text:
Multitasking is for assholes.
No, no, I know, multitasking is the aegis of the modern man. "I'm walking. I'm talking. I'm chewing bubble gum with my mouth and… well, a couple other orifices. I've got a laptop strapped to my chest so I can: hammer out a spreadsheet, listen to Merle Haggard, watch the fuckthousandth version of Rebecca Black's 'Friday,' read about the mating habits of the Vancouver Island stoat, play a little Bejeweled, and masturbate to animatronic animals like those found in Disney's 'Country Bear Jamboree.' Ooh! And I'm on my way to kill a man in Reno just to watch him die. I'm a multitasker, motherfuckers."
To repeat: multitasking is for assholes.
This is doubly triply quadruply true for we crazy creatures known as "writers." Writing is a thing of focus. Imagine, if you will, that the train of thought is a very real vehicle, and once you're on board, it's best to stay on board. You go hopping on and off that damn thing like some kind of itinerant hobo, you're going to, well, as the saying goes, lose your train of thought. You watch your mental caboose disappearing down the track. And then what happens? You get eaten by coyotes, that's what happens.
This is of course why we have a new series of programmatic efforts to shut out distractions and keep you, the writer who has been trained that multitasking is the best thing since Jesus invented the jet-ski, focused. Write Or Die. Freedom. OmmWriter. And so on, and so forth.
Thus I give you: the iPad.
Apple's iPad is a marvelous device for writers. I didn't honestly know if it would be when I got mine. Writing is so often driven by a tactile feel: the clack-chack-zing of a typewriter translates to the PC keyboard, and here comes the iPad, which is really just a rectangle of glass. Do you really want to write a novel on a window pane?
Could be, rabbit, could be.
Here, then, are my thoughts on the iPad as a writer's device. This is not meant to be the end-all be-all: this is just my set-up and why I diggit. If you're a writer and have an iPad? Please do chime in.
It Is About Separation And Precision
The iPad allows you to easily take your little writer's window (the device itself) and wander away from your desk. It takes you away from distraction, then gives you the precise tools you need to get the work done.
You might be saying, "But, dumbass, one's iPad likely hosts an unholy array of distractions," to which I would agree. I've got endless amusements: email, Twitter, World of Goo, Infinity Blade, Words With Friends, Netflix, recipe programs, Flipboard, blah blah blah. Here's the difference, for me. Right now, my PC has 18 browser tabs open, and 12 programs open on the taskbar. Sometimes, I find myself flitting from tab to tab with no certainty why I'm doing so. It's like, I have to click them just because they're there. This is bad when writing, of course — "Did I just end a paragraph in the middle so I could go check a weather report I've already checked seven times this morning?" It's like I have a disease.
The iPad, while still technically a "multitasking device," does so, but in a reduced and less efficient way. And that lack of efficiency is a good thing, because really, the lack of efficient multitasking creates more efficient uni-tasking. Each app feels like an island, which is just what the doctor ordered.
The Setup
Here, then, how the iPad sits on my desk:
The iPad sits to the right of my computer. "Just another distraction," you think, and yes, that can be true — but it's very easy to grab it and walk out of my office. This is key. It also helps me shut down peripheral programs on my own PC and segue them to the iPad: while writing, I shut down everything on my PC but the work, then use the iPad to check Twitter periodically. It's a trick, I know — but writers are loons, our brains like undisciplined terriers. Sometimes, you need Stupid Writer Tricks.
It rests on a 12 South Compass stand, which in a pinch will also serve as a baton to fight off ninjas or highjackers. Actually, no joke: possession of this device in your carry-on luggage will get you stopped every time, and they will ask you to take it out, and guards will show up to watch your movements as you reveal… ta-da, it's just an iPad stand, not a Jihadist Infidel Cudgel.
The iPad sits in an Otterbox Commuter case, which is ruggedized to deal with a fall. I do this because I am easily as clumsy as a drunken baboon with a degenerative hip. Easily.
The most important part of my writerly iPad digs is the USB adapter… oh, I'm sorry, I mean, "camera adapter." This device says it's only good for connecting cameras to your iPad to download photos and videos. *poop noise* Not true! Not true at all. This little fucker is a straight-up cold-gangsta USB adapter. ("Cold-gangsta?" Shut up.) What this means is: that's right, you can plug a sexual simulation device USB keyboard into the tablet. It's funny, because even when you plug in the keyboard, the iPad tells you: "Oh, uhh, yeah, that device is totally unsupported. Just unplug it now. Don't even try to type on it. You'll fail. You're doomed. Seriously, wait –" And then you try it and, oops, yeah, it works fine.
Typing on the capacitive screen isn't terrible, but to get heavy-duty writing done, you're gonna want a keyboard. And this lets you have that.
(Oh, and I have the Wi-Fi only iPad. This lends itself further toward the "minimal distraction" thing, because the inability to find a 3G signal is great: again, minimum multitasking leads to maximum output.)
The Apps
Of course, it's all about the apps, baby.
Here, then, are the apps that inform my writer's existence. In no particular order…
Dropbox: If you do not know and love the Dropbox, then I must wonder exactly when you suffered traumatic head injury. Dropbox lets you backup your wordmonkeying. Not iPad-specific, which means you can access it on whatever device you choose. Free.
PlainText: This is my word processor of choice on Ye Jolly Olde iPadde. It's minimalist. It syncs to Dropbox. It counts your words. Great place to take notes or even write whole chapters. Doesn't hurt that it's totally free.
Kindle: Duh. Kindle. Books. iBooks is good, but has few books available. Free.
Netflix: You're saying, "Another distraction, Wendig. I'm on to you, you sonofabitch. Trying to justify your bad behavior." No, seriously, Netflix instant streaming is intensely useful as a writer. Great documentary work on there plus shows from History Channel and National Geographic. Good research material. See also: TED talks, which has an app. Free.
GoodReader: Read and annotate PDFs? Yes, please. I think it's only a buck.
NoteTaker HD: Cool program that lets you use your finger (or a stylus, I guess) to take notes. But here's where it really shines for me: writers get a lot of contracts, especially when freelance, and this lets you take a PDF and scrawl on it with your finger-pen. Which means you can sign PDF contracts, save 'em, and send those suckers right back to the client. No need to fuck around with printers and the post office. Five bucks.
Index Card: Great visual outlining tool that simulates the look of index cards on a corkboard. Great for hitting the beats or tentpoles in a planned fiction project. Can also turn into a line-item outline without the visuals, too, which is handy. Index Card is a writer's best buddy. Oh! Syncs with Dropbox. Five bucks.
SketchBook Pro: I got this on sale for a couple bucks, but normally I think it runs about eight. I wouldn't call this an essential in terms of writing-related apps since its straight-up visual, still, it's nice to have some doodle space that is a little prettier than what you get with Note Taker.
Popplet: On the iPhone, I use SimpleMind, but only recently did SimpleMind get a native iPad app which will then cost me an additional seven bucks to buy — unfortunately, even though it appears universal, it's not universal. Doesn't much matter because in the meantime I got hooked into Popplet, which actually has greater functionality in some ways: drag-and-drop mind-maps can also include little doodles and images. This is, by the way, what the corkboard simulator Corkulous is missing — the ability to connect pieces together to create a kind of narrative flow. Five bucks.
2Do: Confession: I actually hate all of the iPhone/iPad "to-do" lists. I want items that I can schedule but also snooze, and so far, that just doesn't seem to exist. This is the best I could find, but to be honest, most of my to-do stuff has segued to a whiteboard in my office.
What's Missing?
I tried Scrivener for the PC and I just didn't get my head around it. That said, I was busy on deadlines (when am I not?) and didn't have time to dick around with new software. Even still, I could sense the potential, and think that on the iPad something like Scrivener would really rock. But I don't know that an iPad version is planned? I remember reading it was, but now I can't find the info. Hrm.
As yet, Final Draft is not on the device, though it is coming.
I wish for a greater web-clipping service, something that allows me to easily clip webby bits and incorporate them immediately and easily into my workflow (Index Card, Popplet, etc).
Speaking Of Workflow
Generally speaking, I do not write large swathes of story on the iPad. I use the PC for that, but I can believe that the days of the desktop write-machine will draw to a close over the next couple years. At present, the iPad is a super-capable organizational device. I keep the iPad handy to take notes, to arrange materials, to do some "on-screen thinking out-loud," and, yes, to play some motherfucking Words With Friends. It is an elegant supplement to the writer's life, and actually does a lot of what I want to do, except mysteriously it does it better than the PC, which often can barely do the things I want it to do in the first damn place. Good mind-map? Not on the PC. Index card outlining? Not on the PC. Sign contracts with the magic of my middle finger? Not on the PC. The iPad is this weird little happy box, this wonderful magic window.
In the end, the iPad is like a little helper monkey.
A penmonkey for the penmonkey, perhaps.
Should you rush out and buy one if you're a writer? Well. That's on you. It'll help, but it's also not a necessary device. Still, note that it is tax deductible if you're a working writer and, further, is a suitable notebook/laptop replacement (in my opinion), and manages to be a helluva lot cheaper, to boot. So, YMMV and all that, but the iPad will supplement your writing life in a meaningful way.
Plus: PORTABLE ANIMATRONIC BEAR PORN.
I mean, uhhh.
*smoke bomb*


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Cheese: Barambah Organics Gold Hawk Washed Rind
It's advisable to take heed of the message on the label
This cheese has a strong pungent aroma and is full of intense flavour.
The aroma is evident before you even open the package, breathe deeply and those mushroom notes will come flooding over your senses
As you begin to unwrap it those scents start increasing
Tinged with a saffron skin, this small rounds looks harmless enough but it one of the more potent washed rinds I've had
As soon as you slice it and it begins to loose that chill from the fridge you are rewarded with a highly appealing oozing characteristic
it's almost as if the cheese itself wants to escape it's heady skin
Straight from the fridge there is quite a bit of ammonia on the nose so it will appreciate being allowed to come to temperature and these ammonia notes will dissipate over time.
If you are new to washed rinds, then I would advise against starting with this. If you like washed rinds but are unsure of this one, then take note that the more intense flavours are held within the rind and it's gloopy innards have a pleasant creamy bite to them.

subset: commoncrawl


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Mission Hills Flood Service
Mission Hills Flood Service is open to take your call 24/7 – 365 days a year. We understand that floods and Fires can strike any time and without warning. When it does, you need reliable and effective cleanup services and fast. We will dispatch a local flood service company to your location right away – day or night – within 60 Minutes. Licensed Contractors will provide an immediate on site damage assessment and experts accompany you during the restoration process.
Water Removal & Extraction, Sewage Mitigation, Mold Remediation, Structural Drying, De humidification, Deodorizing, Consulting, Asbestos Removal…. the list goes on.
Q&A> How soon can a Mission Hills Flood Service company out ? In most cases, Mission Hills Flood Service can dispatch trained personnel to your site within sixty minutes.
How long will it take to dry my property? Usually structures take 3-4 days, though some jobs require more time.
Does our insurance carrier cover your service? Your insurance policy dictates the terms of your coverage. However, Owner policies differ, and in most cases insurance covers the costs to remedy your property damage.
Can Mission Hills Flood Service work with my insurance adjusters to settle my claim? Many years of experience in making fair and reasonable appraisals of damaged property are employed by the flood service company, preparing the necessary reports required by insurance companies in order to help settle the claim.
The following factors outline why flood restoration needs to be handled quickly:
- A building can take weeks to dry out.
- Rot and deterioration can damage building foundations caused by water residing under floors.
- Electrical equipment and wiring becomes corroded as well as a safety hazard from water penetration.
- Asbestos and other harmful contaminants from building surfaces can be carried by fresh water.
- Books and documents deteriorate quickly and can cause mold growth if not dealt with quickly.
- Emergency Plumbing Services
- Burst Pipe Repair
- Leakage Detection
- Removal of Property and Storage Services
- Water Extraction Services
- Flood Damage Assessment
- Drying and Humidification of Flooded Areas
- Deodorizing, Mold, Mildew and Odor Control
- Water Damage Repair
- Complete Property flood Restoration
- Direct Insurance Billing
- https://www.emergencyfloodedservice.com/mission-hills-flood-services/


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New Delhi, Oct 24: Former Pakistan captain Wasim Akram on Wednesday questioned if the Indian team has the bench strength to replace opening duo of Gautam Gambhir and Virender Sehwag ahead of the England series at home.
"I doubt India have a Plan B to replace them. With Rahul Dravid and VVS Laxman retiring, the middle order will be bereft of experience and under the circumstances, dislodging a time-tested combination at the top may not be very prudent," Akram said.
The former pace legend laid his faith on Gambhir and Sehwag and said home conditions will help the Delhi duo to find its lost touch.
"Starting mid-November, India will have a long international calendar at home. They will play quality teams like England and Australia and hopefully, Pakistan will tour in the winter.
I think this will give ample opportunity for men like Virender Sehwag and Gautam Gambhir to regain their form," Akram said.
"Both showed glimpses of their touch in their last Champions League games and it's senseless to question their ability as international batsmen.
"I don't think India will experiment much with their opening pair of Gambhir and Sehwag. On Indian wickets, they will exploit the home conditions well," he added.
The 46-year-old former Pakistani cricketer also feels Delhi Daredevils have a good chance of claiming the Champions League Twenty20 trophy in South Africa and it would also be a big opportunity for Sehwag to redeem himself.
"While the South Africans, with plenty of home-bred talents, will fancy their chance to win the tournament this time, Delhi will be a strong contender.
Delhi have improved with every game and the fact that their top six batsmen are technically accomplished and truly international class will give them a lot of confidence," he said.
"Although this is T20 cricket, I still believe a batsman must be equipped to play on all conditions to excel. On this front, Delhi are blessed with men like David Warner, Kevin Pietersen, Mahela Jayawardene and Ross Taylor.
"Plus, Sehwag looked good against Perth Scorchers. His 44-ball 52 will give him a lot of self-reliance. And, this is time for Sehwag to prove his critics wrong," Akram added.


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Advertising Age published a unique perspective on immigration by P.J. Pereira. The writer makes some interesting observations about the industry's open-minded attitude when wooing foreigners and its arguably close-minded ways regarding local grassroots recruiting. Yet should our industry be saluted for welcoming international adpeople? As Pereira points out, acquiring an O1 visa usually requires winning awards and accolades abroad. So it could be argued that such recruitment essentially constitutes extended exclusivity. No one in the U.S. appears to be scouring the inner cities of other countries for minority employees. It would be nice to see numbers supporting Pereira's contention that the ad business is doing a great job of reeling in top talent from around the globe. A lot of industry immigrants fail to assimilate and/or ultimately reveal themselves as idiots with an accent. Besides, Adland might look a tad hypocritical touting its success with immigration when there has been total failure with integration.
Why the Ad Industry Should Speak Up as Part of America's Immigration Policy Debate
What Would American Advertising Be Without Linus Karlsson, Nick Law, David Droga, Rei Inamoto, and Jose Molla?
By P.J. Pereira
What would American advertising be like without people like Linus Karlsson, Nick Law, David Droga, Rei Inamoto, or Jose Molla? In a moment when this country discusses its immigration policies, its ad industry should be proud of the fact that it has been, for decades, bringing the world to our backyard.
And if a lot of the discussion around this theme ends up on border protection, low wage immigrants, and amnesty for illegals, the issue also influences how open we are to bringing in highly skilled academics and professionals that can't be found enough around here. The Silicon Valley in particular has been fighting for years on better ways to attract great minds, but they are always pushed back.
Well, we can help. Not with a campaign though. We can be an example.
The ad world's accomplishments in its ability to attract global talent is ahead of most industries. Although it's important to note that this happened at least partially because of a very peculiar advantage we have. When I immigrated from Brazil to work in the states, my first visa was given as an "O1" type. This designation surprisingly caused every immigration officer I met to ask me why I was so special. O1 was a type of visa originally created for Nobel Prize winners, Olympians and other super humans, as one officer once explained. It so happens that because our industry has international awards, it's easier for us than other disciplines to provide the evidence necessary to receive that prestigious code; a visa that is otherwise hard to prove your worth yet very fast and painless once you do.
The ad world just took advantage of this opportunity, as we should have. With the O1, it became easy to follow who was doing great work abroad and attract them to the biggest and most powerful market in the world. And that's the reason why we are ahead of other segments. Our advantage isn't based on any kind of moral superiority, global taste or vision, but on a blurry opening in the system that allows us to use a mechanism created for brilliant scientists and super athletes.
In other disciplines that don't have the same kind of validating evidence that award shows provide our industry, restrictions to hosting foreigners become so daunting that most of the time it amounts to far too much work, and risk. But because things have been easier for us, we have been ensuring America remains consistently among the top leaders in our sector. And this is a very timely and valuable stance! The American ad industry is proof that making it easier to attract top talent will make us more competitive. It's this ease, and its impact, that we should highlight and demonstrate, not the intention or even the fact that these immigrants create jobs, etc. Let the Valley do that part. Our story is the proof of how making immigration processes easier works for the nation as a whole. Period.
This business gets knocked around a lot, but the ad industry can confidently say it's good on bringing foreigners into the business. However, it should make a bigger noise about to underscore the importance of making things easier.
At the same time, we shouldn't rest on our laurels and only go for the tried and tested. And we shouldn't import the best and brightest minds exclusively. It's imperative for us to be training young talent too. And it's downright scary how little of that is going on.
A few years ago I told some colleagues that I was planning to hire three kids straight from school to work on a big client. An account guy screamed at me, "You want to hire these first-timers to work on a Fortune 500 account? No way! Let those beginners learn their craft somewhere else, and then come here after they are 3, 5 years into this." A CD joined him, "I looked at their books. They aren't professional enough to work here. Let them learn first so we can use them on something." Luckily my boss was more open-minded and gave me all the support to do it, because he also believed that someone had to help these people start. Six months later, those 26-year-old "kids" were kicking ass, doing amazing work, growing that account and winning awards. And both the CD and the account guy came to apologize.
When we get too used to looking outside for proven talent, we create a pattern of going for the guaranteed bet, instead of investing on nurturing new, slightly risky ones. So while we praise our own modernity as global recruiters, we should also be ashamed of fueling the exact opposite side of the issue.
Rather than blindly taking sides, our industry has a job to do on both camps of this battle of "let's-bring-in-the-geniuses-that-will-create-more-jobs" versus "let's-employ-the-Americans-that-need-those-jobs-so-badly." We are shirking responsibility if we don't position our industry as an example of how an easier process of bringing in top global talent makes us more competitive as a nation. But denying how lazy we have been with the just-out-of-school-kids may be worse—it may be immoral.
P.J. Pereira is co-founder and chief creative officer at San Francisco-based Pereira & O'Dell.


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- The Elemental Plane of Earth is a solid place made of rock, soil, and stone. An unwary and unprepared traveler may find himself entombed within this vast solidity of material and have his life crushed into nothingness, his powdered remains a warning to any foolish enough to follow.
- Despite its solid, unyielding nature, the Elemental Plane of Earth is varied in its consistency, ranging from relatively soft soil to veins of heavier and more valuable metal.
- The Elemental Plane of Earth has the following traits.
- Earth-dominant.
- Enhanced magic. Spells and spell-like abilities that use, manipulate, or create earth or stone (including those of the Earth domain) are both empowered and extended (as if the Empower Spell and Extend Spell metamagic feats had been used on them, but the spells don't require higher-level slots). Spells and spell-like abilities that are already empowered or extended are unaffected by this benefit.
- Impeded magic. Spells and spell-like abilities that use or create air (including spells of the Air domain and spells that summon air elementals or outsiders with the air subtype) are impeded.


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As the economy continues to improve, and labor gets tighter, wages start to rise. It's inevitable, and that reality sends shock waves of fear through the small business community. After all, they can't hope to compete with the big players in their industries, and let's face it, the lure of a significantly bigger paycheck can be all but irresistible. How then, do smaller companies compete, if they want to keep their best talent?
Small and medium-sized companies are cauldrons of innovation. They have to be in order to survive. Of course, big businesses co-opt the best ideas generated in the ever-churning small business laboratory, but the fact remains that much of the innovation we see in this country comes directly from small to medium sized businesses, and that includes non-monetary compensation strategies.
One of the very best methods you can use to keep your people is autonomy. It's actually amazing, the disconnect between what we know about motivation, and how we apply it in the real world. You've probably heard, and perhaps even structured your entire business around the idea that more pay = better performance.
Actually, that isn't true at all.
In fact, the only time it is true is for purely mechanical tasks. Assembly line tasks. In that specific case, better compensation delivers superior performance, but the moment that a task requires even rudimentary cognitive skills, it either has no impact at all, or in many cases, actually decreases performance.
The key is to pay enough to take money off the table. A salary good enough to live on. After that, you make up the difference by giving your people autonomy. Control over their schedules and their work day. In its most extreme form, some companies don't have any rules for their employees at all, including no set schedule and optional meeting attendance. The only requirement is that the work get done and be completed on time. How that happens is left entirely to the employees themselves.
Obviously you don't have to go to that extreme, but the bottom line is, the more autonomy you give your employees, the better they'll perform for you, and the more likely they'll be to stay, even if offered a higher salary. That's heartening news.


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Your days of worrying about unsightly glass cracks in your view are over with this all-new Windshield Scratch Repair Liquid that fixes up any minor blemishes, restoring safe driving visibility to your windshield.
Drive with confidence when you have this handy repair kit in your possession, and save valuable time and money that you'd otherwise spend at an auto repair shop.
Fast Repair – In as little as 20-30 minutes, watch small cracks disappear before your very eyes.
The Windshield Scratch Repair Liquid prevents damage in a crack from spreading while restoring your windshield to near-new condition.
For best results, repairs should be made as soon as possible after the damage occurs and before the crack is contaminated by dirt or water.
Our wizardly repair resin is easy to use:
✅ Remove glass debris safely.
✅ Screw open the resin applicator and use the head to open the center of the glass crack.
✅ Place the rubber mouth of the suction cup at the center of the crack.
✅ Place a drop of the resin into the damaged area and paste one curing film over, ensuring no gaps or air bubbles.
✅ Let the application dry under sunlight for about 15-20 minutes.
✅ Check to see if the crack is healed.
Innovative Design – featuring a reinforced injection sealant dispensing head, this advanced resin formula dispenser produces strong pressure.
It has a vacuum function to quickly remove air from the crack, effectively minimizing the appearance of chips and cracks while stopping them from spreading.
Wide Use – This Windshield Scratch Repair Liquid repairs all types of laminated windscreen chips and cracks, from bugs, cobwebs, half-moon cracks, star-shaped cracks, and combination-style damage. Note cracks have to be less than 1 in / 25 mm in diameter.
Package Includes:
✅ 1 x Repair Liquid
✅ 5 x Curing Strips
✅ 1 x Sleeved Razor Blade


text:
Last year in honor of Memorial Day I posted this.
This year daughter and I went downtown to our small National Cemetery and then on to the N.C. State Capital Grounds to watch the Wreath Laying at the Veteran's Monument.
Yes, it brings tears. Tears of sadness and tears of gratitude for all those who have lost a loved one. Tears seeing the fresh new Jr. ROTC recruits and the Marine Corps Color Guard march in perfect step showing such respect to a country that they love dearly.
I don't know these fine gentlemen, but they paid the ultimate sacrifice in order for us to "Live in the land of the Free"
From A Little Pink In a World of Camo
Memorial Day is about honoring men and women who died in military service to our county. Take today to thank our veterans, pray for the brave men and women overseas, and remember those who fell defending the right for man to live free. Let us be strengthened by their courage. Let's make it contagious.
Still deciding on who gets this americana string quilt. To date, I've made approximately 31 quilts that have been given to babies born while their daddies are deployed. Instructions can be found here at Mary Quilts.


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Monetizing your AMP page with ads
Important: this documentation is not applicable to your currently selected format email!
This guide provides instructions and best practices for displaying ads on your AMP pages.
Adding ads to your page
In non-AMP pages (traditional HTML), if you want to display ads on your page, you'd include a snippet of JavaScript to serve ads from your ad network. For performance and security reasons, you cannot include third-party JavaScript in AMP pages. So, to display ads in AMP, you need to add the custom amp-ad
component to your AMP page.
Let's walk through the steps of adding the component so you can display ads on your AMP page.
Step 1: Add the amp-ad script
The amp-ad
component is a custom ad extension to the AMP library. Under the hood of amp-ad
is custom JavaScript that's carefully designed to optimize performance. To run the amp-ad
section of your AMP page:
<script async custom-element="amp-ad" src="https://cdn.ampproject.org/v0/amp-ad-0.1.js"></script>
Step 2: Add the amp-ad tag to your AMP page
Over 100+ ad servers and networks provide built-in integrations with AMP. To add an ad for a given ad network, add the amp-ad
tag, and specify the network in the type
In this example, we are adding an ad slot to serve ads from the a9 network:
<amp-ad type="a9">
Step 3: Specify the size of the ad unit
Add the width
and height
attributes to the amp-ad
tag. This specifies the size of the ad on your AMP page:
<amp-ad type="a9">
width="300" height="250"
Step 4: Set ad network parameters
Each network has specific data attributes they require to serve ads. Refer to the ad network's amp-ad
documentation and add the attributes that are needed In the following example, the a9 network requires additional parameters to specify the size of the ad, and other details:
<amp-ad type="a9"
width="300" height="250"
Step 5: (Optional) Specify a placeholder
Depending on the ad network, you can choose to show a placeholder until the ad is available for viewing. This provides a better user experience by preventing a blank space. To specify a placeholder, add a child element with the placeholder
attribute. Learn more in Placeholders & fallbacks.
<amp-ad type="a9"
width="300" height="250"
<amp-img placeholder src="placeholder-image.jpg"></amp-img>
Step 6: (Optional) Specify a fallback
Depending on the ad network, you can choose to show a fallback element if no ad is available to serve. To specify a fallback, add a child element with the fallback
attribute. Learn more in Placeholders & fallbacks.
<amp-ad type="a9"
width="300" height="250"
<amp-img fallback src="fallback-image.jpg"></amp-img>
Congratulations! You are now serving ads on your AMP page!
Serving direct-sold AMPHTML ads
The amp-ad
component serves ads from the network you specify. Those ads can be standard HTML ads or AMPHTML ads, provided that the ad network supports AMPHTML ads. To serve your direct-sold ads as AMPHTML ads, create the ad in AMP HTML according to the AMPHTML ad spec requirements and use an ad server that serves AMPHTML ads.
Augmenting targeting data on ad requests
As part of the Fast Fetch serving mechanism, the Real-Time Config (RTC) feature allows publishers to augment ad requests with first-party and third-party targeting information that's retrieved at runtime. RTC allows up to 5 callouts to targeting servers for each individual ad slot, the results of which are appended to the ad request. To use RTC on your ads, the ad network you use must support RTC and Fast Fetch.
You can learn more about RTC from this YouTube video:
Or, learn more from these RTC resources:
Best practices
Here are some tips to maximize the effectiveness of ads on your AMP pages:
Placement & controls: optimize your ad placements
- Place the same number of ads on AMP Pages as your non-AMP pages to generate maximum revenue per page.
- Place the first ad immediately below the first viewport ("below the fold") to provide an optimal user experience.
- Unless you're using advanced CSS or media queries, ensure your ad units are centered on the page to provide your users with an optimal mobile web experience.
- Enable multi-size ad requests on your AMP inventory to increase ad auction pressure and drive revenue.
Demand & pricing: get the right price for your ads
- Sell ad units on your AMP pages across all sales channels, including direct and indirect to maximize competition for your inventory on AMP pages.
- Price your ad inventory on AMP pages similar to your inventory on non-AMP pages. Monitor performance and adjust pricing accordingly.
- Ensure all ad demand channels are competing for ad inventory on your AMP pages to drive up competition.
Ad types: Serve the best types of ads
- Avoid heavy creatives per IAB guidelines.
- Avoid interstitials or other ad formats that cause the content to reflow on ad load.
- Optimize for viewability by setting the data-loading-strategy to prefer-viewability-over-views.
- Place ads in your video content via supported players or
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text: 50 Fun Things for Professors to do on the First Day of Class by Alan Meiss 1. Wear a hood with one eyehole. Periodically make strange gurgling noises. 2. After confirming everyone's names on the roll, thank the class for attending "Advanced Astrodynamics 690" and mention that yesterday was the last day to drop. 3. After turning on the overhead projector, clutch your chest and scream "MY PACEMAKER!" 4. Wear a pointed Kaiser helmet and a monocle and carry a riding crop. 5. Gradually speak softer and softer and then suddenly point to a student and scream "YOU! WHAT DID I JUST SAY?" 6. Deliver your lecture through a hand puppet. If a student asks you a question directly, say in a high-pitched voice, "The Professor can't hear you, you'll have to ask *me*, Winky Willy". 7. If someone asks a question, walk silently over to their seat, hand them your piece of chalk, and ask, "Would YOU like to give the lecture, Mr. Smartypants?" 8. Pick out random students, ask them questions, and time their responses with a stop watch. Record their times in your grade book while muttering "tsk, tsk". 9. Ask students to call you "Tinkerbell" or "Surfin' Bird". 10. Stop in mid-lecture, frown for a moment, and then ask the class whether your butt looks fat. 11. Play "Kumbaya" on the banjo. 12. Show a video on medieval torture implements to your calculus class. Giggle throughout it. 13. Announce "you'll need this", and write the suicide prevention hotline number on the board. 14. Wear mirrored sunglasses and speak only in Turkish. Ignore all questions. 15. Start the lecture by dancing and lip-syncing to James Brown's "Sex Machine." 16. Ask occassional questions, but mutter "as if you gibbering simps would know" and move on before anyone can answer. 17. Ask the class to read Jenkins through Johnson of the local phone book by the next lecture. Vaguely imply that there will be a quiz. 18. Have one of your graduate students sprinkle flower petals ahead of you as you pace back and forth. 19. Address students as "worm". 20. Announce to students that their entire grades will be based on a single-question oral final exam. Imply that this could happen at any moment. 21. Turn off the lights, play a tape of crickets chirping, and begin singing spirituals. 22. Ask for a volunteer for a demonstration. Ask them to fill out a waiver as you put on a lead apron and light a blowtorch. 23. Point the overhead projector at the class. Demand each student's name, rank, and serial number. 24. Begin class by smashing the neck off a bottle of vodka, and announce that the lecture's over when the bottle's done. 25. Have a band waiting in the corner of the room. When anyone asks a question, have the band start playing and sing an Elvis song. 26. Every so often, freeze in mid sentence and stare off into space for several minutes. After a long, awkward silence, resume your sentence and proceed normally. 27. Wear a "virtual reality" helmet and strange gloves. When someone asks a question, turn in their direction and make throttling motions with your hands. 28. Mention in passing that you're wearing rubber underwear. 29. Growl constantly and address students as "matey". 30. Devote your math lecture to free verse about your favorite numbers and ask students to "sit back and groove". 31. Announce that last year's students have almost finished their class projects. 32. Inform your English class that they need to know Fortran and code all their essays. Deliver a lecture on output format statements. 33. Bring a small dog to class. Tell the class he's named "Boogers McGee" and is your "mascot". Whenever someone asks a question, walk over to the dog and ask it, "What'll be, McGee?" 34. Wear a feather boa and ask students to call you "Snuggles". 35. Tell your math students that they must do all their work in a base 11 number system. Use a complicated symbol you've named after yourself in place of the number 10 and threaten to fail students who don't use it. 36. Claim to be a chicken. Squat, cluck, and produce eggs at irregular intervals. 37. Bring a CPR dummy to class and announce that it will be the teaching assistant for the semester. Assign it an office and office hours. 38. Have a grad student in a black beret pluck at a bass while you lecture. 39. Sprint from the room in a panic if you hear sirens outside. 40. Give an opening monologue. Take two minute "commercial breaks" every ten minutes. 41. Tell students that you'll fail them if they cheat on exams or "fake the funk". 42. Announce that you need to deliver two lectures that day, and deliver them in rapid-fire auctioneer style. 43. Pass out dental floss to students and devote the lecture to oral hygiene. 44. Announce that the entire 32-volume Encyclopedia Britannica will be required reading for your class. Assign a report on Volume 1, Aardvark through Armenia, for next class. 45. Ask students to list their favorite showtunes on a signup sheet. Criticize their choices and make notes in your grade book. 46. Sneeze on students in the front row and wipe your nose on your tie. 47. Warn students that they should bring a sack lunch to exams. 48. Refer frequently to students who died while taking your class. 49. Show up to lecture in a ventilated clean suit. Advise students to keep their distance for their own safety and mutter something about "that bug I picked up in the field". 50. Jog into class, rip the textbook in half, and scream, "Are you pumped? ARE YOU PUMPED? I CAN'T HEEEEEEAR YOU!"


text: Thank you for your interest in Woodbury Senior Living. We will contact you shortly to schedule your tour. For immediate assistance please contact us at. Your Name * Email * Phone * How did you find us? * Our WebsiteOnline SearchLive in NeighborhoodChurchFriend / Family Community Preference: Housing with ServicesAssisted LivingEnhanced Assisted LivingMemory Care in Assisted Living Transitional Care (Short-Term Rehab)Long-Term Care (Nursing Home)Memory Care in Long-Term Care Message: I agree that my submitted data is being collected and stored.


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Following its meteoric rise to the forefront of our public consciousness, Bitcoin has been named the 'Term of the Year' by Investopedia. This is hardly surprising, considering that cryptocurrency managed to overshadow most of the events in what has been a rather tumultuous year.
Financial education recourse focused on investment featured Bitcoin at the top of their annual Top Financial Terms list. It's also important to note just how prevalent the cryptocurrency has been this year, as Bitcoin is far from the only cryptocurrency-related term on the list.
The technology behind the new trend – blockchain – is a close second. A predictable development, considering that even a lot of more conservative investors that shun cryptocurrencies as a speculative bubble are fully on board with the tech that powers it.
Another crypto-term on the list is ICO or Initial Coin Offering. Despite the fact that quite a few of the ICOs do not actually sell out, it is impossible to underestimate the impact of those that do. And this has not gone unnoticed in the investment circles.
This is the gold rush of our time, and Bitcoin comes both with the positives and the negatives of its infamous counterpart. No matter what you think about it, ignoring cryptocurrency is not a wise move.


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Shipping is included on most mainland UK orders. For international shipping information, please contact us.
A hand embellished print of an original artwork which features The Dodo bird using the artist's imagination and humour combined with a vintage looking style of drawing. Enchanted by this extinct species Helen's research goes back to the time of Charles Darwin. Her original paintings adorn the walls of The Dodo Micropub in Hanwell where she is resident artist and spends time with friends over a glass of something chilled.
Helen paints in watercolour and uses fine art giclée printing methods in her limited editions to produce finely detailed work. These prints are then carefully numbered and signed. They are embellished with subtle additions of metallic gold gouache and fine liner ink. Each piece is an edition of 100 prints and comes with a certificate of authenticity. Perfect for the contemporary home, they look good grouped together on a gallery style wall.
Unframed and unmounted. Dispatched flat packed.
Hand embellished giclée print on Hahnemuhle rag 308gsm archival quality.
Size of image: Approx. 40 x 30cm (including borders).
Size of paper 40 x 30cm.
A Certificate of Authenticity will be provided with this artwork.
Click here to see Helen's full collection.


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OLYMPIA – Hunters have until Aug. 14 at midnight to apply for an opportunity to hunt deer this fall on the 6,000-acre Charles and Mary Eder unit of the Scotch Creek Wildlife Area in northeastern Okanogan County.
Hunters can submit an application for the "limited-entry" deer hunt on the Washington Department of Fish and Wildlife's (WDFW) website at http://wdfw.wa.gov/hunting/
Eighteen applicants will be chosen during a random drawing scheduled Aug. 15. Winners of the drawing will receive access permits to the Charles and Mary Eder Unit of the Scotch Creek Wildlife Area near Oroville.
"This is part of our effort to provide quality hunting opportunities in Washington," said Matt Monda, WDFW Northcentral Regional Wildlife Manager. "This drawing is open to the general public without any additional fees beyond the cost of a hunting license and the standard tags."
Of the 18 access permits available this year, six will be reserved for bowhunters, six for muzzleloaders and six for hunters using modern firearms.
Hunters are allowed to take only one deer, and must follow general hunting rules in effect for this area.
Deer-hunting seasons for the area are Sept. 1-27 for bow hunters, Sept. 28-Oct. 6 for muzzleloaders, and Oct. 12-20 for hunters using modern firearms.
The results of the drawing will be available on WDFW's website the last week of August. Hunters who are drawn will receive an access permit and a boundary map in the mail.


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(a) Full (statement of duration) or limited warrantyAny warrantor warranting a consumer product by means of a written warranty shall clearly and conspicuously designate such warranty in the following manner, unless exempted from doing so by the Commission pursuant to subsection (c) of this section:
If the written warranty meets the Federal minimum standards for warranty set forth in section 2304 of this title, then it shall be conspicuously designated a "full (statement of duration) warranty".
If the written warranty does not meet the Federal minimum standards for warranty set forth in section 2304 of this title, then it shall be conspicuously designated a "limited warranty".
(b) Applicability of requirements, standards, etc., to representations or statements of customer satisfaction
(c) Exemptions by Commission
In addition to exercising the authority pertaining to disclosure granted in section 2302 of this title, the Commission may by rule determine when a written warranty does not have to be designated either "full (statement of duration)" or "limited" in accordance with this section.
(d) Applicability to consumer products costing more than $10 and not designated as full warranties
The provisions of subsections (a) and (c) of this section apply only to warranties which pertain to consumer products actually costing the consumer more than $10 and which are not designated "full (statement of duration) warranties".


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It is a treat today to introduce you to Alretha Thomas, playwright and author. Sit back with a cup of coffee or your favorite tea and enjoy learning more about Alretha Thomas. ~Lisa
An author and playwright,
Alretha Thomas is making her name through her pen. Award winning plays and
wanting to help her community, Alretha's background is as diverse as her
personality. She started at the age of ten, when her 5th grade teacher picked
and read her short story assignment in front of the class – that simple, loving
act empowered a new writer. Continuing in high school, her numerous original
oratorical conquests on the Speech Team led her to a journalism concentration
at USC.
Upon graduating, Alretha soon realized that her interest in
journalism was not heartfelt. While at the taping of a live sitcom, the
producer noticed her and encouraged her hand at modeling. Modeling didn't mean
much to her, but it did lead her to acting and a NAACP Theatre Award Nomination
(1993) for BEST ACTRESS. Alretha left acting and began to write full time. Her
church gave her an outlet to fulfill her writing desires through their
Liturgical Fine Arts Department wherein Alretha penned twelve theatre
pieces—the community response was overwhelming.
This led to full length plays outside of the church. In 2002, The
Stella Adler Theater presented A Shrine to Junior. The play was
nominated for an NAACP Theatre Award and in 2004, Alretha's play, Civil
Rites, was the recipient of an NAACP Theatre Award. Her play Grandpa's
Truth ran at the Inglewood Playhouse in Inglewood, California in 2006, and
was extended more than once by popular demand. Not only did radio station KJLH
support by recommending this production to its listeners, but notables like the
Mayor of Inglewood, Roosevelt Dorn, and music legends like Freda Payne and
Stevie Wonder had critical acclaim for Grandpa's Truth. This wonderful
piece was featured on Channel 5 (KTLA News) by Entertainment Reporter, Sam
Rubin. Additionally, in 2007, Alretha's play, Sacrificing Simone had a
successful run at Stage 52 in Los Angeles and was called "an inspirational
crowd pleaser" by the Los Angeles Times and in 2009, Alretha's ground
breaking One, Woman Two Lives, starring Kellita Smith (The Bernie Mac
Show), directed by four-time NAACP Image Award Best Director recipient Denise
Dowse, garnered rave reviews from critics and audiences.
In between plays, Alretha's first novel Daughter Denied was
launched in 2008 and has received glowing reviews from readers and book clubs
across the country. Representing her book, Alretha has been the guest on many
radio shows and television shows including San Francisco Public Affairs show Bay
Sunday with Barbara Rodgers on KTLA Channel 5. In 2011, Alretha launched
her second novel Dancing Her Deams Away, and it was also well received.
Her third novel, Married in the Nick of Nine, is taking readers and
reviewers across the country by storm. Alretha is currently preparing for the
release of sequel to Married in the Nick of Nine. The Baby in the
Window will launch in 2013.
Get to know Alretha:
Q: Can you tell us a little bit about yourself and how long you've
been writing?
A: If you look up miracle in the dictionary, you'll see my smiling
face staring back at you. Nineteen years ago, if you had told me I'd be
participating in an interview with AAMBC regarding my third novel Married in
the Nick of Nine, I would have directed you to the nearest lost and found
so you could hopefully locate your mind. There's no way a young, black girl
raised in a San Francisco housing project, with a sickly mother on welfare, and
an abusive jailbird father could become a writer. There's no way that girl, who
finds her mother's lifeless body on the living room sofa, at the age of
fourteen, could even think about writing, let alone graduate second in her high
school and get a scholarship to USC. There's no way that girl, who becomes
anorexic, bulimic, and falls prey to drugs and alcohol, could have any hopes of
becoming a writer. Well, miracles do happen and with determination and faith in
God, I was able to overcome my obstacles and fulfill my fifth grade teacher's
prophecy, that one day I'll be a published writer.
Q: You refer to your books as your babies. Tell us how "Married in
the Nick of Nine" was conceived and born.
A: In early 2011, I began putting together a skeletal outline for
a story about a young, smart, and successful woman who was determined to meet,
fall in love with, and marry "The One" within nine months. Around the time I
was writing the book, I was launching Dancing Her Dreams Away, so after
writing about thirty-five pages, I put Married in the Nick of Nine on
the shelf. Dancing Her Dreams Away launched June 2011, and I was laid
off my corporate job of twelve years in September 2011!
The Friday of the week I was laid off, I decided to query agents
regarding Married in the Nick of Nine, just to see if anyone would be
interested. Usually I have to query about three-hundred agents before I get a
handful of responses, so I didn't expect to get any replies, let alone any
positive ones. So I submitted one query letter to one agent. To
my amazement, the agent requested the entire manuscript. I was filled with glee
and dread because there was no manuscript. I barely had forty pages. But
this was an opportunity of a lifetime, so like Bradley Cooper in Limitless, I
started writing. He had NZT and I had faith. I stayed up writing the book for
four days straight, and by the following Monday I received an email from the
agent asking if the manuscript had gotten lost in cyberspace. I told her I
would get it to her the following day. So four days after the manuscript
request, and one week after being laid off, I had completed Married in the
Nick of Nine. Long story short, I submitted the book, got great feedback,
but no cigar. After countless revisions, more submissions, requests, and
rejections, I decided to once again self-publish! And I'm glad I did. Just
think if I hadn't submitted that one query letter, Married in the Nick of
Nine would still be on the shelf.
Q: Which characters in "Married in the Nick of Nine" are you most like?
A: Wow! That's a great question. I'm actually a combination of a
few of them. I was very similar to Cyn in my twenties. I liked to party and
like Cyn, I drank a little too much. I became more like Cassandra, in my late
thirties. That's when I got focused. There are aspects of both characters that
I admire. I love Cyn's free spirit and her tendency to say what's on her mind.
I love Cassandra's determination and I admire how she managed to stay on point
with her goals. She finished high school, went onto college, and now has a
great career. I veered off the path during my journey, but thank God, I
eventually got it together. By the way, I have a BIG crush on Nick! LOL!
Q: Is the life of a writer as you imagined it to be?
A: I never imagined what a writer's life would be like. I've
always envisioned what I wanted my life to be like as a writer. My dream is to
be well off, free from the 9-5 grind, writing books, plays, having my books
optioned for movies, and being a part of those movies as a producer. I saw
myself being a part of every aspect of the movie making process, from casting
to the red carpet premiere. I also saw myself being interviewed by Oprah
Winfrey, Entertainment tonight, and all the other entertainment shows. Am I
there yet? No. But I'm having a ball getting there. LOL!
Q: What are some of your favorite books?
A: There are hundreds. Top of my list is the BIBLE. Others that
stand out the most are as follows: The late Bebe Moore' Campbell's, "What You
Owe Me" and "Brothers and Sisters." "Angela's Ashes" by the late Frank McCourt.
Terry McMillan's, "Waiting to Exhale," "Disappearing Acts," "The Interruption
of Everything," and "A Day Late and A Dollar Short." Wally Lamb's "She's Come
Undone" and "I know This Much Is True." "RL's Dream," by Walter Mosley, and all
of Kimberla Roby Lawson's books. Classics like "The Color Purple," by Alice
Walker and "The Bluest Eye" by Toni Morrison. Too many more to list!
Q: If you could go back and change one day, what would it be?
A: It would be the day my mother died and yes, the reasons are
obvious. I know she's within me, and I believe she's aware of my life. I
actually had a very vivid dream wherein she appeared to me and she was very
happy. She smiled and she said, "I heard you wrote a book." This was around the
time my debut novel came out. The dream was so real. I took one look at her and
burst into tears. I was overwhelmed seeing her and I cried expressing the pain
that I had experienced in my life not having her around. She hugged me and I
woke up. I jumped up and ran screaming through the house. "My mother came to
me! My mother came to me." My husband, who was already up, reached out to me,
and I collapsed into his arms.
Q:What advice would you give to aspiring writers?
Cassandra Whitmore is facing yet another Valentine's Day alone. Her love life
is as dry as the Sharpie pen she uses to mark an even more dreadful day on her
calendar—her upcoming 30th birthday. Driven by the maddening ticking of her
biological clock, Cassandra is determined to meet, fall in love with, and marry
"The One" within nine months.
When Cassandra accompanies her cousin to a night club, her Type-A
quest to meet a man is quickly rewarded by a stranger's velvety, baritone voice
asking if he might occupy the seat next to her. He's Nicolas Harte, whose good
looks leave Cassandra speechless, but not for long. After mustering enough
courage to strike up a conversation, she learns Nicolas is everything she wants
in a man—smart, successful, and available. There's only one catch: He's "GU"
(geographically undesirable). Nonetheless, Cassandra falls in love with Nicolas
and makes the uncharacteristic decision to move from Los Angeles to New York to
be with him. But Cassandra gets a rude awakening when she discovers there's
something rotten in the Big Apple.
Web Links:


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(a) Upon recognition of a foreign proceeding, whether main or nonmain, where necessary to effectuate the purpose of this chapter and to protect the assets of the debtor or the interests of the creditors, the court may, at the request of the foreign representative, grant any appropriate relief, including—
staying the commencement or continuation of an individual action or proceeding concerning the debtor's assets, rights, obligations or liabilities to the extent they have not been stayed under section 1520(a);
staying execution against the debtor's assets to the extent it has not been stayed under section 1520(a);
suspending the right to transfer, encumber or otherwise dispose of any assets of the debtor to the extent this right has not been suspended under section 1520(a);
providing for the examination of witnesses, the taking of evidence or the delivery of information concerning the debtor's assets, affairs, rights, obligations or liabilities;
entrusting the administration or realization of all or part of the debtor's assets within the territorial jurisdiction of the United States to the foreign representative or another person, including an examiner, authorized by the court;
granting any additional relief that may be available to a trustee, except for relief available under sections 522, 544, 545, 547, 548, 550, and 724(a).
Upon recognition of a foreign proceeding, whether main or nonmain, the court may, at the request of the foreign representative, entrust the distribution of all or part of the debtor's assets located in the United States to the foreign representative or another person, including an examiner, authorized by the court, provided that the court is satisfied that the interests of creditors in the United States are sufficiently protected.
In granting relief under this section to a representative of a foreign nonmain proceeding, the court must be satisfied that the relief relates to assets that, under the law of the United States, should be administered in the foreign nonmain proceeding or concerns information required in that proceeding.
The court may not enjoin a police or regulatory act of a governmental unit, including a criminal action or proceeding, under this section.
The standards, procedures, and limitations applicable to an injunction shall apply to relief under paragraphs (1), (2), (3), and (6) of subsection (a).
The exercise of rights not subject to the stay arising under section 362(a) pursuant to paragraph (6), (7), (17), or (27) of section 362(b) or pursuant to section 362(o) shall not be stayed by any order of a court or administrative agency in any proceeding under this chapter.
(Added Pub. L. 109–8, title VIII, § 801(a), Apr. 20, 2005, 119 Stat. 141; amended Pub. L. 111–327, § 2(a)(47), Dec. 22, 2010, 124 Stat. 3562.)


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Salifert All in One 250ml
Salifert All in One 250ml
SKU:SKU Salifert All in One 250ml
About All in One
All in One can make the use of the so-called A and B calcium and alkalinity supplements unnecessary.
It contains almost everything required for growth by corals and the beautiful encrusting pink and red coralline algae. All in One will increase the alkalinity (carbonate hardness), calcium, strontium, trace elements (except iodine) and amino acids concentrations.
We explain the necessity of these below.
Calcium, strontium, carbonate (alkalinity) and amino acids are the major constituents of calcareous algae, skeletal material of hard corals and the skeletal needles of soft/leather corals.
Growth and multiplication of these organisms means depletion of those substances.
The trace elements included in All in One allow organisms to carry out many biological processes.
Manganese for instance is essential for the many biochemical reactions, which make photosynthesis possible.
Iron is essential to many organisms for absorbing nutrients.
Cobalt is essential for the formation of several coral pigments.
Zinc is, like manganese essential for photosynthesis and is also used in the formation of calcium carbonate by corals.
These are just a few of the trace elements present in All in One and we could give many more examples.
This Supplement is highly concentrated and contains for example approx. 55,000 ppm calcium, corresponding amounts of biologically-activated bicarbonate and approx. 1000 ppm strontium.
The calcium is acetate based and is converted within minutes to calcium bicarbonate. This unlike gluconate-based products.
All ingredients are of a pharmaceutical quality or even better. This ensures that no unwanted elements are added to your valuable aquarium.
Some other requirements
Occasionally an additional boost of alkalinity with our KH+pH buffer is recommended to compensate for alkalinity lost by, e.g., decaying food. Also, iodine should be supplemented for excellent results.
Shake before use.
Regular maintenance:
Dose 5 ml per 100 liters (25 gallons) once a week. If fast growth of corals and coralline algae depletes calcium and alkalinity very fast then you can dose 5 ml per 100 liters (25 gallons) per 2 days.
Keep out of reach of children. In case of contact with eyes rinse with plenty of water. Only for aquarium-hobby use. Not for human consumption (directly or indirectly)!
Active ingredients: calcium acetate, strontium, trace elements, amino acids.


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Black Leather Ring with Ornate Antique Gold Accent.
Black Leather Ornate Ring
Black Leather Ring with Ornate Antique Gold Accent.
At the Gliss Collection, our goal is for you to be completely satisfied with your purchase. If for some reason you are not, you may exchange or return your unworn merchandise with original tags within 14 days of the date of purchase. Shipping fees are non-refundable, and you will be required to pay for return shipping, unless it has been determined that we are responsible for the error. In that case, a return authorization and shipping label will be sent to you.


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Puerto Rico is a beautiful island with lakes, rivers, mountains, rainforests and of course picturesque beaches. I received a warm welcome at the airport in San Juan: 92 degrees with 74% humidity. Despite the hot, humid weather conditions, I went with eagerness to explore the culture, history, and tradition of Puerto Rico and reflect upon theological education in light of Hispanic theology.
This beautiful island was home to 70 seminary students for two weeks as they took courses through the "Hispanic Summer Program" (June 16-29, 2012). In addition, 10 faculty and adminstrators participated in "Through Hispanic Eyes," a four day 'mini program' for non-Hispanic faculty.
I was one of them.
We visited classes and spoke with the Hispanic faculty. The Hispanic faculty shared their own struggles and how this program helped them through their own studies. Our group leader was Dr. Luis Rivera-Rodriguez who is the James G.K. McClure Professor of Theological Education, Dean of the Faculty, Vice President for Academic Affairs at McCormick Theological Seminary. He was both informative and caring which helped us work through some of the various issues that Hispanic students and faculty face during their time in seminary. We had deep and thoughtful discussions regarding white privilege, tokenism, academic and cultural racism.
White privilege is prevalent in our society and also in our seminary classrooms. Not only do students of color have to overcome the negative aspects of white privilege, so too the professors.
As theological educators, the question of erasing white privilege within the classroom is an ongoing concern as it brings an extra layer of unwelcome dynamic within the classroom. Many seminaries do not want to tackle this difficult problem; therefore the question of white privilege is ignored or pushed to the margins. In many ways, seminaries become blind to the issue of white privilege within the classroom and in the institution.
Different countries deal with ethnic minority issues in various ways. I grew up as a Korean immigrant in Canada. Canada is a land of immigrants, where people from all over the world come to live. In Canada, the term used by governments for "people of color" is "visible minorities". I grew up knowing and internalizing that somehow I was a 'visible minority". But what does it mean to be 'visible' and a "minority." In some ways, this term labeled me as someone who stands 'out' in a crowd. My face and body became racialized by a society which did not want to accept me as 'normal'. The irony is that even though I was labeled a 'visible minority', I become invisible when it came to issues of race, ethnicity and religious heritage. My visibleness becomes invisible to those in power when the status quo is challenged or provoked. When I reflect upon the colonialism of Puerto Rico, I cannot help linking the "visible minority" to Puerto Rico as viewed by the United States. It is a territory of the U.S. with Commonwealth status which eliminates much of their power and status as a nation. Puerto Ricans are allowed to vote during the U.S. primaries but not during the U.S. general elections. Puerto Rico has been used by the United States to produce cheap goods for Americans to use. Thus in many ways Puerto Rico has become an 'invisible minority" whose real problems, struggles and dreams have been ignored and erased.
As we bring this back into our classrooms, we must not make the 'racialized minorities' within the classroom invisible. We cannot ignore their issues. We must move forward and tackle them. We need to work urgently towards a theological education which will be inviting and inclusive of all people. Theological education needs to identify and name 'white privilege' within our classrooms and seek diversity, intercultural, and multi-contextual ways of learning and teaching so that all those whom God calls are valued equally.
Rev. Dr. Grace Ji-Sun Kim received her M.Div. from Knox College and her Ph.D. from the University of Toronto and is an Associate Professor of Doctrinal Theology and the Director of the Master of Arts in Theological Studies program at Moravian Theological Seminary. She is the author of two books, The Grace of Sophia: A Korean North American Women's Christology and The Holy Spirit, Chi, and the Other: A Model of Global and Intercultural Pneumatology. Grace was recently ordained as a Teaching Elder in the Presbyterian Church (USA) and also blogs for 99 Brattle and at gracejisunkim.
I occasionally host guest bloggers on my blog to expand the breadth of topics I cover as well as help share the perspectives and ideas of people who I feel are particularly compelling. If you think you have a great idea or know of someone who does, please feel free to contact me and let me know.


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Later on a branch of Hechalutz was also set up in Dusiat, which was meant to help those who wanted to immigrate to Eretz Yisrael. By means of the Hechalutz branch in the shtetl they got in touch with the center in Kovno [Kaunas], went out to hachshara, and those who were lucky enough to get certificates made aliya.
I should mention that in my time Hashomer Hatzair was already a political movement, and the Z.S. (Zionist Socialist) party had influence in Hechalutz, and more than once there were quarrels in the branches. Here in Dusiat I was also the head of the ken of Hashomer Hatzair and also the head of the Hechalutz branch, and that in fact worked. In our shtetl harmony reigned.
At that time the major dispute in the Hashomer Hatzair movement was between an open kibbutz and an organic closed kibbutz. Hakibbutz Harusi [The Russian Kibbutz] was in favor of the open kibbutz, and Hakibbutz Haartzi was in favor of the closed kibbutz.
Shayke Glick: The kibbutz in Panevezys was solely Hashomer Hatzair, and the kibbutz in Shantz was a mixed kibbutz: Hashomer Hatzair and Stam Chalutzim (unaffiliated pioneers).
The question also came up in our ken. What was our standpoint? It was decided that the ken of Dusiat would support Hakibbutz Haartzi.
I recall that during the arguments no doubt about our right to Eretz Yisrael ever came up. We knew that we were buying the land. The arguments turned more around the image of Eretz Yisrael. There were violent arguments about the educational question, about socialism and Marxism, and about the economic problems of life in Eretz Yisrael. There was a major argument about the idea of bi-nationalism.
The arguments were followed by a split in the movement, giving birth to Netzach[1], and the Dusiater Yitzchak Poritz, was one of its leaders and active members. I participated in the conference on the split. This split gnawed at us, and it separated friends. Noah Poritz and I were very good friends we had set up the branch of Hashomer Hatzair in Dusiat together, and visited each other homes - and now - following the split, we were like enemies!
It is hard for me to explain today why we chose to belong to Hakibbutz Haartzi. Perhaps because the majority in the entire movement supported Hakibbutz Haartzi, and the explanatory material we received was mainly that of the majority opinion, and so it had a great influence. That is perhaps why we decided that way about the direction of the ken in Dusiat.
Daniel Ben-Nahum: I attended the World Congress, and remember the occasion of the split, which was very dignified and emotional. Yaacov Hazan (Hakibbutz Haartzi) made a farewell speech, and Lasya Galili (Hakibbutz Harussi) stood up and shook his hand in parting.
Meeting of Counselors with Head of Hashomer Hatzair Yitzchak Aronowitz, standing in the center (in Aniksht [Anyksciai])
Beside him, standing are Hirsh Osherowitz (on the extreme right), Noah Poritz and Dvora Levitt (third and fourth), from Dusiat.
It is hard to begin writing about the movement in Lithuania, when touching on any memory from there calls to mind the rustling of falling leaves in a violent gloomy autumn in a large cemetery
but we need to give a grade to the movement, which sent its members to our kibbutzim in Eretz Yisrael
In the summer of 1930, when the enormous tension was felt in the Hashomer Hatzair movement in Lithuania, among the movement activists were those who did not feel comfortable with the separatist orientation of this movement. They were a minority, but they foresaw that the world movement was being led to a split. It didn't require much preparation to transfer the movement in Lithuania to be under the aegis of Hakibbutz Haartzi. The naivety of our people helped with everything. We didn't accept the idea of setting up a parallel, rival movement, a minority fighting against the majority, and so our people chose to leave the Hashomer Hatzair. Farewell banquets were organized, there was friendly talk that our paths were separating, and how painful this was, and we separated in a very warm and friendly way. The next morning, when the desire to act arose, these branches were already closed to our people, with locks and chains. After three months of deliberation and searching, the founding congress of the movement Netzach took place in December 1930. The movement already had 22 branches then, with more than 700 members. The fact that the branches were mainly in the small towns gave them a special character: a friendly approach, hospitableness, and close personal ties with the movement's activist and emissaries. We didn't ignore the cities either. But Lithuania was not a proletarian country, even though in addition to the shopkeepers and merchants there were also tailors and shoemakers, and we succeeded in organizing their children to a certain degree and rescuing them from the red assimilation Lithuania, the land of lakes and rivers, forests and parks soft beauty and caressing nature, which brings people together and expands knowledge left its mark on its residents, also the residents of the small towns The summer camps, three or five days a year, gave flavor to the other 360 days, and their echo and memory have not faded. And now there were also the winter camps. To take mama's children out into the forest for a few days in January, when the temperature was twenty below zero [Celcius], required a new approach, a real revolution in the life of the shtetl in Lithuania All this had to be done in partially underground conditions, because our movement had no legal status for all the years of its existence. We had to work under the noses of the police, and to deceive the secret police. Those were years with no likelihood of immigrating before long to Eretz Yisrael. When it was decided to have a permanent hachshara, the parents and relatives who had come to terms with the fact of going to hachshara now fiercely objected to this hachshara which lacked any purpose. With the help of direct contact with members of Hechalutz, the rightness of our approach stood out clearly, via the mixed hachshara, in which there was a general bearing of the burden of the hachshara, but nevertheless retained the Hashomer Hatzair essence at the hachshara, as preparation for life in a kibbutz in Eretz Yisrael. The movement always had a group of devoted and zealous activists, who through typical Litvak stubbornness strove for progress, expansion and growth. This activity did not cease even after the Soviet occupation of Lithuania and after our movement went underground. This activity was also continued by the few individuals who survived, and carried out the work in the camps after liberation, and were among the organizers of the Nocham - Noar Chalutzi Meuchad, and Noach Noar Chalutzi, movements in Poland and Germany |
Workers on Hachshara in Kibbutz Ironi Chaim, in Ponevez [2]
Rivka Melamed (second from the right), Zeldka Charit (ironing). Seated below (second from the left), Rachel (from Ukmerge). |
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In Mathematics, 'You Cannot Be Lied To'
A few years back, a prospective doctoral student sought out Sylvia Serfaty with some existential questions about the apparent uselessness of pure math. Serfaty, then newly decorated with the prestigious Henri Poincaré Prize, won him over simply by being honest and nice. "She was very warm and understanding and human," said Thomas Leblé, now an instructor at the Courant Institute of Mathematical Sciences at New York University. "She made me feel that even if at times it might seem futile, at least it would be friendly. The intellectual and human adventure would be worth it." For Serfaty, mathematics is about building scientific and human connections. But as Leblé recalled, Serfaty also emphasized that a mathematician has to find satisfaction in "weaving one's own rug," alluding to the patient, solitary work that comes first.
Born and raised in Paris, Serfaty first became intrigued by mathematics in high school. Ultimately she gravitated toward physics problems, constructing mathematical tools to forecast what should happen in physical systems. For her doctoral research in the late-1990s, she focused on the Ginzburg-Landau equations, which describe superconductors and their vortices that turn like little whirlwinds. The problem she tackled was to determine when, where and how the vortices appear in the static (time-independent) ground state. She solved this problem with increasing detail over the course of more than a decade, together with Étienne Sandier of the University of Paris-East, with whom she co-authored the book Vortices in the Magnetic Ginzburg-Landau Model.
In 1998, Serfaty discovered an irresistibly puzzling problem about how these vortices evolve in time. She decided that this was the problem she really wanted to solve. Thinking about it initially, she got stuck and abandoned it, but now and then she circled back. For years, with collaborators, she built tools that she hoped might eventually provide pathways to the desired destination. In 2015, after almost 18 years, she finally hit upon the right point of view and arrived at the solution.
"First you start from a vision that something should be true," Serfaty said. "I think we have software, so to speak, in our brain that allows us to judge that moral quality, that truthful quality to a statement."
And, she noted, "you cannot be cheated, you cannot be lied to. A thing is true or not true, and there is this notion of clarity on which you can base yourself."In 2004, at age 28, she won the European Mathematical Society prize for her work analyzing the Ginzburg-Landau model; this was followed by the Poincaré Prize in 2012. Last September, the piano-playing, bicycle-riding mother of two returned as a fulltime faculty member to the Courant Institute, where she had held various positions since 2001. By her count, she is one of five women among about 60 full-time faculty members in the math department, a ratio she figures is unlikely to balance itself out anytime soon.
Quanta Magazine talked with Serfaty in January at the Courant Institute. An edited and condensed version of the conversation follows.
QUANTA MAGAZINE: When did you find mathematics?
SYLVIA SERFATY: In high school, there was one episode that crystallized it for me: We had assignments, little problems to solve at home, and one of them seemed very difficult. I had been thinking about it and thinking about it, and wandering around trying to find a solution. And in the end I came up with a solution that was not the one that was expected — it was more general than the problem was calling for, making it more abstract. So when the teacher gave the solutions, I proposed mine as an alternative, and I think everybody was surprised, including the teacher herself.
I was happy that I'd found a creative solution. I was a teenager, and a little bit idealistic. I wanted to have a creative impact, and research seemed like a beautiful profession. I knew I was not an artist. My dad is an architect and he's really an artist, in the full sense of the word. I always compared myself to that image: the guy who has talent, has a gift. That played a role in building my self-perception of what I could do and what I wanted to achieve.
So you don't think of yourself as having a gift — you weren't a prodigy.
No. We do a disservice to the profession by giving this image of little geniuses and prodigies. These Hollywood movies about scientists can be somewhat counterproductive, too. They are telling children that there are geniuses out there that do really cool stuff, and kids may think, "Oh, that's not me." Maybe 5 percent of the profession fits that stereotype, but 95 percent doesn't. You don't have to be among the 5 percent to do interesting math.
For me, it took a lot of faith and believing in my little dream. My parents told me, "You can do anything, you should go for it" — my mother is a teacher and she always told me I was at the top of my cohort and that if I didn't succeed, who will? My first university math teacher played a big role and really believed in my potential, and then as I pursued my studies, my intuition was confirmed that I really liked math — I liked the beauty of it, and I liked the challenge.
So you have to be comfortable with frustration if you want to be a mathematician?
That's research. You enjoy solving a problem if you have difficulty solving it. The fun is in the struggle with a problem that resists. It's the same kind of pleasure as with hiking: You hike uphill and it's tough and you sweat, and at the end of the day the reward is the beautiful view. Solving a math problem is a bit like that, but you don't always know where the path is and how far you are from the top. You have to be able to accept frustration, failure, your own limitations. Of course you have to be good enough; that's a minimum requirement. But if you have enough ability, then you cultivate it and build on it, just as a musician plays scales and practices to get to a top level.
How do you tackle a problem?
One of the first pieces of advice I got as I was starting my Ph.D. was from Tristan Rivière (a previous student of my adviser, Fabrice Béthuel), who told me: People think that research in math is about these big ideas, but no, you really have to start from simple, stupid computations — start again like a student and redo everything yourself. I found that this is so true. A lot of good research actually starts from very simple things, elementary facts, basic bricks, from which you can build a big cathedral. Progress in math comes from understanding the model case, the simplest instance in which you encounter the problem. And often it is an easy computation; it's just that no one had thought of looking at it this way.
Do you cultivate that perspective, or does it come naturally?
This is all I know how to do. I tell myself that there are always very bright people who have thought about these problems and made very beautiful and elaborate theories, and certainly I cannot always compete on that end. But let me try to rethink the problem almost from scratch with my own little basic understanding and knowledge and see where I go. Of course, I have built enough experience and intuition that I sort of pretend to be naive. In the end, I think a lot of mathematicians proceed this way, but maybe they don't want to admit it, because they don't want to appear simple-minded. There is a lot of ego in this profession, let's be honest.
Does the ego help or hinder mathematical ambition?
We do math research because we like the problems, and we enjoy finding solutions, but I think maybe half of it is because we want to impress others. Would you do math if you were on a desert island and there was no one to admire your beautiful proof? We prove theorems because there is an audience to communicate it to. A lot of the motivation is presenting the work at the next conference and seeing what colleagues think. And then people appreciate it and provide positive feedback, and this feeds the motivation. And then you may get prizes, and if so, maybe you get even more prizes because you already have prizes. And you get published in good journals, and you keep track of how many papers you published and how many citations you got on MathSciNet, and you inevitably get in the habit of sometimes comparing yourself to your friends. You are constantly judged by your peers.
This is a system that increases people's productivity. It works very well to push people to publish and to work, because they want to maintain their ranking. But it also puts a lot of ego into it. And at some point I think it's too much. We need to put more focus on the real scientific progress, rather than on the signs of wealth, so to speak. And I certainly think this aspect is not very female-friendly. There's also the nerd stereotype — I don't think of myself as a nerd. I don't identify with that culture. And I don't think that because I'm a mathematician I have to be a nerd.
Would more women in the field help shift the balance?
I'm not super-optimistic, in terms of women in the field. I don't think it's a problem that is going to naturally resolve itself. The numbers over the last 20 years are not a great improvement, sometimes even decreasing.
The question is: Can you convince men that it would really be better for science and math if there were more women around? I'm not sure they are all convinced. Would it be better? Why? Would it make their life better, would it make the math better? I tend to think it would be better.
In what way?
It's good to have a diversity of frames of mind. Two different mathematicians think in two slightly different ways, and women do tend to think a little bit differently. Math is not about everybody staring at a problem and trying to solve it. We don't even know where the problems are. Some people decide they are going to explore over here, and some people explore over there. That's why you need people with different points of view, to think of different perspectives and find different roads.
In your own work over the past two decades, you've specialized in one area of mathematical physics, but this has led you in a variety of directions.
It's really beautiful to observe, as you progress in your mathematical maturity, how everything is somehow connected. There are so many things that are related, and you keep building connections in your intellectual landscape. With experience you develop a point of view that is pretty much unique to yourself — somebody else would come at it from a different angle. That's what's fruitful, and that's how you can solve problems that maybe somebody smarter than you wouldn't solve just because they don't have the necessary perspective.
And your approach has unexpectedly opened doors to other fields — how did that come about?
One important question I had from the beginning was to understand the patterns of the vortices. Physicists knew from experiments that the vortices form triangular lattices, called Abrikosov lattices, and so the question was to prove why they form these patterns. This we never completely answered, but we have made progress. A paper we published in 2012 rigorously connected the Ginzburg-Landau problem of vortices with a crystallization problem for the first time. And this problem, as it turns out, arises in other areas of math, such as number theory and statistical mechanics and random matrices.
What we proved was that the vortices in the superconductor behave like particles with what's called a Coulomb interaction — essentially, the vortices act like electric charges and repel each other. You can think of the particles as people who don't like each other but are forced to stay in the same room — where should they stand to minimize their repulsion to others?
Was it difficult to cross over into a new area?
It was a challenge, because I had to learn the basics of a new subject area and nobody knew me in that field. And initially there was some skepticism about our results. But arriving as newcomers allowed us to develop a new point of view because we weren't burdened by any preconceived notions — ignorance is helpful in this instance.
Some mathematicians, they start with something, they know how to do it, and then they create variants, like derivative products: You make the film and then you sell the T-shirts, and then you sell the mugs. I think the way that you can distinguish good mathematicians is that they are constantly moving further and forward and advancing onto new ground.
This article was reprinted on Wired.com.


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Point the iPhone at the desired wall (approx. 10 feet distance) and press start.
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About Andrey Yakovlev & Lili AleevaClassical painting, Dutch still lifes, traditional folk imagery, Art Deco influences, and high fashion collide in extraordinary compositions that have brought the artistic duo Andrey Yakovlev and Lili Aleeva international recognition.…BACKGROUND INFORMATION
Classical painting, Dutch still lifes, traditional folk imagery, Art Deco influences, and high fashion collide in extraordinary compositions that have brought the artistic duo Andrey Yakovlev and Lili Aleeva international recognition. Their works combine their individual talents in equal measure; Aleeva, the Art Director, designs and sets the scenes, and Yakovlev photographs them.
Composition, color, and concept are the three main components of the duo's work. When it comes to the latter, they have a very specific approach. Playfully constructed references to art history, the translation of traditional images into modern ones – that's what makes the works of Yakovlev and Aleeva's so powerful.
The Triumph Of Form
The works of the Triumph of Form series are inspired by the masters of art history. In them, Moscow-based artist duo Andrey Yakovlev & Lili Aleeva draw inspiration from famous paintings and historical art styles to create new and fascinating photographs. As a result, they enter into an artistic dialogue with Vermeer's "Girl with a Pearl Earring" (1665) and transform the central, eponymous element from this world-famous work of art into the face of a clock without hands. This allegorical timelessness becomes an extraordinary experience against the constructivist background, carrying the viewer across different eras of cultural history. Likewise, in Sisters, inspiration is drawn from a painting in the Louvre: "Gabrielle d'Estrées and one of her sisters" (1594). Yakovlev & Aleeva decoratively redesign and colorize the image with an innovative color palette. Lights, tints, gestures, graphic elements, and even the gaze of the female subjects in the bathroom are a multifaceted reference to the original. Another great source of inspiration was the work of glamorous and melancholic painter Tamara de Lempickas, who was famous in the 1920s and 30s for her Art Deco portraits of aristocrats and members of high society. With its immense diversity, the Triumph of Form series transcends the various eras of art history and creates a lush ecosystem of imagery that spans from the 16th to the 20th centuries, captivating the viewer.
Clear facial features and a piercing look. Dress, headscarf, and lips the same impressive shade of red. Upon first glance, the composition appears to be as simple as its name: "Girl with a Fish". On closer inspection, however, the artists' finesse emerges: We notice the silvery sea bream is resting on nothing less than a piece of tissue paper decorated with the famous Louis Vuitton emblem. The color, composition, and materiality are suggestive of the Russian avant-garde movement, and the image is reminiscent of Kusma Sergeevich Petrov-Vodkin's "Girl in red headscarf".
While "Girl with a Fish" impresses through its minimalist style, other works in the Gallery series are characterized by opulence. The artists present two classic beauties in silk dresses in front of a table laden with culinary delights. Facing the viewer, the models are enigmatic and mysterious. Nothing in the image is left to chance; carefully draped, the curtains and tablecloth complete the composition. The photo's subjects evoke the paintings of Jan Vermeers and Pieter Claeszs.
Hannah HörVITA
1962 born in Izhevsk, Russia 1980-present Professional photographer 1991 Opened his own photo studio 1998-present Together with Art Director Lili Aleeva Lives and works as a freelance photographer in Moscow INTERVIEW
Picasso once said, "You don't make art, you find it." Where do you find art?
We didn't choose this path, it found us. From a young age, we were unable to imagine life outside the visual arts. It's our destiny. Inspiration comes from all around us: from traveling and nature to movies, other artists, music, etc.
From concept to creation: How do you approach your work?
It's teamwork. Together we discuss our ideas and create an outline. We then clarify details with a team of stylists and agents to decide on appropriate locations.
What's your favorite book?
Lili: I always enjoy books about artists and their lives
Andrei: "The Twelve Chairs" by Ilf and Petrov.
Which artist would you like to have coffee with and what would you discuss?
Andrei: The greatest artist in the world, Michelangelo.
How did your interest in art develop?
During our years in advertising, people commented on the uniqueness of our projects – comparing them to art. From there, we began to realize our own at projects.
Who in your life influences you the most?
We have a lot of creative people on our team - makeup artists, stylists, etc. - and they bring talent to projects as well.
If you had a time machine, where would you travel?
Preferably the 30s. But only if time would then stand still.
What is your greatest passion – aside from art?
Lily: I enjoy dancing.
Andrei : I love to cook and travel.
What are you working on at the moment?
We have a post-impressionist project in the pipeline; It's a theme we've been interested in exploring.


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Griddlers Rules and Examples
Griddlers are logic puzzles that use number clues around a grid to create an image. | ||||||||
Each clue indicates a group of contiguous squares of like color. |
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Between each group there is at least one empty square. |
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The clues are already in the correct sequence. | ||||||||
Groups of different colors may or may not have empty squares between them. |
Solving a Puzzle
Row 2: Clues (3,1), with 1 empty square (background color) between them, add up to the 5 available squares. | Column 5: Clue 1 is already on the grid. We can fill in the rest with background color. | Row 3: There are only 4 squares left to place clue 4 on the grid. | ||
Column 4: Clue 1 is already on the grid. We can fill in the rest with background color. | Row 4/5: Clues (1,1), with 1 empty square between them, add up to 3 available squares. | Column 2: There is only 1 square left to complete clue 3 and finish the puzzle. |


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How to Cook Steak With a Hair Dryer - Stu (Sous) Vide
In 1799 someone discovered that a medium rare steak has a temperature of about 140*F.
Have you ever burnt a steak on a BBQ?
If you want 140*F, why cook a steak at a much higher temperature and risk runing it?
Enter "Sous Vide". Today you can go to 5 Star restaurants that cook steaks Sous Vide.
You can buy a Sous Vide machine for $399.00 at Bed Bath and Beyond.
Or, for less than $10 you can cook Stu Vide:


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After aiming for a mid-July relaunch, AMC Theatres said on Monday that it is pushing back reopening nearly 75% of its US locations to July 30. AMC said it hopes to have its remaining locations reopened the following week. The theater chain shuttered most of its locations in March to help prevent the spread of COVID-19.
The theater chain was planning to reopen locations in mid-July to account for the releases of potential blockbuster "Mulan" and "Tenet." The release dates for those two movies have been pushed back into August.
"We continue to devote extraordinary resources into our plan to operate our theatres with a hyper commitment to the safety and health of our guests and associates, notably in the United States through our new AMC Safe & Clean initiative," Adam Aron, CEO & President, AMC Theatres wrote in a statement. "Our theatre general managers across the U.S. started working full time again today and are back in their theatres gearing up to get their buildings fully ready just a few weeks from now for moviegoers. That happy day, when we can welcome guests back into most of our U.S. theatres, will be Thursday, July 30."
AMC did not unveil exact social distancing measures that would be implemented, but previously said it is working with Harvard University's School of Public Health to develop best practices. AMC added that it is developing protocols for personal protection equipment, cleaning, limited theater capacity, blocked seating, and other strategies.
Earlier this month, AMC unveiled its Quarter 1 figures, showing that the company took a nearly $2 billion loss after seeing nearly all of its theaters close during the spread of the coronavirus.
The first quarter results only covered AMC's financial situation as of March 31, but showed a steep decline in revenue and attendance through the first three months of the year compared to 2019 as theaters began to close in mid-March.


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Little River, SC
"Throughout the year, visitors and residents alike enjoy a wide array of nearby world-class golf courses, fishing excursions near the shore or..."
Heading north along well-traveled Highway 17, as the bright lights of South Carolina's Grand Strand begin to dim, you will find Little River, once an important port city but now a small town striving to maintain its well-earned reputation as a quaint fishing village.
Tucked between North Myrtle Beach and the North Carolina line, Little River was among Horry County's first villages. It was a prosperous port prior to the Civil War, playing a key role in shipping lumber and naval stores to markets in the Northeast. The town's importance as a transportation hub didn't wane until the 1920s, when trucks and automobiles replaced seagoing vessels as the major method of moving people and goods up and down the East Coast.
Little River's colorful history includes a chapter on the pirates who took refuge in the small, protected harbor. Though many have searched for riches allegedly left behind by the likes of Blackbeard and Stede Bonnet, none have found evidence of their ill-begotten wealth.
Visitors to Little River find another form of gold: a peaceful village known for its fresh seafood, fishing charters, centuries-old live oak trees and annual celebrations. Each May, for example, the town attracts thousands of people and some of the nation's top artisans and entertainers for its Blue Crab Festival, one of South Carolina's most popular events. In the fall, the Little River Oktoberfest features food, music and entertainment for young, old and in-between.
The town's waterfront hosts the annual Little River Shrimp and Jazz Fest and, later in the year, the Little River Christmas Market. And on the Saturday after Thanksgiving, the Intracoastal Waterway Boat Parade gets underway in Little River and comes to a close in North Myrtle Beach.
Throughout the year, visitors and residents alike enjoy a wide array of nearby world-class golf courses, fishing excursions near the shore or in the deeper waters of the Gulf Stream, boating, Jet Skiing and trying their luck aboard casino gambling boats. And for those who occasionally prefer the neon, fast pace, night life and shopping that draws visitors from around the world to the Grand Strand, Myrtle Beach is just a short drive to the south.