are ready to zoom across the savannah to help their animal friends. The alligator, zebra, rhinoceros, elephant, giraffe, hippopotamus, and lion fit into the sides of the wooden truck toy through die-cut slots, so this exciting toy is perfect for imaginative play and fine motor skills . . . and much more! Lift and remove the cargo door to unload the colourful animals, then count, sort, and stack the solid-wood pieces before loading the truck and securing the door in its track. One male and one female ranger fit in the cab of the truck, or come out to tend to the animals on the preserve. Play ideas are included to reinforce basic skills and inspire creative play. Delivery Delivery We aim to dispatch all items which are in stock on the same working day when orders are received by 2PM. Orders are sent with either Royal Mail or Parcelforce. Parcelforce normally offer a one hour delivery window via SMS or Email. Our Delivery Charges England, Wales & Southern Scotland Orders under £50 £3.50 Usually within 2-5 days Orders over £50 FREE Usually within 2-5 days Nominated day or Saturday delivery* £6.00 Select your day, on orders placed before 14:00 Click & Collect Furniture FREE FREE Same day at our Norwich stores on orders placed before 14:00 Expected within 5 weeks Scottish Highlands, Channel Islands and Northern Ireland View postcodes in this bracket All orders £5.00 Usually within 2-5 days Nominated day or Saturday delivery Furniture N/A N/A Unavailable to these postcodes Overseas (any non-UK address) At present we do not deliver overseas. Gift Cards, Book Tokens and Event Tickets £2.25 Furniture Small and flat packed items will be sent via Parcelforce, Direct Distribution or via our delivery vans. Large items will be sent by our specialist 2 man delivery partners. The delivery company will contact you within 7 days to organise delivery of your items. The delivery service includes an E-mail, SMS or call to advise a date and a 4 hour time slot for delivery. Crews will call 30 minutes prior to delivery and deliver to a room of choice, unpack and take away packaging. If you require assembly of your items then this can be arranged for an additional charge and you will need to speak to our team to arrange this. Please read our furniture Terms and Conditions here before you order. Delivery times: Orders in Norfolk and Suffolk will be approx 2-3 weeks Orders to the rest of the UK will approx 3-5 weeks We cannot deliver furniture to Northern Ireland Island, Scottish Islands and Channel Islands For more details on delivery please click here. Returns Standard Returns Policy Please note that these terms apply to products purchased through our website only. You may cancel your order for any reason at any time prior to dispatch and make returns up to 30 days after receipt of your goods. You have the right to cancel this contract within 14 days without giving any reason. To cancel your order prior to dispatch please telephone the Internet Order Help Desk on 01603 697150 or e-mail firstname.lastname@example.com. Click here for our cancellation policy Refunds Refunds will be against the card used to make the original payment following inspection of the returned goods, normally with in 7 working days. Return documentation is included with the goods when dispatched to you. We recommend that a verifiable method of return delivery is used, as proof of posting cannot be taken as proof of receipt. Please see our Returns Policy for items which are exempt from the right to cancel If goods are not returned and received by us in perfect condition we reserve the right to withhold or refuse any refund, pending enquiry, and/or make only a part refund Returning Furniture Please be aware that furniture purchased in store at Jarrold is exempt from the above terms. Please contact a member of our Furniture team on 01603 697258 who will be pleased to explain the terms and conditions of furniture purchases. Returns Postage Responsibility Please note that unless your item is faulty, or delivered in error, you are responsible for the cost of the postage back to us. 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text: We are traveling home today after what has been an incredible group trip! Lives were changed and everyone that was a part of the trip has many stories to tell! God showed up big! I am forever thankful for this group of friends that loves my Dominican babies with all of their hearts! Prayers as we continue our full day of travel back home today and for all of the group trip members as they adjust back to being home. #missionaryatheart


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Bounty Train Review: Early American Elitism
Bounty Train is a curious game. It's a sandbox trading sim/adventure game/railway enthusiast entertainment piece that, while the positions are static and the routes are fixed, still manages to give the player a great deal of movement. It's a genre bending game with multiple story routes and an excellent way to generate micronarratives as you go. And it's also one of the few games where you can lose during the tutorial levels, thus causing the game to shrug and go "Well, the game's over, but here, keep playing after the game over screen." But unlike other genre-bending sandbox sims, Bounty Train keeps a focus on fixed points instead of free exploration of the map, allowing the player to focus on things like the complex economy, resource management, and the interplay between various factions and characters, opening up in a way few games of its type do, and creating an entirely unique experience.Read More


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Etablissements affiliés
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- The China Education and Research Network (CERNET; Chinese: 中国教育和科研计算机网; pinyin: Zhōngguó jiàoyù hé kēyán jìsuànjī wǎng) is the first nationwide education and research computer network in China. The CERNET project is funded by the Chinese government and directly managed by the Chinese Ministry of Education. It is constructed and operated by Tsinghua and other leading Chinese universities.


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This will be one of many reviews during this year's Toronto International Film Festival. If you would like to keep up with our content, click here.
Synopsis:When a Staten Island kindergarten teacher discovers what may be a gifted five year-old student in her class, she becomes fascinated and obsessed with the child—spiraling downward on a dangerous and desperate path in order to nurture his talent. (Netflix)
Starring: Maggie Gyllenhaal, Gael García Bernal, and Parker Sevak
Writer: Sara Colangelo
Director: Sara Colangelo
Rating: TV-MA
Running Time: 96mins
On the surface, this is a film about a simple kindergarten teacher named Lisa Spinelli (Gyllenhaal) but it was so much more and eventually taking a dark turn by the end. Spinelli was a woman who had hit a rut in both her personal and professional lives. She loved her children and her students but she wanted more from her life so she decided to take a poetry class. Not getting the validation she needed, she chose to latch on to a gifted, five-year-old student in her class named Jimmy (Sevak). Over the course of the film, Spinelli's fascination with Jimmy's special abilities evolved into an obsession.
What was so great about the story was the different interpretations of Spinelli's motives. Her actions could be seen some twisted need to help Jimmy or maybe she was doing it for herself or maybe it was a combination of the two. All these conclusions are valid. It was very easy to see things from Spinelli's point of view and even empathize with her. In her mind, she wasn't doing anything wrong. In terms of negatives, there could have been more character development for Jimmy. He came from an unstable home and somehow developed his abilities out of nowhere. He felt more like a plot device than an actual character. Also, the end will be abrupt for some.
The best part of the film was Gyllenhaal's excellent performance as Spinelli. She was in just about every scene and single-handedly carries the film as the loving but arguably unstable teacher. Her likability made it easy to empathize with Spinelli. There was plenty of pain below the surface and her relationship with the pure and simple Jimmy was a reflection of what the film thought of today's society. As far as child actors go, Sevak was great as Jimmy. His performance captured the innocence and obliviousness of a young child. His chemistry with Gyllenhaal sold their teacher-student relationship which became a mother-son relationship.
Overall, this was a great character study that was thrilling to watch about the lengths one woman will go in her quest for validation. The script was sharp and Maggie Gyllenhall was superb while single-handedly carrying the film with a layered performance.
Score: 9/10
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