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As a family member or trusted friend, do not be surprised if your loved one does not reach out to you for help. The survivor may feel ashamed, afraid, or even that she would be putting you in harm's way if she told you about the abuse. Immense fear of physical violence or even death is often associated with being a victim of violence and that fear can keep someone from asking for help. She also may fear she will be told she should leave the relationship when she knows doing so most likely would increase the violence and put her life in jeopardy. It is important for family and trusted friends to remember that the person experiencing violence by an intimate partner is the expert in her own life and only she knows if and when it is safe for her to seek help.
For those who want to help, you can do the following:
- Let the survivor know she is not alone and you are there to listen if/when she wants to talk.
- Let her know there are services available to her.
- If she talks to you about the abuse, let the survivor know you will keep a safety bag for her is she chooses to create one. Items for a safety bag may include identification papers/cards, keys, cell phone, bank statements, money, medicine, pictures of the family that include the abuser, proof of income, financial statements, visas, passports, green cards, insurance documents, birth certificates for you and your children, the abuser's personal information including date of birth, social security number, place of employment and license plate number.
- If she talks to you about the abuse, let the survivor know you are willing to set up a code word or signal for when she may need you to call the authorities for help.
- Familiarize yourself with the services at the local certified domestic violence center in your area and inform her about the services.
- Tell her the abuse is not her fault, that she does not cause it and she is not to blame.
Local Services
If you need immediate help, see the map below to locate the certified domestic violence center nearest you. By calling local 24/7 hotline number or the toll-free statewide hotline, 1-800-500-1119, you will be given information about domestic violence, safety planning, resources and referrals as well as emotional support. All of Florida's certified domestic violence centers provide personal advocacy, shelter, safety planning, legal advocacy, children's programs and information and referrals. All services are confidential.


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By Tom Watson Part 4
Bob took us on class field trips to the Palace of the Legion of Honor Museum, and the DeYoung Museum in San Francisco, as well as the city zoo to sketch. The DeYoung Museum was having a major traveling show of Vincent Van Gogh paintings, so Bob planned a class trip to see the show. Van Gogh was not one of his favorite painters, as his technique was too crude and primitive for Bob's more literal taste, but he knew the value of perhaps a once in a lifetime opportunity to see his original paintings and learn what we could from the opportunity.
Exposure to the masters was part of Bob's belief system for ongoing self education. He was very aware of the influence that past masters had on the great illustrators, and encouraged us to study their work. He would tell us to first go to the museums if possible, or look and study their reproductions in books. Visiting museums became a life long experience for me, and continues to inspire my soul. He particularly liked the paintings of John Singer Sargent, Giovanni Boldini, Anders Zorn, Robert Henri and Edgar Degas. He felt that Sargent's drawing and painting skills were extraordinary, and superior to most of the top painters of his day.
He loved Degas ballerina's, and his unusual compositions and cropping of the figures. In that respect Bob was more than just another teacher for me, he dramatically opened doors that I didn't even know existed. Bob's enthusiasm was truly contagious. If you couldn't get excited about being an illustrator in Bob's classes, you were studying for the wrong profession.
After I left the Academy of Art in 1960, I lost contact with Bob until 1968. He had left the Academy soon after I did, and moved to the East Coast, where he taught for a while at the Famous Artists School Correspondence Course in Connecticut. That gave him time to finish building his portfolio and then break into the N.Y. illustration market. In 1968 I was working for a studio in Chicago and had to take a business trip to N.Y. I called Bob in Manhattan, where he was living, and we made plans to have lunch together. He was living in a comfortable brownstone apartment that functioned as a studio and darkroom but it looked more like a studio and dark room that also functioned as an apartment. His original intent was to break into the magazine illustration field, where the spotlight of modern illustration had been centered throughout the 1950s, but that market was starting to shrivel and gave less opportunity for the new guy in town. So he found a lucrative niche illustrating mostly pocket book covers for the major publishers and had built a substantial reputation, particularly in the science fiction market.
Fredrick Pohl was a well known sci-fi writer at the time and Bob did many illustrations for the covers of his books. One of his crowning achievements was a series of the first four covers for John Norman's famous (sci-fi) 'Gor' series. He illustrated the covers for other well known writers of the day, such as Doris Lessing, Paul Callico (Poseidon Adventure) and Somerset Maugham, to name a few.
Bob would start a painting with a loose monotone transparent acrylic ground wash on illustration board, and then render the illustration in oil over the acrylic wash. His careful understanding of values and skill in knowing where to soften edges and where to show hard edges, created a sense of reality beyond photo realism.
Depending on the subject, his illustrations varied in their degree of realism, and some were rendered quite painterly. He was one of the very few successful sci-fi illustrators who used a unique surrealistic technique, ideal for that market. He used his anatomical knowledge to depict and render accurate human form, and blended innovative elements and backgrounds reminiscent of surrealism in a dramatic theatrical setting. Bob's illustrations were carefully designed, positioning his figures and props to visually flow together, and to contrast and compliment each other. In several examples, he extracted shapes and forms from small watch parts, gears, wheels, etc., enlarging and altering them for unique background props.
One illustration example implies microscopic organisms as a bizarre, but convincing background.
In another example, he carefully designed and skillfully rendered wrinkled bed sheets, two pillows, and a single red rose on one. On one side of the bed, in a prone position, is a discreetly posed nude figure. The overhead view looking down from the ceiling, gives compelling visual drama. The entire illustration is bathed in soft amber tones.
In yet another example, he created a tightly knit composition, using his trademark dramatic theatrical staging. A man in knickers is casually posed next to a large antique standing mirror, depicting an elegant formal scene reflected in the mirror.
Against a white background, it gives visual clarity and high contrast. Again, the lighting is dramatic and strategically planned for a strong silhouetted design.
Bob also illustrated the cover for the first "Savage!" comic book series, based on a character resembling the actor Lee Marvin, which was rendered in a dramatic stylized, but literal technique.
He often chose his props as subtle "window dressing", such as the example indicating a bottle of champagne, a wire cage and a red rose on a table top. All are complimenting textures and shapes. Only small parts of each prop shows, avoiding distraction from the two figures. I don't recall for sure, but I think he also did some advertising illustration for agencies in N.Y. during the 1960s.
Continued tomorrow.
* Tom Watson is a retired West Coast illustrator, art director and educator. He has been a frequent contributor to Today's Inspiration and his storyboard work for film was a subject of a post on my other blog, Storyboard Central.
* Many thanks to Kyle Katz, gojira2012 and mystique123_2000 for allowing me to use the Bob Foster paperback cover scans above.
* Many thanks to Heritage Auctions for allowing me to use the original Bob Foster art scan seen above.
Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Thursday, February 18, 2010
Bob Foster: :... he dramatically opened doors that I didn't even know existed"
4 comments:
- Will10:32 AM
Wow. That cover for "The Love Department" almost looks like a photograph at first glance. Fantastic sheets, and of course, figure. I love well-done monochromatic paintings. Makes that rose and her lips really pop. Thanks for posting these.ReplyDelete
He's a talented painter,and I'm sure he made a great teacher.The paperback stuff is fun.ReplyDelete
The Savage cover art is quite a surprise.It looks like the classic pulp style of painting.It seems different from his usual style.
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Also found in: Dictionary, Thesaurus, Legal, Encyclopedia, Wikipedia.
Related to caustic: caustic embrittlement
1. burning or corrosive; destructive to tissue.
2. having a burning taste.
3. a corrosive or escharotic agent.
1. Chemically exerting an effect resembling a burn.
2. An agent producing this effect.
3. Denoting a solution of a strong alkali; for example, caustic soda, NaOH.
Synonym(s): pyrotic (2)
[G. kaustikos, fr. kaiō, to burn]
caustic/caus·tic/ (kaws´tik)
1. burning or corrosive; destructive to living tissues.
2. having a burning taste.
3. an escharotic or corrosive agent.
Etymology: Gk, kaustikos, burning
1 n, any substance that is destructive to living tissue, such as silver nitrate, nitric acid, or sulfuric acid.
2 adj, exerting a burning or corrosive effect.
1. Exerting an effect resembling a burn.
2. An agent producing this effect.
3. Denoting a solution of a strong alkali (e.g., caustic soda, NaOH).
[G. kaustikos, fr. kaiō, to burn]
causticAny chemical substance which corrodes and destroys bodily tissue.
causticstrong inorganic acid or alkali, or organic acid (e.g. phenol) applied to soft tissue, e.g. verruca or nail matrix, to cause controlled destruction of that area of tissue; different caustics exert different actions on tissues: silver nitrate forms insoluble chlorides (i.e. creating a barrier to further tissue penetration), nitric acid precipitates albumen (i.e. forming a barrier to further tissue penetration), pyrogallol acts as a reducing agent (i.e. penetrating deep into tissues, and continuing to act for some weeks after the initial application), mono and trichloroacetic acids hydrolyse tissues (soften and penetrate proteins); Table 1 and see Table 2
|Special precautions
|Monochloroacetic acid (crystals or saturated solution) e.g. single VP
|Keratolytic; hydrolysing agent
|Deep penetration
Do not use mask if applying solution
Use a mask if applying crystals
Review in 5–7 days
Neutralize with foot bath ± NaHCO3 or NaCl
|Soft-tissue atrophy
Peripheral vascular disease
Sensory neuropathy
|Salicylic acid paste (40–70%) e.g. single VP; plantar hard corn
|Keratolytic; hydrolysing agent
|Macerates tissues
Review in 7–14 days
May be used in conjunction with monochloroacetic acid crystals
Neutralize with foot bath ± NaHCO3 or NaCl
|Soft-tissue atrophy
Peripheral vascular disease
Sensory neuropathy
|Pyrogallic acid e.g. single VP
|Keratolytic; oxidizing agent
|Deep penetration
Review in 3–5 days
Prolonged caustic action
Do not apply more than 3 times sequentially
Stains skin black/brown
|Use with great care: may cause deep tissue breakdown
Soft-tissue atrophy
Peripheral vascular disease
Sensory neuropathy
|Trichloroacetic acid (saturated solution; 10% solution) e.g. mosaic VP
|Mild keratolytic
Protein precipitant
|Shallow penetration
Neutralize with foot bath ± NaHCO3 or NaCl
Review in 3 weeks
|Peripheral vascular disease
Sensory neuropathy
|Silver nitrate (70% solution; 75–95% stick) e.g. mosaic VP; as a protective skin application below a mask
|Protein precipitant
Stains skin black/brown
Maximum effect occurs within 24 hours
|Some patients show hypersensitivity to silver nitrate (or experience acute pain)
Neutralize with NaCl foot bath
May be applied in alternate layers with trichloroacetic acid
|Peripheral vascular disease
Known sensitivity
|Potassium hydroxide (KOH; 85% pellets)
|Strong keratolytic
|Potentially deep penetration
Action of KOH stopped by application of 5% acetic acid after macerated coagulum has been removed
Single treatment
|Soft-tissue atrophy
Peripheral vascular disease
Sensory neuropathy
|Phenol (80% solution or 100% crystal)
|Protein precipitate
|Action retarded by flooding with industrial methylated spirit
Skin overspill flooded with glycerine
Review as per postoperative protocol
|Peripheral vascular disease (phenol suppresses inflammatory response)
VP, verruca pedis.
|Keratolytic/caustic agent
|Indicated use
|Whitfield's ointment (3% salicylic acid and 6% benzoic acid in white soft paraffin)
|Treatment of mild tinea pedis
|5% salicylic acid ointment
|Applied daily for 7 days to soften hyperkeratosis and facilitate its removal
|12% salicylic acid in collodion
|Macerating agent; painted over callosity and left in situ for 7 days, to assist removal of heavy callosity
|20–40% salicylic acid plaster
|Applied topically and left in situ for 1–2 days to aid removal of corns
|40–70% salicylic acid ointment
|Applied topically in a cavitied pad and left in situ for 7 days for verruca treatment; the lesion should be masked
|Calmurid cream (10% urea)
|To hydrate anhidrotic skin; applied daily to treat dyskeratosis
|40% urea cream
|A strongly keratolytic agent, applied under an occlusive dressing and left in situ for 7 days, to soften, macerate and aid the reduction and removal of hypertrophied nails in patients who are unsuitable for nail avulsion
|Monochloroacetic acid
|A deeply penetrating caustic that is painful in use Applied, retained in situ and reviewed within 3–7 days, for the treatment of verrucae:
1. as a saturated solution to the lesion
2. as a tiny crystal strapped over a masked lesion
3. as a tiny crystal embedded in 40–70% salicylic acid retained by a cavitied pad
|Trichloroacetic acid
|A self-limiting caustic with a superficial action
Applied directly to the verruca, after initial scalpel debridement of the lesion
May be used in conjunction with 75–95% silver nitrate (see below) as a diagnostic or a final treatment of verrucae
|75–95% Silver nitrate
|A self-limiting caustic with a superficial action, causing a dark brown discoloration of the skin to which it is applied; it is used for the treatment of shallow or mosaic verrucae.
Note: Some patients show an idiosyncratic local sensitivity or inflammatory reaction to applied silver nitrate
1. Applied directly to the lesion, after overlying callosity has been debrided off
2. Applied directly to the lesion in alternating layers with trichloroacetic acid
3. As a diagnostic aid to identify verrucous tissue; viral-infected skin cells show up as bright white dots within a few moments of the application of the layers of silver nitrate and trichloroacetic acid
|Potassium hydroxide (KOH)
|A powerful keratolytic caustic with a great affinity for water that penetrates deeply dissolving precipitated protein; used to destroy soft tissues
1. Overlying hyperkeratosis is debrided off the verruca and the foot is immersed in water for 5 minutes to hydrate the skin, then dried; a KOH pellet is rubbed into the lesion; the foot is reimmersed in water and the jelly-like material formed by the KOH on the lesion surface is debrided off. The process is repeated once or twice until the lesion appears to have gone, then glacial acetic acid is applied to neutralize the KOH
2. A similar protocol may be used to ablate nail matrix after removal of the overlying section of nail plate
3. KOH 5% liquid applied to heavy callosity and left in situ for 5 minutes softens heavy callosity to ease its removal
|Pyrogallol (pyrogallic acid)
|A powerful analgesic, non-self-limiting, caustic reducing agent. It may be used in the treatment of recalcitrant verrucae or neurovascular corns in areas of skin overlying a healthy layer of fibrofatty padding. It should only be used with great caution as its action continues after application has ceased and can lead to severe tissue breakdown that is slow to heal. It is incompatible with alkalis, iron salts, oxidizing agents and ammonium salts
1. 20% pyrogallol ointment for the treatment of neurovascular corns
2. 40% pyrogallol ointment for the treatment of VP
3. WP ointment (20% pyrogallol, 20% wheat germ oil) for the treatment of tough, fibrous, hyperkeratotic plantar lesions
|An analgesic, corrosive caustic. It is used as an 80% solution (liquefied phenol) to destroy soft-tissue lesions such as VP, or nail matrices (three applications, each of 1 minute duration). Its action is quenched by dilution with IMS or isopropyl alcohol. Healing is delayed for several weeks after its application
|Glacial acetic acid
|A weakly acidic mild caustic that is crystalline at 14°C
1. As a paint to hard or vascular corns, or VP (return period 14–21 days)
2. As a paint to VP, alternating with silver nitrate 75% (in a similar manner to trichloroacetic acid)
3. To neutralize KOH (see above: KOH, point 1)
|Nitric acid
|A powerful analgesic oxidizing caustic agent with a superficial action that offers a 'one-off' VP treatment
1. Applied to VP with a glass rod and left in situ for 5 minutes, followed by phenol solution 10%; the skin stains bright yellow
2. The lesion is saturated with phenol solution 5% for 5 minutes, then with nitric acid for 20–30 seconds, then once again with phenol solution 5%
|Strong iodine solution (iodine solution 10%; iodine fortis)
|A strong astringent and vesicant agent. It is incompatible with many topical medicaments, and can cause sensitivity reactions in some patients
1. to shrink nail tufts
2. to shrink hypergranulation tissue
|A strongly astringent and antiseptic agent used in the treatment of VPs (the skin surrounding the lesion should be protected with petroleum jelly; sensitivity is likely)
1. 10% formaldehyde in collodion, painted on daily
2. 36% formaldehyde solution, painted on daily
|Thermal caustics
|The topical application of liquid nitrogen (at -196°C) or nitrous oxide (at -88.5°C) to destroy small soft-tissue lesions; the cell cytoplasm must be reduced to and maintained at -24°C or lower for at least 1 minute, and repeated for two further freezing episodes between which the area has been allowed to thaw. Cryosurgery is more effective when any overlying hyperkeratosis is removed before freezing
|Tissue destruction by initial fulguration (outlining and superficial charring) of the lesion by the application of high-frequency electrical energy), then electrodesiccation (electrocautery) of the lesion by the release of electrical energy whilst the probe is inserted into the lesion
|Tissue removal using high-frequency energy waves to incise through tissue
Note: Please also refer to the text entries for each listed agent.
IMS, industrial methylated spirit; VP, verrucae pedis.
The concentration of light in the caustic surface of a bundle of converging light rays which represents the focal image in an optical system uncorrected for spherical aberration. It appears as a hollow luminous cusp with its apex at the paraxial focus.
1. Chemically exerting an effect resembling a burn.
2. An agent producing this effect.
[G. kaustikos, fr. kaiō, to burn]
adj destroying living tissue by chemical burning action.
1. burning or corrosive; destructive to tissue.
2. having a burning taste.
3. a corrosive or escharotic agent.
caustic bush
sarcostemmaaustrale, S. viminale.
bottle tree caustic
eremophila spp.
caustic creeper
euphorbiadrummondii, sarcostemmaviminale.
lunar caustic
toughened silver nitrate.
caustic pencil
see silver nitrate (toughened).
caustic plant
caustic potash
potassium hydroxide.
caustic soda
sodium hydroxide.
caustic treated grain
grain treated with caustic to improve its digestibility; can cause abomasal ulcer and interstitial nephritis in cattle.
caustic treated roughage
roughage treated with caustic to improve its digestibility; can cause interstitial nephritis when fed to cows over long periods.
caustic vine
sarcostemmaaustrale, S. viminale. Called also caustic bush.
caustic weed


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July 21, 2007
Dear Chairman Cox: This is a matter of great importance and of personal liberty and free speech. As a concerned investor, I was alarmed to learn that the SEC is considering a proposal to restrict or eliminate one of the most important tools that shareholders like myself can use to make our concerns known to corporate management. I urge you to drop the suggested proposal curtailing investors' right to file advisory resolutions under Rule 14a-8.
Advisory resolutions have proven to be a highly effective way to get management's attention on issues that matter to shareholders. They help to promote improved corporate governance, greater accountability, and more meaningful disclosure. They are a source of important new ideas, and often serve as the starting point for productive dialogue with companies. As an investor, I know that the right of shareholders - even small shareholders - to propose these resolutions has helped the companies I own to become better companies.
Restricting or eliminating advisory shareholder resolutions would be a disastrous step backwards. Please let me know what action you intend to take on this issue.
Yours sincerely,
Carolyn R. Pilgrim


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I am so proud of my dogs as of late. I often feel guilty because they aren't as well trained as so many of the other dogs on the forum. I think I have always lacked confidence in myself--never really knowing where to start with the advanced stuff. Don't get my wrong, Degan and Harlow are very well behaved, love everyone, and listen well. Walking on a leash has always really sucked because the dogs treat it like a race, and each one wants to be in front. And passing houses with dogs in the backyard used to be a practical wrestling match...it was just discouraging.
Lately, though, we have been taking them more places with us. We take them to our friend's house, and to the parking lot the guys ride motorcycles in. Yesterday we took them to petsmart because Tanner's mom wanted to get Degan a birthday present. We usually don't take the dogs because we have had incidents with stranger dogs. (You guys know all the DA stuff I have been trying to figure out with Degan). But we sort of threw caution to the wind and decided we could take them and see how it went. Apparently I have just been completely underestimating my dogs because of that one trip over Christmas. They dogs were great with every other dog in the store, (except this one cocker spaniel who decided to bark at them...but we just went to a new aisle and they forgot). Granted, we didn't stop to play or smell any of them (I would certainly not attempt that just yet), but I was so pleased that they did acknowledge the dogs, and weren't growling, barking, pulling, or anything rude.
Today we took them on a walk, and ended up running about a mile with them. They hardly pulled on their leashes, and a simple "leave it" would keep them from fence fighting any dogs we ran across.
I know these are really small feats for most of your dogs with their titles and everything, but this is really huge for us. I'm starting to feel a lot more confident in both of the dogs, and really see the potential for us to go further with real training, and going into public.
Sorry for such a long post... and to ramble about something so minor...but I just couldn't help it!


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Financial Reform and Fiscal Discipline
It was in 1714 that Bernard de Mandeville defended his view of the economic world in a long poem with pretensions to uncovering the moral basis of modern society – The Fable of the Bees: Private Vices, Public Benefits. According to him, industrialists, businessmen and politicians are like pimps, quacks, pickpockets and forgers: tireless professionals who, through their cunning, use the work of others for their own purposes. Mandeville claims that it matters little if every trade and place is tainted by trickery and every profession, by chicanery. What does matter is that everyone, whether saint or sinner, contributes to producing the comforts progress provides, by looking after their own interests.
But you and I believe that where people live off ill-gotten gains the community will suffer and, thus, we reject the poem's cynical view of the world. Yet, the lesson of The Fable of the Bees (that civilization advances in the measure that individuals seek to satisfy their needs and desires) is still alive and kicking.


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Bunnytots wrote:i just transfered to trollbane recently have spent around 10 minutes in trade. but the most hated person on Vashj was Roxxas. He would insult everyone and make himself sound uber leet by leet speaking in trade then laugh at people who told him to stfu.
Bunnytots wrote:Thatguy wrote:
I would have thought it's Nevruc.
Or Derangedtaco.
HOW DID U KNOW THOSE NAMES? you used to play on vashj? if you still do, run away, run FAR away.
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Pokemon X and Y's New Fossil Pokemon Unearthed
Listen up, Pokefans! The release of Pokemon X and Y is only a mere few weeks away, so you know that it's time to get even more excited about the game. To help facilitate this need for more zeal, take a look at some of the new Fossil Pokemon.
Meet Tyrunt and its evolved form, Tyrantrum. They're both Rock/Dragon Types with the Strong Jaw ability and both look like badass T-rex. Tyrunt is believed to be over one hundred million years old and is described as the "Royal Heir" Pokemon. On the other hand, Tyrantrum is described as the "Despot" Pokemon and even seems to wear a crown and some frills around its neck.
The main difference between the two is that while Tyrunt is a bit dinky and only weighs 57.3 lbs, Tyrantrum can weigh up to 595.2 lbs. That is quite a growth spurt.
You'll get the chance to raise your very own T. Rex when Pokemon X and Y are released for the Nintendo 3DS on Oct. 12 worldwide.


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This post has been superceded. Please click through to my post on the CaptionPix Plugin to find out about a WordPress plugin that makes image placement very easy. It's one we've written so please use it, and tell us what else you'd like it to do.
My friend Paula has a WordPress Blog, and she recently asked me how to place images within her text at either the right or left margins, and have text wrap nicely around the image, with a border. The instructions for doing this are the same for a self-hosted WordPress blog, but you can also use a plugin like this one if you are self-hosted. Here, I am specifically describing how to do it using WordPress.com using HTML.
1. Make Sure You Have Enough Text
It may sound like, completely obvious, but if you only have a couple of sentences, you won't have enough text to wrap – and if you have a few images to include in your text, you will have to have sufficient text to wrap around all of them. So step is to write your text, and make sure you've a good few paragraphs.
I have a hosted WordPress blog, so I am heading over there now to write some text. Having done that this is what my editing screen looks like, and so should yours.
2. Locate An Image That Is Suitable for Wrapping
If the image you select is too large, it won't look good when text is wrapped around it (because it will take up all the available horizontal space on the screen leaving your text nowhere to go, and therefore it won't wrap). To safeguard against this, your image should not be wider than say, 300pixels.
When an image comes out of a digital camera it is usually enormous. Resize the image to be somewhere between 100 to 300 pixels wide. If you don't know how to resize an image I will write a post about how to do that soon. In the meantime, I am assuming you know how to resize an image. I am now going to find an image and add it to my WordPress post. Of course you can have WordPress auto-resize your images if you prefer.
3. Add The Image to the Media Library
To add an image, I first click on the Add an Image button (as indicated below), which is the Add media group of buttons.
This causes a pop up screen to appear like the one shown below. When you see this, click on the upload button and navigate to your image file.
When you have located the image file you want to use, the screen will return to look like this – see below. Ensure you make changes as shown on the next screenshot. You need to give your image a good title (written nicely as it will be visible), remove the Link URL and leave the alignment set to NONE. See below.
Next note the name of your image as suggested on the screenshot below and then click on the save button as indicated. Do NOT putinto the post at this time.
At this point you will have uploaded the image to the WordPress web server computer, where the image IS now associated with the post you are writing, BUT at this stage it is not added into the post. So you won't see it in the post.
I don't advise that you click on the Insert Into Post button at this stage, but just like I did, ignore that button for now and just click on the Save all changes button as indicated above. In fact the image is now in the Media Library.
The reason I say don't use the Insert into Post button is because if you do it at this stage, you are trying to do too many things at once. You are trying to upload an image, and place it into the post all in one go. Maybe you didn't place your cursor at exactly the right point, and if you add the image to the post now, it may end up in a pace you did not intend.
4. Position Your Cursor
Now return to your post. You can see in my post below that I've positioned my cursor right at the start of the post. This is because I want to add my image there so that it is level with the first word I've written, then have the text wrap around the image. Please do the same with your image. Place your cursor at the very beginning of your post. See below.
5. Add Your Image
You are now ready to place the image. It is very important to place your cursor in an appropriate place within the text before you add the image.
Now place the image by clicking on the add an image button as you did before, and when the pop up screen appears click on the Media Library button at the top, then click on the Show link next to the image you want to place, (you may have many images in your Media Library), but this time click the button "Insert into Post". Be careful to leave the options on the screen as they are. You should end up with an image that is positioned as the one shown below.
Now you can add some basic HTML.
Note the name of your image – mine was called les-cornettes1.jpg. You know the name of you own image because you noted it earlier on.
Next you are going to save your work by clicking the save button in the post. (Don't publish yet – only save).
6. Do Some HTML
Next click on the HTML tab to leave the visual editor and enter code mode. Don't be scared. It is mostly harmless.
If you remember you placed your image at the beginning of your post, so you won't have to look far in the HTML to find it. It will be near the beginning. In HTML, images are represented with HTML text (as yours will be in your post) and look like this :
When you have identified your image within your HTML you can change the HTML to make the image behave exactly as you want it to. The only difference between my code above and yours will be the name of the image file (in my case les-cornettes1.jpg and the size – of course these will differ for you), but the image HTML should look very similar.
Now make the following changes to the HTML. I have shown the changes I made in blue so you can see them. (The part shown as pink is where your title for your image should be and it should already be there if you followed the instructions properly. If not, you can manually place the title now.)
style="float:left; margin-right:10px; margin-top:5px; border:1px grey solid" class="alignnone size-medium wp-image-29" title="My favourite restaurant in France" src="http://greenacreage.wordpress.com/files/2008/05/les-cornettes.jpg?w=300" alt="" width="300" height="225" />
Then flip back to the Visual editor and save. You should then see that you have a nicely floated image to the left of the text, with a grey border around it 1 pixel thick, and when you hover your cursor over the image the title shows up for the user. You should have a 10 pixel gap between the text and the image and the top of the image should be at exactly the same position as the top of the text. You can experiment with different values to see the difference it makes. You can for example position the image to float right, or change the thickness of the border to say 3px instead of 1px, change the title, and so on.
7. Admire Your Image
Hope this made sense.
Here is how my image looked on the page after this process.


text:
With the new labor deal utilizing mandatory four-year contracts for all drafted players, restricted free agency will become relevant in the future only when an undrafted player (or when a player cut from his rookie contract) finishes his three season in the league and has no contract.
The biggest name this year falling into that category, by far, is Giants receiver Victor Cruz. And with the new labor deal limited the maximum compensation for a restricted free agent to a single first-round draft pick (down from a one and a three), the question becomes whether the Giants will expose Cruz to the possibility that someone will sign him to an offer sheet the Giants can't or won't match.
Per Albert Breer of NFL Network, use of the first-round tender for a restricted free agent resulted in a one-year, non-guaranteed salary of $2.879 million. The Giants also could choose to apply the franchise tag, which would increase the compensation to a pair of first-round picks — but which also would increase the one-year tender toward $10 million, guaranteed.
The Giants may be safe to stick with the maximum RFA tender. Based on the lack of interest in restricted free agents like Mike Wallace last year, there's reason to at least suspect that teams have opted to not pilfer these three-year players. If no one pursues Cruz, it arguably could be proof of collusion among the various clubs.
Of course, a team will have to be willing to give up a first-round pick and plenty of money to sign Cruz to an offer sheet. Even then, there's a chance the Giants will match.
If he becomes available, the Giants likely don't have to worry about a division rival whom Cruz burned for a long, game-winning touchdown. Thanks to $36 million in cap penalties orchestrated in part by Giants co-owner John Mara, the Redskins have the cash but most likely not the cap space to fire a missile for Cruz.


text:
It was easy to be skeptical of the PlayStation Move when it first launched, but you have to admit, the peripheral has seen a fair amount of support. Sony has listed the Move-compatible games coming out later this fall, and that list includes both inFamous 2 and the vampire-centric inFamous: Festival of Blood.
Any of these particularly eye-catching to you?
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text:
Atlassian Sourcetree is a free Git and Mercurial client for Windows.
Atlassian Sourcetree is a free Git and Mercurial client for Mac.
Lawrencium is a Mercurial wrapper for Vim, inspired by Tim Pope's Fugitive.
The recommended method to install Lawrencium is to use Pathogen, also from Tim Pope:
cd ~/.vim/bundle hg clone https://bitbucket.org/ludovicchabant/vim-lawrencium
You can then update the help tags with
:call pathogen#helptags() and browse Lawrencium's help pages with
:help lawrencium.
Quick Start
Open a file from one of your Mercurial repositories.
:e ~/Work/Project1/src/foo.py
Work on it for a bit, then open another file, this time using
Hgedit and a
repository-relative path:
:Hgedit src/bar.py
Take advantage of the auto-completion when typing the path! Work on that other file too, then compare it to the parent revision version:
Continue working. At any moment, you can run a Mercurial command and get a quick glance at its output:
:Hg log --limit 5 src/blah/bleh
Note how auto-completion will help you with all the built-in commands and their options! Any other parameter will auto-complete with repository-relative paths.
Once you're happy with your work, bring up the status window:
You can see the difference between modified files and their parent revision
version easily by moving the cursor to the appropriate line and hitting
<C-V>. You can also do an
addremove by using <C-A> (use the selection mode
to add/remove several files at once!).
Now it's time to commit. While still in the status window, remove all mentions
of files you don't want to commit, and hit <C-S>. Write your commit message,
:wq, and you're done! You can check everything went fine:
:Hg tip
You can also commit faster with the
:Hgcommit command of course!
And that's it for now. Open the help file with
:help lawrencium, and post
your questions and problems in the issue tracker on BitBucket.


text:
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text:
Critical Hit d20 Ice Mold
The Temple of Elemental Tastiness
- Make a d20 2.4" in diameter
- Dishwasher and freezer safe
- Durable, food-safe silicone construction
When we started our tabletop roleplaying adventures, the beverage of choice was Mountain Dew. It still is sometimes in marathon sessions, but generally we now prefer something a little harder. Something our new characters might order in the tavern they just all happen to be in at the same time, for instance.
Next time you're making drinks for your gaming group, add a d20 to the mix with this Critical Hit d20 Ice Mold. We're looking forward to filling it with something swirly to see if we can come up with something like our favorite dice. Fair warning: you're going to need to either order a few of these or start making early, cause everybody at the table's going to want one once they see your drink come out with a big ol' d20 plunked in the middle.
To freeze: Fill bottom half of mold up to seam. Put top half of mold on (match notches). When frozen, remove from freezer. WITHOUT removing the top, fill the rest of the way (but leave a little space) and put back in freezer. Because of the magic of water molecules (and how they expand when frozen), this method prevents it the mold from leaking.
To unmold: Remove the cap. With your fingers at the edges and your thumbs at the base of the mold, push your thumbs out while peeling the mold back with your fingers. You might be tempted to run water over the mold to loosen it, but resist that urge! Keep working it out, and you'll get a perfect icy d20, plus 100xp so you can work towards your paragon levels.
Product Specifications
- Critical Hit d20 Ice Mold
- A ThinkGeek exclusive!
- Materials: food-safe silicone
- Freezer, dishwasher, and oven-safe up to 450°
- Freezing time 5-6 hours
- Also great for molding chocolates or soap (Gelatinous Icosahedron, anybody?)
- Holds 4 oz.
- 2 3/4" across


text:
Some US Soldier Freestyles For D12! "From Jersey To Germany"
OB , a U.S troop stationed in Germany, giving his best freestyle for D12 . Shout out to Jump Off TV
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text:
At various points since the end of the season, we've heard talk about the Patriots using their franchise tag to guarantee the return of one of three key free agents from last year's team.
The deadline to use the tag has passed, however, and the Patriots did not opt to use it on any of those players. It is the first time since 2008 that the Patriots have opted against using the tag.
That means wide receiver Wes Welker, cornerback Aqib Talib and tackle Sebastian Vollmer will all become free agents if they do not reach agreement with the team on new contracts by the March 12 start of free agency. All three players would have been due big salaries for the 2013 season under the tag, numbers that the Patriots obviously thought didn't work within the overall framework of the cap.
There was word of "progress" toward a new deal for Welker earlier on Monday, which suggests a fair chance that a deal is struck before other teams are able to steal Welker away with a bigger offer than the Pats are prepared to make. There hasn't been any equally optimistic word on contracts for Talib and Vollmer.


text:
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text:
Chesterton Tribune
Indiana seeing surge in gun permit applications
(AP) — The national gun-control debate sparked by December's deadly
Connecticut school shooting is spurring a surge of applications in Indiana
for gun permits, with State Police seeing three times the number of such
requests the agency handled a year ago.
Indianapolis Star reports that Indiana State Police have been getting up
to 4,000 permit requests each week — triple the volume of a year ago. That
surge has created a backlog of unprocessed permits and longer waits for
permit approvals.
State Police
Capt. Dave Bursten said it's now taking 15 weeks to get one permit request
processed, a time that's nearly doubled the average wait time.
"When we had
our traditional number in a normal year, we were running in the area of
eight or nine weeks if you had a traditional fingerprinting, a little
under five weeks if it's an electronic fingerprint," he said.
Local police
departments, meanwhile, are getting bogged down with inspections,
fingerprinting and background checks needed for each permit application.
application must be reviewed and either approved or rejected by the local
police chief, town marshal or county sheriff. State Police have the final
decision on approving and issuing the permits.
Carmel Police
Chief Tim Green said the suburban Indianapolis city of 80,000 had 263 new
applications filed in the first five weeks of 2013, compared with 67
applications in the same period last year. Green said Carmel could surpass
1,000 new permits this year, nearly 200 more than in any previous year.
"Many of these
folks want the permit because they are afraid they will not have the
ability to get one in the future," Green said.
Indianapolis, the city's police department received more than 1,100
applications in December. That's 360 more than the department received in
But the
increase in requests seems especially pronounced in the suburban and rural
areas surrounding Indianapolis.
police spokesman Matt Fillenwarth said the department just south of
Indianapolis processed 196 permits from November to January, compared with
47 during the same time a year earlier.
The increase
follows the national debate over gun violence and new gun restrictions
that began after a 20-year-old gunman fatally shot and killed 20 children
and six adult staff members Dec. 14 at Sandy Hook Elementary School in
Newtown, Conn.
"Ever since
the president started talking about gun control after the Sandy Hook
shooting, I mean we've seen a tenfold increase in the people that have
come in wanting to get gun permits," Fillenwarth said. "I think it's been
slowing down a little bit, but any time they talk about any type of gun
control, people freak out."
enforcement officials said the increase in permit applications illustrates
the confusion over Indiana's existing guns laws because most of the people
seeking the gun permits don't need them.
That's because
Indiana residents don't need to have a permit of any kind to own or use a
rifle or shotgun, or to own or keep a handgun in one's home.
However, a
permit is needed if gun owners intend to carry a handgun on their person
or in their vehicle.
resident Steven Cutler, 58, recently sought a permit because he wants to
carry his gun in his vehicle to shoot targets. He said he's motivated by
concerns about potential restrictions but also is concerned about his
personal safety in case he encounters unexpected dangers.
"With the
upcoming potential regulations and tightening of the laws, I thought it
would be a good idea to get some self-protection," Cutler said.
Posted 2/21/2013


text:
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text:
Eruzione Jersey Sells For Almost $660K; Schilling Bloody Sock Fetches Just $92,612
The jersey that Mike Eruzione, the captain of the 1980 U.S. hockey team, wore when the Americans upset the Russians at Lake Placid, NY 33 years ago sold for $657,250 on Saturday night. The 'USA' emblazoned sweater was the centerpiece of an auction conducted by Heritage Auctions in New York City.
The stick Eruzione used in the USA-USSR game went for $262,900; the uniform he wore in the gold medal victory against Finland sold at $286,800 and the warm-up suit the captain wore during the gold medal ceremony fetched $26,290. Heritage will sell 18 other Eruzione items on Sunday.
While the Eruzione jersey didn't achieve the $1 million value estimated by some collectors, it far outpaced the bloody sock worn by Curt Schilling in Game 2 of the 2004 World Series. The stained hose sold for just $92,612.
Beset by losses after his Rhode Island video game company, 38 Studios LLC, went bankrupt in 2012, Schilling listed the sock as bank collateral, necessitating the sale. The sock is the second of its kind the pitcher wore while helping Boston to a championship in 2004. The first sock was worn during Game 6 of the 2004 American League Championship Series against the New York Yankees and allegedly thrown out at Yankee Stadium.
Other sales included New York Yankees and Boston Red Sox items such as checks signed by Mickey Mantle and a game-worn Lou Gehrig jersey.


text:
Tom Cotton, that's who. Newly elected to the House of Representatives from the 4th district in Arkansas, he was one of the Power Line "pick six" we tracked in this last election. He hasn't received his committee assignments yet. But stay tuned; Tom is going to be a person to watch for many years to come.
He's no stranger to Power Line readers, of course; see here and here, just for example. Still, when I ran into him last night at a Claremont Review of Books event in Washington, I couldn't resist getting him on the record:


text: On Tue, 7 Jan 2003, Joe Nellis wrote: > I purchased the scyld CDROM from Linux Central about June 2001. Is the CD > currently being sold the same one or a new version since then? I believe that they are still selling the older 27Bz-8 version. The current version we ship to customers is 28Cz-5, with the 29 series in development. The Zero-Install Demo version that we distributed at SC2002 was numbered 28Dz-5, is the most recent low-cost, unsupported version. However, unlike the previous basic editions which were full installs with basic tools, the new "D" demo disks are intended as single-application, zero-install turn-key cluster packages. -- Donald Becker becker at scyld.com Scyld Computing Corporation http://www.scyld.com 410 Severn Ave. Suite 210 Scyld Beowulf cluster system Annapolis MD 21403 410-990-9993


text:
Morocco's livestock and poultry sector will soon have high protein U.S. sorghum available for inclusion in feed rations.
On Oct. 26, Archer Daniels Midland (ADM) loaded 25,000 metric tons (984,000 bushels) of U.S. sorghum on a vessel in Galveston, Texas, destined for the North African country.
Kurt Shultz, U.S. Grains Council director in the Mediterranean and Africa, said the sale was a result of developing long-term relationships and sharing information with top feed manufacturers in Morocco.
"The sorghum was purchased by Graderco, a trading company in Casablanca we have worked with for many years," said Shultz. "They know what we tell them is the truth. When you have trust, you have a good chance at providing customers high-quality feed ingredients produced by U.S. farmers."
The recent purchase occurred subsequent to a visit earlier this year by Chris Corry, USGC senior director of international operations, and other Council representatives with Graderco officials. Corry said the representatives of Graderco were misinformed about U.S. sorghum at the time of the visit.
"They told us when they enquired about sorghum they were either told there was none available or the price exceeded other options," said Corry. "We set the record straight by providing them with real-time market information, provided to us by the United Sorghum Checkoff Program (USCP), on the U.S. sorghum crop and pricing. With the information we provided, Graderco made the purchase. Without accurate information and a trusting relationship, the purchase would not have been made."
Corry said the Council has intensified its sorghum marketing efforts as a result of funding provided by USCP, which was formed last year.
Troy Skarke, USCP board member and sorghum producer from Claude, Texas, said Morocco's purchase demonstrates the strong return on investment USCP facilitates for sorghum producers.
"We have a good quality product and are seeing very good yields and test weights coming out of the fields. I am optimistic the crop will move quickly from the elevators to the end-user. I look forward to the continued success from the sorghum checkoff efforts and the investment with the U.S. Grains Council to market our crop overseas."


text:
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text:
Issue 53 - 1988
Orko the Magician
Orko conjures up a bat to help him play cricket- but conjures up the wrong sort.
Feature Story 1: "The Bells of Doom" (English translation of the German comic "Die Glocken der Verdammnis" from Ehapa)
The Sorceress warns the heroic warriors, and summons He-Man to Grayskull, to tell him that Skeletor has found the location of the Bells of Doom. If he can ring the Seven Bells, he will gain great power for half a day, and be able to command all the evil warriors on Eternia! He-Man sets off, with Orko, Moss Man, Fisto and Snout Spout, to the Sea of Silence where the bells are located. But Tri-Klops is spying on them, and reports back to Skeletor that they will not survive the sea of silence. The heroic warriors dive in, and they find the lost underwater city of Moraturia..... (cont'd in part 2)
Master Mail
More questions/answers on MOTU.
Feature Story 2: "The Bells of Doom", Cont'd
In the underwater city of Moraturia, the heroic warriors are attacked by robot sharks. He-Man is swept away by a powerful current, carrying him far away, as the water around Moraturia is drained away. The other warriors attempt to stop the bells from ringing- but they are too late, as Skeletor causes the ground to shake, ringing the bells. Then a glass dome appears over the city, trapping Fisto, Moss Man, and Snout Spout inisde. But He-Man has been washed up on the shore, and makes his way back to Orko and Battle Cat. He has lost his sword in the current, and must get it back. Meanwhile, Skeletor has now gained control of all the evil warriors on Eternia- even Hordak and the Snake Men- and they march towards Eternos for a massive invasion! (cont'd in part 3)
Feature Story 3: "The Bells of Doom", Cont'd
Skeletor, and all the other evil warriors, pause to rest near the silent sea to await the rest of the troops. He-Man and Orko are lurking nearby, and Orko cats a spell to create false fire balls, accompanied by the sound of Ghost Drums. All the evil warriors flee except Skeletor, the only one who senses it is not a real attack. Just then, he sees He-Man's sword- unprotected- and rushes towards it! But He-Man comes towards it at the same time, and grabs it before Skeletor can! Skeletor quickly teleports back to Snake Mountain, and He-Man and Orko meet the other warriors on the other side of the sea, and return home.
Comic Strip 1: "A Shaggy Story"
A brief comedy strip starring Grizzlor.
Comic Strip 2: "Once Bitten"
Another brief comedy strip with Tung Lashor and Rattlor.


text:
Theme description
Photosession is a different, modern, responsive and minimalistic Ghost portfolio theme.
I present you the easiest and fastest to setup web portfolio yet!
Theme features
- Clean and commented code
- Fully responsive, liquid layout
- Retina ready, works and looks great on all devices and resolutions
- jQuery imgLiquid for perfect image fit into blocks
- jQuery Isotope gallery (25$) with smart filter for image posts
- Filtering by image tag, right inside of your Ghost blog
- Adding new filter tags in a single line of code
- jQuery "Back to Top" button with smooth scroll animation
- Parallax style fixed header
- DISQUS comments
- Google Web Fonts
- PSD file for logo is included
- Sample post data and logo/cover image is included
- Blazing fast and easy to install
- Well documented
Google fonts used in this theme: Rokkitt and Raleway
Thank you for purchasing and please rate it if you like it!
If there is anything that you need help with, please do not hesitate to contact me over comments or personal message. Thank you!
IMPORTANT: Make sure that you set up your Ghost blog to display 999 posts per page so it will display all of your image posts on homepage.
Check my other items on Themeforest:


text:
Soulja Boy Got A Crush On Meagan Good + Says He Used To Be A Flash Animator Making Stick Man's & Now Workin On His Drawing Skills
Soulja Boy's Dre Blog #2
Please click the "Report" button below if the video on this page is not working properly.
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text:
Can diet increase platelets?
Last Reviewed: November 17, 2002
Dear OncoLink "Ask The Experts,"
What can you eat or do to increase the platelet count? My father has not stopped bleeding at the colostomy location. He is also diabetic.
Katrina Claghorn, MS, RD, Registered Dietitian at the Abramson Cancer Center of the University of Pennsylvania, responds:
There really are no particular foods that directly affect platelet levels. A low platelet count is caused more by medications and disease state. Ongoing bleeding around the colostomy site should be brought to the attention of your father's physician. Wound healing can be prolonged in diabetics as well so this may be a factor. Definitely have this evaluated further soon.


text:
When: 7:30 p.m. Thursday, April 25-Saturday, April, 27; 2 p.m. Sunday, April 28
Where: Music Theatre, Imig Music Building, 18th and Euclid, University of Colorado campus
Tickets: $16-$26
Info: 303-492-8008 or cupresents.org
In most opera reviews, the bulk of the ink is devoted to the cast's performance, the director's concept, the conductor's interpretation. But there are times when performers and producers subordinate themselves so much to the music, to the vision of the composer, it is impossible to turn the focus away from the music itself. Whether this is conscious, the immersion is so complete that the reaction is less "What a great performance!" than "What a magnificent work of art!"
CU Opera's production of "Little Women," opening Thursday, April 25, at the Music Theatre in the Imig Music Building, has that effect.
In dress rehearsals earlier this week, the student performers brought Mark Adamo's glorious music and words to such a powerful realization that these melodies, probably never experienced by most listeners, become embedded in the mind — the melodic phrases associated with such words as "Perfect as we are," "Ours the hours" and "Things change, Jo."
The 1998 score is continuous, but sectional, and places its structure in the service of the story. The balance between tonal and post-tonal languages is impeccably calibrated. And the tremendously difficult vocal lines never really draw too much attention to themselves.
Directors Leigh Holman and Chelsea Lewis make the most of the intimate stage. The central, elevated, realistic attic set gorgeously interrupts the conceptual memory world surrounding it. Large sheets of manuscript representing Jo March's stories form the background and floor.
Conductor Christopher Zemliauskas deftly directs the small ensemble, whose imaginative percussion section lends a particularly illustrative wealth to the score. The distorted oboe and clarinet sounds that imitate a crying baby are especially delightful.
Much of the cast, including all the female leads, is doubled between the Thursday/Saturday and Friday/Sunday performances. (The Thursday/Saturday performers are listed first in ensuing references.) Those who experienced "The Rake's Progress" or "Falstaff" earlier in the season will be excited about some of these names. In fact, much of the doubling is also recognizable from last month's "Falstaff."
Thus, Max Hosmer and Christian Sanders again share the role of the romantic tenor, this time playing Theodore Lawrence, affectionately known as "Laurie," whose unrequited love for one March sister leads to marital bliss with another. Hosmer's powerful high range and the beautiful tone of Sanders are irreproachable.
The tenors switch their romantic pairings from "Falstaff." The coloratura soprano role of Amy, the youngest sister, is joyously portrayed by Adara Towler and Kirsten Kamna. Mezzo-sopranos Leigh Joseph and Emily Moses are both radiant as Meg. Joseph has an elegant presence; Moses, a more vulnerable one.
Sopranos Christina Pezzarossi and Angela Born imbue the doomed Beth with a palpable pathos, Born taking a slightly more fragile approach. Mezzo-sopranos Julie Silver and Halley Pearlstein play the mother, Alma March, with dignity. The alto part of aunt Cecilia March is most differentiated between the singers. Shannon Kaye has more joviality, Emily Sinclair more seriousness.
Other than Laurie, the male roles are played by one actor. Baritone Adam Ewing, as John Brooke, has an ovation-worthy moment in his proposal aria to Meg. Bass-baritone Malcolm Ulbrick is perfectly cast as Gideon March, the father, having a strong look as well as voice. Zac Garcia plays the small comic role of Mr. Dashwood, who appears with Jo at the beginning of Act II.
And there is a "Greek chorus" of four female voices, perhaps alter egos of the sisters. Charlotte Haertling, Nicole Wilke, Melanie Shaffer and Victoria Pena negotiate extremely challenging ensemble singing in all performances.
Two roles deserve special emphasis. Jo March is the lead in both Adamo's and Louisa May Alcott's visions. It is an incredibly difficult role, as Jo is essentially never offstage. The singer must be able to move swiftly between a Jo who fights change and one who ultimately accepts it. She must be relentlessly strong but eminently lovable.
Kristyn Christman-McCarty overwhelmingly dominates the Thursday/Saturday cast. She sings with authority and embraces the character's constant presence. In the Friday/Sunday cast, the irrepressible Anna Englander finally gets a true lead after playing so many memorable character parts.
Finally, Friedrich Bhaer, the German instructor who ultimately wins Jo's heart, is another triumph for bass-baritone Michael Aiello. It is a smaller role than his magnificent Nick Shadow in "The Rake's Progress," but he gets the best tune, the setting and translation of Goethe's "Kennst du das Land." It is one of many moments where Adamo is as much a star as the singer.


text:
Data dumps
- See also mw:Help:Export and mw:Help:Import
- 1 Summary
- 2 What is this all about?
- 3 Warning on time and size
- 4 What's available and where
- 5 How often dumps are produced
- 6 Format of the dump files
- 7 Download tools
- 8 Tools for import
- 9 Other tools
- 10 Producing your own dumps
- 11 Step by step importing
- 12 Where to go for help
- 14 See also
- 15 References
WMF releases data dumps of Wikipedia and all WMF projects on a regular basis.
- Text and metadata of current or all revisions of all pages as XML files
- Most database tables as sql files
- Page-to-page link lists (pagelinks, categorylinks, imagelinks, templatelinks tables)
- Lists of pages with links outside of the project (externallinks, iwlinks, langlinks tables)
- Media metadata (image, oldimage tables)
- Info about each page (page, page_props, page_restrictions tables)
- Titles of all pages in the main namespace, i.e. all articles (*-all-titles-in-ns0.gz)
- List of all pages that are redirects and their targets (redirect table)
- Log data, including blocks, protection, deletion, uploads (logging table)
- Misc bits (interwiki, site_stats, user_groups tables)
- experimental add/change dumps (no moves and deletes + some other limitations) https://wikitech.wikimedia.org/wiki/Dumps/Adds-changes_dumps
- Stub-prefixed dumps for some projects which only have header info for pages and revisions without actual content
- Media bundles for each project, separated into files uploaded to the project and files from Commons
Images : See here
- Static HTML dumps for 2007-2008
(see more)
You can download the latest dumps (for the last year) here (dumps.wikimedia.org/enwiki/ for English Wikipedia, dumps.wikimedia.org/dewiki/ for German Wikipedia, etc).
Archives : dumps.wikimedia.org/archive/
Current mirrors offer an alternative to the download page.
Due to large file sizes, using a download tool is recommended.
Many older dumps can be found at the Internet Archive.
Data format[edit]
XML dumps since 2010 are in the wrapper format described at Export format (schema). Files are compressed in bzip2 (.bz2) and .7z format.
SQL dumps are provided as dumps of entire tables, using mysqldump.
Some older dumps exist in various formats.
How to and examples[edit]
See examples of importing dumps in a MySQL database with step-by-step instructions here .
Existing tools[edit]
Available tools are listed in the following locations, but information is not always up-to-date:
All text content is multi-licensed under the Creative Commons Attribution-ShareAlike 3.0 License (CC-BY-SA) and the GNU Free Documentation License (GFDL). Images and other files are available under different terms, as detailed on their description pages.
- Maintainer: Ariel Glenn
- Mailing list: xmldatadumps-l
- Bug reports: Phabricator Dumps Generation project
- Design work on Dumps 2.0 replacement: Phabricator Dumps Rewrite project
Research projects using data from this source[edit]
- "A Breakdown of Quality Flaws in Wikipedia" examines cleanup tags on the English Wikipedia using a January 2011 dump
- "There is No Deadline – Time Evolution of Wikipedia Discussions" looks at the time evolution of Wikipedia discussions, and how it correlates to editing activity, based on 9.4 million comments from the March 12, 2010 dump
- "Understanding collaboration in Wikipedia" mines a complete dump of the English Wikipedia (225 million article edits) for insights into open collaboration
- "Dynamics of Conflicts in Wikipedia" takes the revision history from the dump to extract the reverts based on the text comparison to study the dynamics of editorial wars in multiple language editions
What is this all about?[edit]
Wikimedia provides public dumps of our wikis' content:
- for archival/backup purposes
- for offline use
- for academic research
- for bot use
- for republishing (don't forget to follow the license terms)
- for fun!
Please follow the XML Data Dumps mailing list by reading the archives or subscribing, for up to date news about the dumps; you can also make inquiries about them there. If you cannot download the dump you want because it no longer exists, or if you have other issues with the files, you can ping the developers there.
Warning on time and size[edit]
Before attempting to download any of the Wikis or their components, PLEASE READ CAREFULLY the time and space scale information below! Because of the size of some file collections (TERAbytes), downloads can take days, or even weeks. (See also our FAQ on the size of the English language Wikipedia dumps.) Be sure you understand your storage capabilities before attempting downloads. Notice (below) that there are a number of versions that are "friendlier" in size and content, which you can customize to your scalability by using or not using images, using or not using talk pages, etc. A careful read of the info below will save a lot of headaches compared to jumping right into downloads.
Faster archives and servers[edit]
Once you're sure you've selected the smallest dataset which fits your purpose, make sure to get it in the most efficient way:
- download them compressed in 7z format, which can be 10 times smaller than bz2 and decompresses faster[1] (once the 7z download is complete, you can pipe the content with 7z e -so, see also full manual);
- download from one of the dumps mirrors, which can be much faster especially if they're near you network-wise (e.g. if you both are on a GÉANT/Internet2/etc. network);
- if the (de)compression takes more time than expected, make sure you've downloaded either 7z or multistream.xml.bz2 files and that your software supports multithreading (like pbzip2/lbzip2 for bz2 decompression and p7zip with lzma-utils 5.1.3+ or 5.2+[2] for compression only,[3] or xargs/parallel for multiple 7z LZMA decompressions); if you write to disk, consider that LZMA decompression is likely to be faster than your disk can handle.[4][5]
What's available and where[edit]
It's all explained here: what's available and where you can download it.
How often dumps are produced[edit]
All databases are dumped on three hosts which generate dumps simultaneously. The largest database, enwiki, takes about 14 days for a full run to complete. Wikidata is not far behind.
We produce full dumps with all historical page content once a month; this dump run starts at the beginning of each month.
We produce partial dumps with current page content only, also once a month, starting about 2/3rds of the way through the month.
Failures in the dump process are generally dealt with by cleaning up the underlying issue and letting the automated runner rerun the job.
See wikitech:Dumps/Current_Architecture for more information about the processes and the dump architecture.
- Larger databases such as jawiki, dewiki, and frwiki can take a long time to run, especially when compressing the full edit history or creating split stub dumps. If you see a dump seemingly stuck on one of these for a few hours, or days, it's likely not dead, but simply processing a lot of data. You can check that file sizes are increasing or that more revisions are being processed, by reloading the web page for the dump.
The download site shows the status of each dump: if it's in progress, when it was last dumped, etc.
Monitoring dump generation[edit]
If you are interested in a particular wiki and run date (e.g. frwiki, the "full" run that starts on the 1st of the month), you can check the file dumpstatus.json in the corresponding directory, i.e. for April 1 2017's frwiki run you would look at https://dumps.wikimedia.org/frwiki/20170401/dumpstatus.json and so on. See Data dumps/Status format for more information on the format of these output files. If you are interested in getting information on all wikis, you can check the https://dumps.wikimedia.org/index.json file which aggregates the per-run json files for the most recent run across all wikis.
Feeds for last dump produced[edit]
If you're interested in a file, you can subscribe to the RSS feed for it, so that you know when a new version is produced. No more time spent opening the web page, no more dumps missed and hungry bots without their XML ration.
The URL can be found in the
latest/ directory for the wiki (database name) in question: for instance
contains the feed
for the last *-pages-meta-history.xml.bz2 dump produced.
You can use services that turn RSS feeds to email notifications (like Blogtrottr).
Format of the dump files[edit]
The format of the various files available for download is explained here.
Download tools[edit]
You can download the XML/SQL files and the media bundles using a web client of your choice, but there are also tools for bulk downloading you may wish to use.
Tools for import[edit]
Here's your basic list of tools for importing.
Other tools[edit]
Check out and/or add to this partial list of other tools for working with the dumps, including parsers and offline readers.
Producing your own dumps[edit]
MediaWiki 1.5 and above includes a command-line maintenance script dumpBackup.php [1] which can be used to produce XML dumps directly, with or without page history.
The programs which manage our multi-database dump process are available in our source repository but would need some tweaking to be used outside of Wikimedia.
You can generate dumps from public wikis using WikiTeam tools.
Step by step importing[edit]
We documented the process to set up a small non-English-language wiki with not too many fancy extensions, using the standard MySQL database backend, on a Linux platform. Read the example or add your own.
See also the MediaWiki manual page on importing XML dumps.
Where to go for help[edit]
If you have trouble importing the files, or problems with the appearance of the pages after import, check our import issues list.
If you don't find the answer there or you have other problems with the dump files, you can:
- Ask in #mediawiki on irc.freenode.net - Although help is not always available at all times
- Ask on the xmldatadumps-l (quicker) or the wikitech-l mailing lists.
Alternatively, if you have a specific bug to report:
- File a bug at Phabricator under the Dumps Generation project.
For French speaking people, see also fr:Wikipédia:Requêtes XML
Some questions come up often enough that we have a FAQ for you to check out.
See also[edit]
On the dumps:
- w:Wikipedia:Database_download
- mw:Manual:Importing XML dumps
- mw:Research Data Proposals#Dump
- mw:WMF Projects/Data Dumps
- wikitech:Dumps
- wikitech:dumpHTML
On related projects:
- Datasets - a list of different data sources related to the Wikimedia projects and tools for working with them
- en:User:Emijrp/Wikipedia Archive
- WikiTeam (website) - a group of people who develop software for making backups and archive wikis
- Entropy-based analysis tool (Who Writes Wikipedia?)
- StatMediaWiki
- Wikimedia group on The Data Hub for many other data dumps
- mw:Category:Import/Export
- mw:Backing up a wiki How to back up your wiki, with a database dumping tool for MySQL/PostgreSQL etc, or with dumpBackup.php
- wikitech:Analytics/Data Lake/Content/XMLDumps/Mediawiki wikitext history - database table derived from the XML dumps (for internal use at WMF)
- ↑ For instance it may take less than 2 hours of wall clock time to decompress the whole 100+ GiB of the compressed full dumps of the English Wikipedia: phabricator:P4751. Using 2 CPU cores, it takes less than a day to decompress and grep all the revisions for a string: phabricator:P4750.
- ↑ https://sourceforge.net/p/lzmautils/discussion/708858/thread/d37155d1/#d8af
- ↑ https://sourceforge.net/p/sevenzip/discussion/45797/thread/40ce93af/#5d93
- ↑ https://sourceforge.net/p/sevenzip/discussion/45797/thread/136f029b/#32ad
- ↑ Many scripts can read directly from bz2/7z files, such as wikistats or Python scripts, or recommend to read from the piped decompressed content, such as wikiq and mwdiffs.


text:
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text:
The Playwrights' Center in Minneapolis has a national reputation for developing new plays. Many writers come to Minneapolis for year-long fellowships; several have ended up settling down here because of the local writing scene.
"This has got to be in the top three playwriting communities in the country," says Polly Carl, the Playwrights' Center's producing artistic director. "New York at the top, of course, and we're probably competing with San Francisco. There's some unbelievable talent in this town."
Carl says playwrights don't stay put here. They tend to spend a lot of time in New York, but typically she says there are between 30 and 50 professional playwrights working in the Twin Cities at any given time. However, she says, you wouldn't know that by looking at the Twin Cities theaters.
"We often say that he most frustrating thing for writers that stay in Minneapolis, especially writers who are often having careers around the country, is that the only place that their work is not being seen is here," says Carl.
It's possible to find relatively new work on Minnesota stages, but often these are shows that have already been a hit in New York; they're a pretty safe bet.
The History Theater in St. Paul is one of the few theaters whose season is made up of entirely new work, often written by local playwrights. Despite his focus, Artistic Director Ron Peluso sympathizes with other theaters that avoid new work.
"It's a risky business and no matter how we slice it we are in a business; we have to pay the bills and make the rent," says Peluso. "And it's not always something that succeeds. You may artistically succeed or it may succeed at the box office, but its always an unknown. You can't control any of those things."
This past season Peluso produced a play that went over well with school audiences, but didn't connect with adults. The play was a huge financial loss for the theater. Peluso couldn't fall back on an old favorite for the next show to recoup his losses. Instead he put up yet another new play that no-one had seen. He insists that he's willing to take the risk, because it's part of his theater's mission to produce new plays. He says other theaters, which don't share that mission, are simply being practical about balancing their budgets.
"We see how many new musicals appear on Broadway now," laughs Peluso. "I mean it's just too expensive. You take a chance and you lose your shirt. We have, what, three new shows and eight revivals on Broadway? That's the safer way to go."
Producing a new play is also more time-intensive than putting up a show that's been staged several times before. There are often kinks to work out, passages that need re-writing. That means more rehearsal time, more money to pay the actors, and less time to focus on the other plays in the season.
That kind of commitment has become even more exceptional in the last five years, according to Illusion Theater Director Michael Robins.
"Ever since the economic downturn of 2000 and then 9/11 there's been kind of a shifting of what people want to do, where they want to go, what they want to see," says Robins. "Consequently I do think there's been some pullback in wanting to do new work that doesn't have any name recognition or isn't even something someone can hang their hat on."
Mindful of the pitfalls of producing new work, some theaters are coming up with new ways to mitigate the risk. Robins is currently directing "Fresh Ink," a mini-festival of new works that the Illusion puts together each year.
Allison Moore's script "American Klepto" is one of this year's offerings. The Illusion Theater won't stage a full production, but close to it. Moore says that while she's had her work read around town numerous times and a few short plays produced, she has yet to see one of her full-length plays staged at a Twin Cities theater.
"If what you're looking for is a reading, it's so easy--very, very easy--to get something together, to pull people together to get that experience of hearing a first draft," says Moore. "Getting to that next step and actually having a full production is a little bit more challenging."
Moore understands the risks involved in producing a new play, but she still finds it hard to comprehend why more theaters don't stage new work by local playwrights. She says she knows there's an audience out there that would love to see it; she sees them showing up in droves for the Minnesota Fringe Festival.
"The Fringe does essentially all unknown work," says Moore. "I mean I've been to the Fringe every year and people are lined up around the block! They stand in line to get their tickets to see new work by people they've never heard of! So clearly the audience is there."
Out of frustration, Moore says, many playwrights have turned to producing their own work. She admires people who can find the time and energy for it, but she doesn't see herself producing one of her own plays.
"I don't know that everybody is suited temperamentally to that sort of thing," says Moore. "As for most artists, most of us are sort of piecing a living together through multiple streams of income and when you're already juggling so many things it can feel overwhelming to try and add 'producer' to the list of things that you're doing."
Being a producer would mean creating a non-profit organization, applying for funding, and probably promoting plays as well. But a group of local playwrights is trying to simplify that process. One of them is Trista Baldwin, who moved to Minneapolis from New York. There, she says, directors regularly sought out playwrights' new work. She came to Minneapolis to focus on her writing, but after three years she's eager to get back into the world of theater.
"I don't like spending all of my time in front of a computer and in my head," says Baldwin. "I'm a theater person, not just a writer but a theater person. If I wanted to stay alone writing I would write fiction or poetry, but this is meant for an audience and this is meant for collaboration."
Baldwin is one of the co-founders of the Workhaus Collective, made up of 15 playwrights who want to produce their own work. Each playwright takes a turn being the artistic director, staging his or her play. Baldwin says the collective is not THE solution for getting more local work to local audiences, but A solution.
"More new plays beget more new plays," says Baldwin. "By doing new work, it makes it less scary for everybody, and I think that will make new work more exciting to the other theater companies here. At least that's the hope."
If the Workhaus Collective has its way, audiences will be seeing more new plays produced not just by playwrights, but by established theater companies throughout the Twin Cities in the years to come.


text:
We believe it is our responsibility to agriculture and our communities to help growers, both in and out of the field. That's why we teamed with the Potato Council to help growers gain key insights into their customers through new research.
Las Vegas, NV (PRWEB) January 10, 2013
Recent consumer potato consumption trends point to significant growth opportunities for the U.S. potato industry, according to new research unveiled yesterday at POTATO EXPO 2013. The research, conducted by Datassential, a leading food industry market research firm, and sponsored by Bayer CropScience, shows that nearly half (43 percent) of consumers surveyed report they increased their potato consumption last year. Forty-six percent report eating potatoes several times per week at home or away from home, with 14 percent eating potatoes daily or more than once a day.
These and other insights were released by Datassential Director Maeve Webster. Late last year, the firm fielded proprietary research into trends impacting potato consumption on behalf of the National Potato Council (NPC) and Bayer CropScience. Bayer CropScience is teaming up with the Council to provide tools and support that will help potato growers and others within the industry improve their business by understanding and connecting with key stakeholders, such as consumers and food-industry operators.
According to the research, consumers most often eat fries (57 percent), followed by mashed potatoes (42 percent) and baked potatoes (37 percent). In the future, consumers expect to order more baked potatoes when dining out (33 percent), followed by orders of fries, sweet potato fries and oven roasted/baked sweet potatoes, all at 30 percent.
"It's clear that consumers like potatoes; however, to a large degree, potatoes have been left behind in all the innovation in the food-service industry," Webster said. "Potatoes can work well in a variety of ethnic dishes, and their popularity with consumers and potential profit margins should make them extremely appealing to operators. This research and other trends we've been tracking indicate a significant opportunity for potato growers and processors to help reignite the industry's passion for potatoes by working more closely with operators to create consumer demand."
"We believe it is our responsibility to agriculture and our communities to help growers, both in and out of the field," said Rob Schrick, Strategic Business Management Lead with Bayer CropScience. "That's why we teamed with the Potato Council to help growers gain key insights into their customers through new research."
Opportunities for food-service operators
In restaurants, consumers would like to see potatoes more often as a side plated with an entrée (65 percent). Other areas for growth on the menu include as a main ingredient in appetizers (46 percent), as an à la carte side (44 percent) or as an ingredient in beef entrees and in breakfast entrees, both at 43 percent.
Research also shows opportunities to increase consumption by using potato descriptors to pique consumer interest, with consumers indicating a strong preference (60 percent) for the term "locally sourced."
Food-service operators indicated the potato items most likely to be added to menus include sweet potato fries (17 percent), baked sweet potatoes (16 percent) and mashed sweet potatoes (15 percent). Items already offered that are most likely to have an increased presence on menus were oven baked/roasted potatoes (36 percent), baked potatoes (33 percent) and regular fries (30 percent).
Webster's presentation at POTATO EXPO 2013, the largest annual gathering of the U.S. potato industry, followed another Bayer CropScience-sponsored event—social media training for the potato industry and a panel discussion by growers who use social media to enhance relationships and drive sales.
Bayer CropScience's commitment to sustainability begins at home, where it develops people and enriches communities, and extends around the world helping farmers address their greatest challenges in an environmentally responsible manner. Bayer CropScience believes greater food security creates healthier people and communities. For additional information and background on Bayer CropScience and its other programs, please visit http://www.bayercropscience.us/our-commitment/bayer-initiatives.
Bayer CropScience Twitter Page:
Bayer CropScience Blog:
About POTATO EXPO
POTATO EXPO is the largest annual conference and tradeshow for the potato industry held in North America. POTATO EXPO offers educational programming covering the top issues facing the potato industry, provides countless networking opportunities with key decision makers, and showcases the latest products and services for potato production and distribution. For more information, visit http://www.POTATO-EXPO.com.
About Bayer CropScience
Bayer is a global enterprise with core competencies in the fields of health care, agriculture and high-tech materials. Bayer CropScience, the subgroup of Bayer AG responsible for the agricultural business, has annual sales of EUR 7.255 billion (2011) and is one of the world's leading innovative crop science companies in the areas of seeds, crop protection and non-agricultural pest control. The company offers an outstanding range of products including high value seeds and, innovative crop protection solutions based on chemical and biological modes of action as well as an extensive service backup for modern, sustainable agriculture. In the area of non-agricultural applications, Bayer CropScience has a broad portfolio of products and services to control pests from home and garden to forestry applications. The company has a global workforce of 21,000 and is represented in more than 120 countries. This and further news is available at: http://www.press.bayercropscience.com.
Bayer CropScience Media Hotline, 1-877-879-6162, or
Becca Hogan
External Communications
Bayer CropScience
Tel: (919) 384-6351
Email: becca(dot)hogan(at)bayer(dot)com
Jenell Loschke
Tel: (262) 957-6031
Email: jloschke(at)charlestonorwig(dot)com
Find more information at http://www.bayercropscience.us.
Forward-Looking Statements
This release may contain forward-looking statements based on current assumptions and forecasts made by Bayer Group or subgroup management. Various known and unknown risks, uncertainties and other factors could lead to material differences between the actual future results, financial situation, development or performance of the company and the estimates given here. These factors include those discussed in Bayer's public reports, which are available on the Bayer website at http://www.bayer.com. The company assumes no liability whatsoever to update these forward-looking statements or to conform them to future events or developments.
©2013 Bayer CropScience LP, 2 T.W. Alexander Drive, Research Triangle Park, NC 27709. Always read and follow label instructions. Bayer® and the Bayer Cross® are trademarks of Bayer. For additional product information call toll-free 1-866-99-BAYER (1-866-992-2937) or visit our website at http://www.BayerCropScience.us.


text:
The Muster of Rohan
|The Return of the King chapters
|Book V
|Book VI
The Muster of Rohan is the third chapter of the fifth book in The Return of the King.
Meanwhile, Théoden and the Riders reach the outer hills of Rohan after a hard three days' journey. Éomer, Théoden's sister-son, urges his uncle not to go further east, but Théoden insists on going to war. Gathering the remaining Riders of Rohan, Théoden decides to ride to the Hold at Dunharrow, where the people of Rohan have taken shelter in anticipation of war. He finds Éowyn, the Lady of Rohan, waiting there among her people, and he orders the host to rest for the night.
At dinner, Merry waits at Théoden's side, fulfilling his duties as the king's new squire. Théoden further explains to Merry the legend of the Paths of the Dead, speculating about whether or not Aragorn will survive. A messenger from Gondor enters the tent. Merry is startled by the man's armor, as it reminds him of Boromir. The stranger brings a Red Arrow—a summons, sent only in times of great peril—from the Steward of Gondor. Théoden states that six thousand Riders will set out for Minas Tirith in the morning, but that they will not reach Minas Tirith for a week.
There is no sunrise the next morning; a great Darkness has descended, and all the land is buried under a terrible gloom emanating from Mordor. As the host prepares to leave, Théoden asks Merry to stay behind when they pass the city of Edoras. The ride to Gondor will be hard and swift, and none among the Riders can afford the burden of carrying the hobbit along. Merry is sorely disappointed, but the king has made up his mind. Éowyn, however, escorts Merry to a small booth and outfits him as best she can in the armor of the King's Guard. She bids Merry farewell and returns to her tent.
In Edoras, Merry loses all hope of going to Gondor until a young and slender Rider offers to carry Merry with him secretly to battle. The Rider introduces himself as Dernhelm. Merry gratefully accepts, and soon Théoden's host departs for Minas Tirith.


text:
DataMeets are free regional events organised by SISRA. The aim is to provide data managers, exams officers and other support staff with the opportunity to get together on a termly basis to discuss important changes, to network and to seek advice.
DataMeets are hosted in SISRA schools all over the country, but you don't have to be a SISRA customer to attend. Everyone is welcome! The meetings are chaired by a member of the SISRA consultancy team, however we keep the agendas as general as possible.
During the meetings we discuss a variety of topics and all attendees have the opportunity to add to the agenda in advance. Here are some examples of previous agenda items:
- SIMS, CMIS and other MIS
- DfE Policy and Statement of Intent changes/updates
- School census
- Exams and results analysis
- Training teachers in the use of data
- Best CPD and courses
- Interventions and pupil tracking/monitoring
- Anything of interest from attendees
If you find when trying to book, that this meeting is at full capacity, please email us at email@example.com with your job title, school name and the name of the DataMeet that you wish to attend. We will add your name to the reserve list and get in touch if a place becomes available.
NB: We require a minimum of 5 delegates per meeting to facilitate discussion and ensure the meeting is beneficial for all those attending. Therefore, we reserve the right to cancel the meeting if there are not enough people registered to attend.


text:
At the Thunderbird Inn, we don't just call ourselves "the hippest hotel in Savannah". No, we live up to the title by being a cool place and by doing cool things. That made us a natural to be the hotel sponsor for Bandwagon 2012 – a Savannah poster art festival that also includes a major record show/sale, not to mention a free street concert with live music. Thunderbird Inn was also the 2011 lodging sponsor.
Posters? Vinyl? Hey, they rocked the Sixties!
Vinyl wasn't today's little niche for sound fanatics, it flat-out ruled – if you had your own music, it was on vinyl. And our walls were plastered with posters, that affordable, accessible art form. We had psychedelic ones, black light versions, flocked black light versions, all those variations on the "Endless Summer" poster, you name it. Pop culture in the Sixties is where posters and records met up and got married.
Check out how poster art has evolved, and even try your hand at some printmaking during Bandwagon. Oh, and did we mention – it's free! It runs Saturday and Sunday, March 3 and 4, and the big street dance is on Montgomery Street Saturday night. The locations – the Savannah College of Art and Design Student Center and the street in front of Seed Eco Lounge – are easy walking distance from the Thunderbird. satellite maps . Registered hotel guests can leave their car in our lot and party their hearts out.
We're glad we got on the Bandwagon! Read more at www.attendbandwagon, which has a cool guide you can download. Thunderbird Inn lodging in downtown Savannah is sold out for the Bandwagon event.
P.S. Georgia's biggest musical event just got news in USAToday, so we encourage you to make early reservations for Savannah Music Festival (March 22 – April 7, 2012) . We've got $89 weekday / $129 weekend deals at The Thunderbird Inn near festival venues in downtown Savannah, GA.
(c) 2012 The Thunderbird Inn. Savannah, GA. Toll Free 1/866-324-2661


text:
state jobs
Search for a State of Florida Government contact or resources on a specific subject:
E-mail Disclaimer: Under Florida law, e-mail addresses are public records. If you do not want your e-mail address released in response to a public records request, do not send electronic mail to this entity. Instead, contact this office by phone or in writing.