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Interviewer: > Sarah Cook Interviewee: > Barbara London
Sarah Cook: Lets begin at the beginning! Barbara London: You probably know Ive been at MoMA a while. It all began back in 1973, when I was working with our Department of Prints and Illustrated Books. I have always been attracted by the cutting edge, and early on became interested in artists books. Slowly I assembled a collection of this inexpensive, mass producible form and organised a show for the Museum. Once our new Librarian, Clive Phillpot, arrived and assumed responsibility for artists books, I became involved with the hot potato of video. At that time, video didnt exist in MoMA. Then in late 1973 the NEA awarded the Museum a grant to purchase a videocassette deck and two monitors. Taking advantage of the equipment, I organised shows with tapes that subsequently entered the canon - including Nam June Paiks Global Groove (1973) and Lynda Bengliss Now (1973). Then through a grant from the Rockefeller Foundation, I was able to get out from under all my Print Department responsibilities. The ongoing video exhibition program expanded, and we started Video Viewpoints, the lecture series where artists come to show and discuss their new work. I organised installation shows with such artists as Nam June Paik, Laurie Anderson, Terry Fox, Shigeko Kubota, Gary Hill, and Bill Viola. We also started to acquire videos by artists from North America, Japan, Latin America, and Europe. I keep up with new technologies, so it was a natural progression to explore the "new kid on the block," the Internet. As you know, a lot of curatorial research is done out in the field. You meet with artists, curatorial colleagues, and youre always assembling information. Artists always ask me how to get into the Museums collection or into the exhibition program. I always say it begins by seeing someones work, meeting with the artist, and by accumulating documents that go into a file folder. Once I have a context for work, it usually proceeds to inclusion in a group show. Acquisition is the next step. Back in the 1970s and early 1980s I made several trips to Japan and organised two Japanese video shows for MoMA. Since then I have followed many Japanese artists and know their work well. I have had two sabbaticals in Tokyo, for the sole purpose of studying media art. Then in the late 1990s I received a grant to go to China. My purpose in meeting artists there was to continue doing what I had been doing for years. My original motivation for the China Internet project was to make my file folders public. Instead of squirrelling away the information for later use, Id put my findings up on the net, for curators and for anyone else curious about art in China. Also I thought demystifying the curatorial process would be beneficial. A visitor to Stir-fry gets a chance to travel with a curator on a research quest. I dont know whether many curators search for artists the way I do, but I think its useful to let people look in on the gestation phase of a museum exhibition. Since I was going to be meeting with artists who were new to many of my peers in the West, I thought the Web would be the logical medium to create what I call my curatorial dispatches. Two weeks before I left for China, I put together the Web component of this research trip. Adaweb offered to do the design pro-bono. I rented a laptop for $300, purchased an extra air ticket for my colleague who had made documentary films in the past and is a computer engineer as well as a writer. MoMA had quickly agreed that I create a Web project out of the trip. It was all done by the seat-of-our-pants. I called the website Stir-fry. I left with all the video and audio equipment and the laptop fitting into a knapsack. I had no idea if Id be thrown out of China for doing the project. I had no idea if I would find appropriate phone lines. As it turned out, I used the hotel business centres to send my dispatches. SC: And at that time which department at MoMA was managing the website? Who were you sending them back to? BL: Ill roll back a bit. In 1995, MoMA didnt have a website. I and two curatorial colleagues convinced the administration that the Museum needed to get its feet wet with the Web. We proposed three pilot projects related to three contemporary shows. One was my show, Video Spaces, another was Paola Antonellis Mutant Materials, and the third was Sheryl Conkletons Annette Messager retrospective. The School of Visual Arts hosted the sites, and SVA students designed them. Six months later the Museum officially launched http://www.moma.org with a Picasso show. Initially the MoMA site was first managed by committee, along with Greg van Alstyne, who came out of our Graphic Design Department. For several years Greg was the manager of the MoMA website. SC: So often a museums first website arises from within the museums marketing department. BL: The Museum is very different in that our website developed as a curatorial initiative. The site still has a great deal of input from the curatorial staff. So far Ive done three curatorial dispatches. After Stir-fry, I knew there was a fair amount of video and web activity in Russia and Ukraine. I obtained a grant to investigate media art between St. Petersburg, Moscow, Novosibirsk, Kiev and Odessa. For this project I was better prepared and I upped the ante a bit. Vivian Selbo, who had designed Stir-fry pro-bono while working with adaweb, became the paid designer for InterNyet. I went with a top-of-the-line computer, a digital video camera, and a DAT tape recorder. I wouldnt claim the site is technically advanced, because all the work is still being done by just my associate and me, but InterNyet includes many video and movie clips, and the sound quality is reasonably good. In Novosibirsk I discovered a group of very sophisticated Web and media artists. Out of my Stir-fry and InterNyet research, I selected several videotapes and multi-channel works which the Museum acquired for the collection. The third dispatch project was dot.jp. Since Ive been going to Japan for twenty years, this was a little different. Also, Japan is more known in the West than Russia and Ukraine are. I met with some of the really young artists in Yokohama and Tokyo, such as exonemo, and in out of the way places like Kyushu. I always put younger artists work into a context. I spent a day with Studio Ghibli. Mr. Hayao Miyazaki and Mr. Isao Takahata are the venerated artists who created the extraordinary animation films, "Princess Monontoke" and "My Neighbors the Yamadas." They were gracious and our conversations provided an historical context for the site. SC: Which brings us up to now. BL: The latest project I produced for the web is a work by Tony Oursler called Timestream, and it is the first in a series of MoMA web commissions. In some ways it was logical that we start with Oursler, because the Museum has shown his videotapes and installations since the early 1980s, and his work is in the collection. I paired him with a young New York designer, Eric Rosevear, whom I have been following. The two of them arent peas in a pod, but have similar aesthetics in that both work in a seat-of-the-pants, low-end way. Tony has a longstanding interest in the history of technology. He saw his Web piece as being a biography of technology, starting with Archimedes use of a lens and coming all the way up to the "jenny cam." Part of Tonys point is that as new technologies are developed, they work their way through society in quirky ways. Sometimes there is a curious spiritual element to the applications. If you look at early cinema, it evolved out of magic show halls. The special effects for the magic shows became the first special effects in cinema. Tony has made other links, as well. When you had the telegraph you also had the Ouija board. The Fox sisters lived in New York in the mid 19th century, and they had all kinds of knock-knock communications with their and others deceased relatives. Erics Timestream layout is a bit of history, an aggregate of buttons and frames and simple HTML routines that were popular in the early days of the Web. The site has a wonderful tangible quality, as if one were browsing an old worn book in search of an arcane reference. Many designers look to Eric, because hes working with this low-end thing and making something very beautiful and strange, similar to Tony Ourslers aesthetic. Every time I create a Web project for MoMA, I ask myself what are the particulars of the Web? How can we expand upon a kiosk? You not only have to have a terminal and give the user/viewer here in MoMA access to the new web work, but you also have to add something and make it a little different. So Tony bit the bullet and we installed Timestream downstairs in our Café Etc. space - which has been our incubator for the expanded MoMA, which will reopen in late 2004. Café Etc. has been open for a year and a half, and we have explored different kiosk situations. For example, Tony put up some of his research for Timestream, which includes slides from early TV experiments, and all kinds of cockamamie gizmos. Every experiment isnt always flawless or polished when it rolls out of somebodys garage, so thats what some of Tonys Café Etc. material represents. SC: A lot of institutions have been working on the web for a while but havent made it evident in the real estate of the museum itself. Do you see a continuum developing between the video programming youve done and the projects in the galleries and now where youre going on the web? Youve brought a gallery-based artist, Tony Oursler to the web. Do you see yourself working in reverse as well so that you might bring artists on the web to the galleries? BL: Certainly. I would imagine that sooner rather than later the Museum will present a few Web-based works that will also have an installation component. I always wake up and say this is a great moment to be alive. Artists are just starting to address what the Web really is. Weve had amazing works like Shredder, Netomat, and Jodi, but I still think, what really is it? Whats the it? And whats the content? In my mind it doesnt have to be sale-able - I dont really care about that, because those were the issues for early video too. But what are the ideas? What makes the work specific to this medium? When I started to work with video in the 1970s, a senior MoMA curator said, watch out! When you are older, how will you speak with the younger generation? So I ask myself what are the particulars of the Web, and I try to stay in tune with what the issues are for artists who are 19 and in their 20s. SC: A number of video curators have had new media dumped on their desks or have gone out in search of it as a logical extension, whereas in other museums new media departments have sprung up completely on their own. Have you felt pressure within the institution that there be a separate department for new media yet? BL: I think the good thing about MoMA is that we have a 70-year history. Our first director, Alfred Barr, was a visionary and created curatorial departments of painting and sculpture, as well as architecture and design, photography and film. Alfred Barr also said it doesnt matter which curatorial department acquires a work of art, as long as it enters the Museum. We can define the work later. And I think thats what Projects, our series of small shows devoted to contemporary art, has been about. Exhibit work as it is emerging; you cant wait around. Theyre all hot potatoes that dont fit into a department. You worry about category later (or never.) Institutions dont have to be so tidy with the housekeeping. If an artist is working on a statement and it is really relevant, and its really a good statement I think you work very hard to figure out a way to show it. Whether its on a website or not, you create some kind of an ongoing program thats devoted to artists who are using these tools. I know a couple of years ago the debate for Olia Lialina and others was we dont need a museum, as long as its out there. But being out there, yes we can link, but keep the url that exists for the work that gives it a framework. SC: This is an ongoing question for curators I think. As you know, Vuk Cosic has just been named for the Venice Biennale. Hes curating a separate exhibition of net.art which will take place in Venice at the same time in order to put his presentation in context. In putting together the a catalogue to accompany that show we have had many discussions about the museumification and the museology of net.art and what it means that it is now at the Venice Biennale. So often it is about providing the right context. When you did your dispatches from Russia you were giving other people access to artists like Alexi Shulgin through the links, even if MoMA wasnt commissioning new work from them. BL: This is probably my background, but Im in favour of all approaches. Im in favour of work being seen differently in different contexts by different people depending upon their backgrounds. I think its terrific that were all going to have different interpretations. Each context offers a slightly different interpretation. I think we all help each other and it helps the work and theres not one right way as far as Im concerned. What I am concerned about at times is what I call the novelty hustle. I was fortunate to be able to attend the opening of the Havana Biennale. Over 1000 Americans went to the opening because we all know the embargo will be lifted at some point. We all were tripping over the same people we see at the other biennales. Big is fine, but you dont need big all the time. The Venice Biennale serves its purpose but its not the only thing. I think its great that Vuk is using the opportunity in the way he should. We are all networking and helping to define and share information. If somebody is more interested in a Jasper Johns or Bob Ryman or Eve Hesse, if theyre there and for a few minutes have exposure to net art then thats terrific. It means that the next time they see net art, they will have a little bit of a context. But if people only dance the novelty hustle, then thats a problem. Youve got to see works more than once to understand a context. It takes reflection to figure out what something is. SC: One argument is that the museum has institutionalised net.art at the moment that it is no longer avant-garde - net.art is in Venice long after Vuk Cosic declared it dead. Its the same as what has been happening all century long. BL: But I think it is up to the institution, to Vuk, and to all of us to keep it from becoming television. Maybe it is dead, but we have to be on the ball to create the next situation and to make sure there are different situations. We dont want the Internet to be homogenised and equalised. I want Alexi Shulgin to keep doing his work with his 386-DX computer. SC: The same is the case with Olia Lialinas gallery for instance. Previous collections of net art can continue to exist on the web, with museums or not. I was talking with Kathy Rae Huffman about the history of video and how complicit galleries were in the creation of video art - Leo Castelli went out and bought video cameras for the artists. We were discussing whether or not that is the case with new media art, that the institutions of the art world are as complicit in the creation of the art - through commissioning, say. BL: But its not that simple even with video. In the early days the dealers couldnt care less about the medium. Exceptions were Howard Wise, the visionary who had a kinetic art gallery on 57th Street, and a woman by the name of Mrs. Bonino who had a gallery down the block. The two gallerists gave Juan Downey, Nam June Paik, and many others an opportunity to show some of their first video works in the late 1960s. For the most part museums scorned video, and few bought it. The Soho dealers Leo Castelli and Ileana Sonnabend became involved with video because Richard Serra, Lynda Benglis, and Vito Acconci were working with video. Maybe the dealers even gave the artists a stipend, maybe not. Then Leo dropped video. Why? Perhaps because these unlimited tapes sold for only $200 and distribution was an economic drain. (Video distributors like Electronic Arts Intermix, Video Data Bank, and V/Tape have done well. They have published regular catalogues, and now have the information on the Web. They work with the library, school, and museum markets.) Also, during the 1980s when paintings had become bigger and bigger, then there was a problem on Wall Street and dealers were unable to sell the high priced traditional art mediums. At that point, some put video in their galleries because they had nothing to lose. They werent selling anyway. Its a more complex history.
architecture net.art installation media art animation dance design documentary time space distribution video commissioning press interpretation museums technical
Sarah Cook Kathy Rae Huffman Vuk Cosic Barbara London


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Nevada Bard IVC Filter Lawsuits
Information about IVC Filter Complications from Lawyers Handling IVC Filter Lawsuits in Nevada
Bard IVC filters are designed to prevent recurrent and life-threatening pulmonary embolism, yet reports show Bard inferior vena cava filters can cause serious internal injuries and wrongful death. Evidence suggests Bard Medical officials have known of fatal IVC filter problems for more than ten years, but failed to adequately warn doctors or patients of the dangers. Bard IVC filter problems include strut fracture, perforation, and migration, which commonly result in serious medical conditions including cardiac tamponade, perforation of the right atrial wall, outflow blockage, acute myocardial infarction, and death. Persons and the family members of persons in Nevada who have suffered from one or more of these IVC filter problems are filing Nevada IVC filter lawsuits against Bard.
Retrievable IVC filters were first approved by the FDA in 2002, when federal regulators approved Bard's first removable IVC filter as a low risk, Class II medical device. Using the 510k fast track approval process, Bard received FDA approval without completing any clinical or safety testing for the device. As a result of being the first to manufacture an approved IVC filter designed for temporary use, Bard's market share of this type of device grew dramatically in the following decade. Bard received adverse event reports regarding IVC filter injuries starting in early 2004, based on the metal struts breaking off and causing a range of internal injuries requiring surgery and sometimes resulting in death.
The public did not learn of IVC filter defects until 2010, when, after receiving more than 900 adverse event reports, federal regulators issued a FDA Bard IVC filter warning, reporting serious injuries and death associated with IVC filter fracture, migration, and perforation. In 2014, there was an updated FDA Bard IVC filter warning, and the company has faced warning letters and threatened regulatory action in 2014 and 2015 for a range of violations related to IVC filter production, complaint processing, and adverse event reporting.
Bard IVC filter lawsuits have been filed in Nevada and nationwide and a multidistrict litigation to consolidate national claims for pretrial proceedings is pending, awaiting a decision from the Judicial Panel on Multidistrict Litigation. If you or a family member in Nevada has suffered serious injury or wrongful death as a result of a Bard IVC filter, you may be eligible to file a Nevada Bard IVC filter lawsuit. This site contains detailed information from attorneys handling Nevada Bard IVC filter lawsuits as well as timely lawsuit news updates.
Nevada Bard IVC Filter Lawsuits
Nevada IVC Filter Lawsuit FAQs
Nevada Bard IVC Filter Lawyers
Nevada Bard IVC Filter Lawsuits – Current IVC Filter Lawsuit Information for Residents of Nevada
Individuals and family members in Nevada whose loved ones suffered severe injury or wrongful death as a result of the fraction, erosion, or extrusion of a Bard IVC filter may be entitled to real compensation through filing a Nevada Bard IVC filter lawsuit. While Bard first learned of the tendency of its product to fail in 2004, American patients were not warned of the serious injuries they could potentially suffer as a result of having a Bard IVC filter implanted. Today, we know IVC filters can result in tamponade, perforation of the right atrial wall, outflow blockage, and death, among other health problems and internal injuries. The FDA now warns that retrievable IVC filters should be used only temporarily and must be removed to prevent injury.
Evidence suggests that Bard knew of the product's risks for years before the FDA publicized IVC filter dangers in 2010. Nevada Bard IVC filter lawsuits allege that Bard failed to warn consumers of the potential for serious injuries. Existing Bard IVC filter lawsuits assert that poor design and low quality manufacturing caused injury and death.
The FDA reports that after a period of roughly 4-6 weeks, Bard IVC filters pose a risk that may outweigh the device's benefit.
Many Bard IVC filter injury lawsuits have been filed in Nevada and around the country already, and formation of a multidistrict litigation to handle coordinated pretrial proceedings is pending.
Nevada Bard IVC Filter Lawsuits
Nevada IVC filter lawsuits can be filed by persons and the family members of persons in Nevada who have sustained severe injuries of suffered wrongful death as a result of the medical device. Nevada IVC filter injury lawsuits allege that Bard had a responsibility to warn consumers of the potential for fracture, erosion or extrusion of the device and resulting injuries.
Filing a lawsuit is the only way to secure compensation for medical bills, lost time at work, pain, suffering and loss that have resulted from Bard IVC filter problems. Our lawyers handle Nevada IVC filter lawsuits in Nevada and offer no-cost, no-obligation Bard IVC filter injury case review for persons in Nevada who match this description. To discuss your situation in detail with an attorney serving Nevada and to learn about Bard lawsuit time limits that may apply to you, please complete our online contact form. One of our attorneys handling Nevada IVC filter lawsuits will contact you promptly.
Bard IVC filter lawsuits have been filed nationwide alleging serious injury and wrongful death. Bard has known of the risks posed by the device since 2004 but failed to warn consumers.
Nevada Bard IVC Filter Lawsuits Are Not Class Action Lawsuits
Many persons in Nevada affected by injuries caused by IVC filters wonder if filing a lawsuit will bring about meaningful compensation for their family. Nevada IVC filter injury lawsuits are not class action lawsuits, in which each plaintiff can expect to receive only a small settlement. Bard IVC filter lawsuits filed in Nevada will likely join forces with others around the nation into a Multi-District Litigation (MDL), in which each case will be handled on its own merit and each plaintiff can expect compensation that is determined by their particular circumstance and degree of suffering.
Our firm represents all persons involved in a Nevada Bard IVC filter lawsuit on a contingency basis, meaning there are never any legal fees unless we win compensation in your case. For a free no-obligation consultation, complete our brief online contact form. One of our IVC filter lawyers serving Nevada will contact you shortly to answer your questions as definitely as possible.
Nevada Bard IVC Filter Lawsuit FAQ
Answers to the Most Common Nevada Bard IVC Filter Lawsuit Questions
This page features questions and answers compiled by attorneys handling Nevada IVC filter lawsuit claims. These questions are among those we field most often and the answers apply to most claims. To ask questions of an experienced Nevada attorney directly, please complete the brief contact form and an experienced medical device attorney will contact you to learn about your situation and answers your questions as definitively as possible.
Who can make a Nevada Bard IVC filter claim or file an IVC filter injury lawsuit in Nevada?
A person or family member of a person in Nevada who suffered from serious IVC filter complications may file a claim or pursue litigation against Bard.Does it cost anything for you to review my case?
We will always listen to your circumstances and give you our analysis of your case without any cost or further obligation.How much will it cost to file a Nevada Bard IVC filter lawsuit?
Our attorneys provide representation to all persons involved in Nevada Bard IVC filter lawsuits on a contingency basis, meaning there are never any legal fees unless we win compensation in your case. For a free no-obligation consultation please fill out our short online contact form and one of our lawyers for Bard IVC filter lawsuits in Nevada will contact you to provide a free consultation and answer your questions as thoroughly as possible.What are the most serious IVC filter complications?
According to adverse event reports and the FDA IVC Filter Warning, complications caused by fragmentation, migration and extrusion of the device are most common. Serious heart and lung conditions requiring major surgery and/or resulting in death such as organ perforation, outflow blockage, tamponade, and heart failure are potential outcomes of Bard IVC filter complications.Who is at risk for Bard IVC filter heart and lung complications?
Anyone who had a Bard IVC filter implanted that is not promptly removed faces a risk for IVC filter complications. The metal struts, or legs, or the device can fracture or break off, migrating to other locations and puncturing vital organs such as the heart and lungs. The longer a Bard IVC filter remains implanted, the more likely the risk of complications, according to research.What is contained within the FDA Bard IVC filter warning?
In 2010, the FDA reported it had received over 900 adverse event reports related to heart and lung injuries caused by the failure of Bard inferior vena cava filters. In 2015, the FDA released a second warning, stating that after only 4-6 weeks, the risks of the filter began to outweigh its potential benefits. Medical professionals have been advised to remove the filter promptly and to report adverse events to the agency. Federal regulators are overseeing the PRESERVE study and 522 postmarket clinical studies to gather more information about Bard IVC filter risks and complications.Do the benefits of Bard IVC filters outweigh their risks?
For very short term use, the FDA believes the benefits of the filters outweigh their complications. However, after a period of only 4-6 weeks, the devices become prone to breakage or failure. Studies show that the majority of Bard IVC filters are never removed.How long have the risks of Bard IVC filter complications, injuries and death been known?
Bard retrievable filters were approved by the FDA in 2002, and evidence shows that Bard officials received the first reports of IVC filter heart and lung problems in early 2004. However, it was not until 2010 – when the FDA released its first Bard IVC filter warning – that the public became aware of the risk of serious IVC filter complications. IVC filter lawsuits blame Bard for failing to notify federal regulators or the public of the risks of device fragmentation, breakage, erosion, migration and extrusion and the resulting injuries to internal organs.Aren't most drug and products liability lawsuits just class action lawsuits where the plaintiff receives very little money?
The majority of our drug cases are handled as a MDL, or Multi-District Litigation, where each plaintiff receives a settlement based upon the individual injuries and damages incurred by each plaintiff.We're not the type of people who sue; do we really need to file a lawsuit?
If a member of your family suffered a serious injury or health problem as a result of a defective product or dangerous drug, long-term, or even life-long, medical care may be required. This could be incredibly expensive and since medical costs are continually rising may be largely unknown at the time of settlement or trial. If a member of your family died due to a defective product or dangerous drug, no amount of money can undo that wrong. It is our fervent hope that every defective products, drug or other medication lawsuit we file can serve to make the manufacturer take note of the loss and pain its product has caused. When that fails to make a company take action in the form of a product recall, greater warnings about its use and ultimately making safer products, we rely on their profit motivation to make them do the right thing. Unfortunately, in all too many cases it is only the fear of lawsuits and large settlements and verdicts that makes a company become a better corporate citizen.How much time do I have to file a Nevada Bard IVC filter lawsuit for tamponade, perforation of the inferior vena cava, organ damage or other IVC filter complications?
Most states have IVC filter lawsuit time limits; however, the majority of all persons having suffered from defective IVC filters in Nevada will fall within those time limits if they contact an attorney in the near future. For specific time limits for your Nevada claim, please fill out the form at right and one of our attorneys serving Nevada will contact you as quickly as possible, usually within the hour.Nevada IVC Filter Lawsuit Information | Attorneys Handling IVC Filter Claims
National Law Firm Represents Persons and Families in Nevada Harmed by IVC Filter Complications
The lawyers handing Nevada Bard IVC filter side effect and wrongful death claims at OnderLaw, LLC have vast expertise representing individuals against large, billion dollar multinational medical device corporations. Armed with experience and extensive resources, these litigators have a track record of success representing plaintiffs in the aftereffects of numerous pharmaceutical recalls and dangerous medical devices. Aware of the very serious nature of these Nevada IVC filter injury and death cases, these national pharmaceutical lawyers are providing the best Bard IVC filter lawsuit representation available.
The Onder Law Firm's IVC Filter attorneys offer a no-obligation Bard IVC filter case review free of charge to persons and the family members of persons in Nevada who have suffered from serious heart and lung injuries related to strut breakage, migration, or other defects of Bard IVC filters. The Nevada IVC filter attorneys of the Onder Law Firm provide experienced legal representation without fee unless they collect for their clients.
No Fees Unless We Collect for You - Our Nevada Bard IVC Filter Lawyers Represent Clients on a Contingency Basis
We will represent all persons involved in an inferior vena cava filter lawsuit in Nevada for tamponade, perforation of the inferior vena cava, outflow blockage, heart failure, or another serious health problem related to IVC filter side effects on a contingency basis, meaning there are never any legal fees unless we win compensation in your case. For a free no-obligation consultation please fill out our short online contact form and one of our attorneys handling Nevada Bard IVC filter lawsuits will contact you to answer any of your questions.
The Onder Law Firm
OnderLaw, LLC is a St. Louis personal injury law firm handling serious injury and death claims across the country. Its mission is the pursuit of justice, no matter how complex the case or strenuous the effort. The Onder Law Firm has represented clients throughout the United States in pharmaceutical and medical device litigation such as Pradaxa, Lexapro and Yasmin/Yaz, where the firm's attorneys held significant leadership roles in the litigation, as well as Actos, DePuy, Risperdal and others. The firm has represented thousands of persons in these and other products liability litigation, including DePuy hip replacement systems, which settled for $1.5 billion and Pradaxa internal bleeding, which settled for $650 million. The Onder Law Firm won $197 million in three talcum powder ovarian cancer lawsuits in St. Louis in 2016 and other law firms throughout the nation often seek its experience and expertise on complex litigation. For more information, visit www.OnderLaw.com or call 1-877-ONDER-LAW.
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Do it Alone, or Use a REALTOR®?
The fact is, most people who try to sell their own home end up using a REALTOR® in the end anyway. Before anybody decides to fly solo through this complex, time consuming and financially perilous process, they should consider these questions.
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One wrong move and an entire deal can fall through, or worse, a lawsuit can ensue.
How many potential buyers will you reach?
Selling a home takes more than just hanging a "For Sale" sign. How will you promote your home? Will you write your own ads? How will you use the Internet, knowing that you'll have no inside access to www.mls.ca and therefore will not be able to post your home on this service?
Do you have the time?
Promoting a home is a full time job, and you may already have one. Will you be able to take calls at any time? How about screening the callers to figure out if they're qualified to buy your home?
Not everybody who calls is even suitable to walk through your home, but how do you tell?
Do you know the market well enough to get the most for your home?
Lacking years of experience, the average do-it-yourselfer is merely guessing at their listing price. Often they set the price too low and miss out on thousands of dollars, or they price their home too high and drive away willing buyers.
What about your selling skills?
If the personalities of prospective buyers rub you the wrong way, can you still deal with them effectively? What about your own defensiveness when you hear negative comments about your home? Best to keep it at arms length through a REALTOR®.
Do you have the negotiation skills to keep a deal on track?
When an offer comes in, emotions can run high with so much money on the line. This is why direct seller-to-buyer deals often end in disaster. REALTORS® keep it professional and are indispensable when it comes to bargaining with buyers.
Source: OREA (Ontario Real Estate Association) www.howrealtorshelp.ca


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Or a filmfest tomorrow afternoon...
By the talented Guy at House Bloodthorn.
Thanks so much, man!
This made my week.
Or a filmfest tomorrow afternoon...
By the talented Guy at House Bloodthorn.
Who made the poster? Did you win?!
This is AMAZING!
Holy SH*T!!! You guys won! This is awesome..
So pumped for ya! Any chance of getting those posters in a full 27*40 size? I would definitely chip in to have them made.
Um, I don't suppose there are any extra copies of the poster available for purchase?
Fantastic work! I would totally buy one of those posters!
Guy designed my blog page for me, too. He's so talented!
Guy at House Bloodthorn made it.
A great designer.
Here's his blog:
So Excited for You!!! Woot!
Like I said, if you can get these made, no matter the size, I am sold. I will pitch in to have the made, I'm sure others would too! It would be our gift to you for the year round entertainment you provide.
So cool!
That is an utterly amazing poster! Truly stunning!
Nicely done. The thought occurred to me but I didn't want to outstep. Very cool!
Ha ! That is just way cool!
THAT is so cool!!
Well Done Guy. Well Done.
Awesome poster! Great job Guy. Love it.
I'm sending my payment now to reserve a copy of the poster. :)
That's awesome. Would definitely buy this in 27x40 and frame it. Guy really should be designing posters in Hollywood. That's WAY better than the garbage posters than the supposed pro's churn out.
Maybe Kickstarter?
Thank you all very much for the kind words.
For something that was just a simple little lark for a friend, I'm kind of overwhelmed by the response. Inspiration, truly, is where you find it.
I've contacted Rot about the possibility of having the poster printed, so keep your fingers crossed and hopefully it'll work out. If so, watch the blog for deets.
My thanks again and thanks to Rot for a great film and the inspiration!
That is Tremendously DOPE...
& Totally as the graff heads say, SEXXXY Too... : D
so many times...poster/cover art is kinda weak
& hardly ever does justice to its subject...
this is BEAST Tho!!!...
i was gonna try & do a fake Vogue cover with "the witch" as the "New it girl" in Hollywood...NO Way tho Now...
this is..B O S S... : D
This is incredible.
I just finished making a movie poster of my own yesterday and now I'm wishing I got Guy to make it for me!
Truly fantastic work, Guy.
Oh man that poster gives me such a great idea for a movie featuring those characters.
Holy cow! That is BEYOND cool!!! I want one! :)
Truly incredible artwork Mr. Guy. Yeah, sign me up for one please. Must have one. When's the meet-up? This Halloween perhaps? :)
Congrats on the win and awesome job on the poster bloodthorn :D
i guess 4 people are Hollywood bound now!!!... : D
ooops...i mean 5, counting the star
of the film of course... :)
and I don't believe I'll ever venture out thataways ; )
SO AWESOME. Rot you better print this poster! Your biggest fans obviously want to buy the thing! Please oh pretty please!
I have just one question about the making of the movie though.
When you were filming this...in the cemetery...as that scary scary witch....was there anyone there, looking at you freaking out??
it was a relatively lonely shoot.
We never really encountered anyone except when we shot bean walking on the horizon near the end of the film. Two joggers were about 50 yards from us and they stopped to watch. I heard him say "I wonder why they're doing that." and they jogged off.
: )
I have to say, seeing this poster was as exciting as the good news about CineMayhem, if not more so. This is just really, really cool.
I would love to buy a print to frame and hang in my studio.
Nice work, Guy.
oh Yes Please Do PRINT...
like Raina said...For your BIGGEST FANS.... : D
I think if i saw that witch walking through a cemetery carrying a pumpkin, i would freak out a little bit.
This is amazing- beautiful work on the poster and I'm so excited the film won! I would absolutely contribute to a kickstarter for this- I want one!
very, very cool. I sure wouldn't mind having one of these posters, either! congrats again!
That poster is awesome! Well deserved you!
And, put me on your growing list of poster craving fans.....


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Audiology evaluations consist of a series of tests used to determine whether a hearing loss exists and, if so, measure its type, degree and configuration. An audiologist will assess the results of each individual test in order to develop a treatment plan geared toward your unique hearing loss.
Who Should Be Given an Audiology Evaluation?
An audiology (or hearing) evaluation can benefit patients of all ages, even those who do not exhibit signs of hearing loss.
Hearing loss is a progressive condition that often develops slowly. Many people are not aware of a change in their hearing because they gradually adapt to the subtle changes in their hearing ability over time. Studies indicate that it takes seven years, on average, for a hearing impaired individual to seek treatment for hearing loss.
An audiology evaluation should be the first course of action for anybody who even suspects a hearing loss. The sooner a diagnosis of hearing loss is made, the more successful treatment will be. Early detection means more options for the patient.
Many physicians urge making audiology evaluations a routine part of your overall health care, much like regular vision exams and dental checkups. They are quick, painless and provide immediate results.
What Does Diagnostic Testing Entail?
A comprehensive audiology evaluation consists of a series of individual diagnostic tests that measure different aspects of your hearing. Following a physical examination and a review of your medical history, you will be given any or all of the following tests:
Pure Tone Testing
Pure-tone testing (also known as pure tone audiometry) uses air conduction to measure your ability to hear sounds of various pitches and volumes. Wearing headphones, you will be asked to identify a series of tones by raising a hand, pressing a button, or responding verbally.
The results are charted on an audiogram, a graph that shows the type, degree and configuration of your hearing loss by comparing pitch (frequency) with loudness (intensity). The pattern recorded will help your audiologist determine your hearing threshold.
Bone Conduction Testing
Bone conduction testing is another type of pure-tone test that measures the inner ear's response to sound. If there is damage or a blockage in the outer or middle ear, bone conduction audiometry testing may be used.
Instead of sending the tones through the ear, this type of testing is able to bypass the outer and middle ear and send the tone directly to the inner ear. A small vibrator is placed behind the ear. The device sends out a vibration that passes through the skull bone to reach the inner ear.
If the results of this test are different than the air conduction test, your audiologist can use this information to determine whether you have a conductive or sensorineural hearing loss.
Alternatively, a two-pronged metal tuning fork may be placed behind the ear or on the forehead. When vibrated, it produces a tone that travels to the cochlea via the skull. Your response determines how well sound travels through different parts of your ear, helping the audiologist diagnose your type of hearing loss.
Bone conduction testing is often used in place of air conduction testing when an obstruction in the outer or middle ears is present.
Speech Testing
Speech (or word recognition) testing is used to measure your speech reception threshold (SRT), or the faintest speech you can understand 50 percent of the time. This is compared with your pure-tone test results to confirm the diagnosis. In addition, your ability to separate speech from background noise will be recorded.
Speech testing may be administered in either a quiet or noisy environment; results are recorded on the audiogram for easy visual reference.
Tympanometry is a test of the middle ear used to detect fluid, wax buildup, eardrum perforations and tumors. It measures movement of the eardrum in response to air pressure; the results are recorded on a chart called a tympanogram.
Acoustic Reflex Testing
The acoustic reflex test measures involuntary muscle contractions of the middle ear, and is used to determine the location of your hearing problem (the ossicles, cochlea, auditory nerve, etc.) as well as the type of hearing loss.
Auditory Brainstem Response (ABR)
Auditory brainstem response testing is used to determine whether a specific type of hearing loss – sensorineural – exists. It is also frequently used to screen newborns for hearing problems.
In an ABR test, electrodes are attached to your head, scalp or earlobes, and you are given headphones to wear. Your brainwave activity is measured in response to sounds of varying intensities.
Otoacoustic Emissions (OAEs)
Otoacoustic emissions (OAEs) are sounds generated by vibrations of the hair cells in the cochlea of the inner ear. OAE testing utilizes a tiny probe fitted with a microphone and speaker that is used to stimulate the cochlea and measure its response. Individuals with normal hearing will produce emissions; when a hearing loss exceeds 25-30 decibels, no sound will be produced.
This test helps determine whether there is a blockage in the ear canal, excess fluid in the middle ear or damage to the hair cells of the cochlea. OAE testing is often included in newborn hearing screening programs.
Call Gulf Coast Audiology at (239) 267-7888 for more information or to schedule an appointment.


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Thank you for interesting in Teachable Video!
I have been working on a detailed video to explain you the latest information about this…
So until that video comes…
I recommend you to watch this video that is related to the topic.
In general, Teachable may be a straightforward, solid platform.
The interface is clean, and your learners will haven't any trouble accessing and navigating your courses.
In my opinion, its strength is with video-driven content. And, Teachable also shines when it involves simple tools that help to support selling courses – like, for instance, it's customizable sales, checkout, and many thanks pages.
It's also worth noting that Teachable is one among the most important, if not the most important player in its class of platforms. this is often a crucial point given the massive number of companies that have rushed in to undertake to sell online course platforms. tons of them are going to be gone within a few of years.
I don't think Teachable will. As far as pricing goes, Teachable still offers a free plan at the time i'm posting this review. Under this plan there are not any limits on courses or students, but you are doing pay $1 plus a tenth transaction fee whenever you sell a course. Paid plans currently start at $39 per month ($29 if paid annually). With rock bottom level paid plan you continue to pay a 5% transaction fees on all sales. Transaction fees disappear once you jump up to subsequent level. Since pricing and related features can change pretty frequently, I encourage you to go to the Teachable site to match the varied plans that are available.
Now, let's start taking a glance at the Teachable experience intimately. Building and Branding Your Online Course internet site My bias is that a web course platform shouldn't be relied on as your main internet site. (The exception is that if you employ an all-in-one platform like Kajabi.) That said, like most platforms in its class, Teachable does offer a variety of options for configuring and branding the location where your courses will live.
There are enough options that, if you're just getting started, you could, in fact, believe Teachable for your Web presence for a minimum of a short time. Here's a fast run-down of the key areas you'll control. Theme – The "Site" area of the Teachable administrative panel provides a user-friendly interface for adjusting key elements of your course site's branding, including adding your logo, uploading a background image (or choosing from a spread of stock images provided by Teachable), and changing the fonts and colours which will be used throughout the location. Even with these basic tools you'll put together a nice-looking site, except for more advanced users, there's also an option for inserting custom CSS within the "Code Snippets" area. inspect samples of a variety of various Teachable sites.
Teachable Video – By default, the address for your school are going to be a sub-domain of Teachable.com – but with any Teachable paid plan (starting at $39 per month), you've got the choice for adding a custom domain. At the Professional level and above you furthermore may have the power to show of Teachable branding – which otherwise shows up as "powered by teachable" on all of your site pages. Navigation and Pages – Teachable comes pre-loaded with default navigation links and a few stock sites, but you've got the power to edit these. you'll also easily add links to both the most navigation and therefore the footer menus in Teachable. These can link to pages you create and – a really nice feature – you'll easily control whether the navigation items are seen by logged in users, logged out users, or all users.
These capabilities make it possible to feature as many pages as you wish to your site and control who sees them, but confine mind there's no drop-down or side bar navigation. So, so your menus can start looking crowded pretty quickly. Blog – Unlike many of its competitors, Teachable offers the power to publish a blog within your school site.
If you're already blogging elsewhere, this might not interest you, but if you don't have a blog or simply need a place to publish content that ties tightly to your courses, this will be very valuable. As I even have said on many occasions, an honest blog is one among the foremost valuable assets any edupreneur can create.
Custom Text – Teachable has a number of the foremost extensive capabilities I've seen on any platform for changing the default text within the system to language you favor.
This includes everything from e-commerce links, to course navigation buttons, to error messages. Basically, there doesn't seem to be anything you can't change to language you favor. Custom Code – As mentioned above, you'll insert custom CSS within the Code Snippets area of Teachable.
For users who know what they're doing, this is often also the world where you'll insert HTML and Javascript in your head tag. Advanced users with knowledgeable license or higher also can cash in of Teachable's Power Editor to form extensive modifications to their Teachable theme. Note that Teachable says that documentation for this capability remains in development and no support is provided. So, proceed with caution if you go this route.
Creating Online Courses with Teachable An important a part of an honest Teachable review – or the other online course platform review – may be a check out how easy it's to make online courses within the platform. In Teachable, fixing a course is pretty straightforward. One of the primary things that struck me within the Courses area of the executive panel is that Teachable is clearly geared toward selling courses.
As a part of the set-up process for a course you specify basic items the name of the course and therefore the instructor, but you'll also specify an enquiry engine optimized (SEO) URL, page title and meta-description for every course you create. You can also easily upload a thumbnail image which will be displayed within the catalog and on the course interface also as a promotion video which will be displayed on the sales page for the course.
Of course, before you begin selling, you've got to possess something to sell. Teachable's approach to course creation is fairly basic, in my opinion, and definitely favors on-demand, video-based courses. Still, this is often likely to be sufficient for many online course creators. Course are organized as Sections crammed with Lectures. You name the sections as you set them up (e.g., Introduction, First Module) and, if you would like, you'll use the Custom Text feature discussed above to exchange the word "lecture" with something more to your liking. Lectures can contains multimedia files (video, audio, PDF, etc), text that you simply type directly into Teachable, quizzes, or any combination of those.
There is also an "Add Code" option for Lectures that you simply can use to embed live video streams or webinars directly into a lecture. this is often a pleasant option, though likely too advanced for many course entrepreneurs – it might be nice to ascertain a more user-friendly option for streaming video and Webinars. Finally, there's a "Drip" option that permits you to publish lectures over a period of your time supported the amount of days after your students enroll. (Requires Basic plan or above) Aside from the "Add Code" feature, i feel most online course creators will find it pretty easy to line up a course in Teachable, and therefore the final product looks attractive and professional.
Keep in mind that one among the key features of Teachable is that you simply can create Authors who then have the rights to try to to most of what I describe above – also as earn a revenue share from sales of the courses they create. So, if you would like to line up a Teachable site then have multiple people create some or all of the content, Teachable makes that pretty easy to manage. Before wrapping up this section, i would like to hide some areas that Learning Revolution readers often inquire from me about.: quizzes, certificates, and therefore the ability to import course made in course authoring software like Articulate or Captivate. Creating Quizzes in Teachable Teachable provides for easy, multiple choices quizzing. you'll indicate as many potential answers as you wish for any question you create, and questions can have one or multiple correct answers you furthermore may specify whether a quiz are going to be graded or not. If it is, then the scores are going to be viewable within the reporting area of Teachable (more thereon below). That's it. Creating quizzes in
Teachable is a simple process, but confine mind that your options are fairly limited. there's no thanks to provide students with feedback on their answer choices, for instance. And more advanced features like randomizing questions or storing questions during a question bank in order that you'll use them in multiple quizzes aren't available.
There is also no ability to bulk import quiz questions. So, if you happen to possess a set of quiz questions you've got already been using, you'll need to enter them into Teachable one-by-one for every course during which you employ them. Marketing and Selling Teachable Courses As i discussed above, Teachable is clearly geared toward marketing and selling courses, but I only scratched the surface. Other sales and marketing-oriented features you'll find within the Curriculum area of the executive panel include: Pricing – you've got the power to line multiple prices for a course and there are multiple sorts of pricing plans, including free, subscription, one-time purchase, and payment plan (to allow learners to buy the course with multiple payments over time). a pleasant touch: there's an option under Setting to permit or not allow students to cop out of their payment plans (basically, cancel their enrollment).
By default it's set to not allow them to cop out. Coupons – you'll create coupons to supply discounts to specific customers. Coupons are often created for all payment plans and are available within the sort of a group amount or percentage off. (Requires Basic plan or above) Bundling – you'll bundle multiple courses together to sell them during a single transaction.
Sales Page – Teachable gives you the power to customize your course sales pages, including: • Customizing the "hero" header at the highest with a picture of your preference • Including a coupon banner, if appropriate, to market any discounts you're offering • Creating a course description • Displaying a bio for the course author/instructor • Displaying the course curriculum • If the course may be a bundle, showing all the courses that structure the bundle • Course Page Closing Letter to assist seal the deal • Enroll Button You can remove any of the "blocks" above and/or add in your own custom or pre-made blocks, including: • Rich Text • HTML • Background Image • Embedded Video • Embedded Form • Testimonial • Featured Courses All in all, Teachable gives you just about everything you would like to line up effective sales pages for your courses.
Williams James
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Research is formalized curiosity. It is poking and prying with a purpose.(Zora Neale Hurston)
Terry Brainerd Chadwick is a native Oregonian with insatiable curiosity leading to a passion for research. This passion has led her on quite a journey through life, including studies in Tunisia and Egypt, living in London while researching retirement communities, developing and downsizing a healthcare library, conducting international trade research for Oregon companies, teaching companies how to use the early Internet to expand their businesses, which segued into web development, search engine optimization, and web analytics. When not satisfying her curiosity, Terry likes to read mysteries and science fiction, create jewelry, cook, and go to tastings of a variety of adult beverages.
TBChadwick Information Services
Provides consulting and contract work in digital and web content development, business research, and competitive intelligence.
Owner and principle consultant, Terry Brainerd Chadwick, has extensive expertise in business research and competitive intelligence--tracking down elusive information and turning it into actionable knowledge.
She has conducted over 176 research projects for more than 123 different clients, gathering and synthesizing data into reports for use in business plans, product development, and competitor intelligence. She has also done extensive work with businesses in digital assets optimization (web content development, search engine optimization, paid search, website accessibility, and web analytics).
Ancient Online Guides
A sampling of past presentations and online guides, when TBChadwick Information Services was known as InfoQuest! Information Services.Designing for Inclusion: Making Websites Accessible See more.
As of June 21, 2001, US federal agencies must make websites accessible to people with vision impairments, hearing problems, limited dexterity and other disabilities. Section 508, an amendment to the Rehabilitation Act of 1973, mandates that people with disabilities be given as easy access to government information, including through websites, as anyone else. Organizations not covered under Section 508 may need to provide accessible websites under the provisions of the Americans with Disabilities Act (ADA), Section 504 of the Rehabilitation Act, or other applicable laws. Website accessibility is an international issue: many countries have instituted laws based upon the Web Content Accessibility Guidelines (WCAG) put forth by the World Wide Web Consortium (W3C).
What does this mean for the average website owner? Who needs to comply and how do you do it?Find answers to these questions in this section with information from presentations given by Terry Chadwick on the subject at the April 9, 2002 meeting of Internet Professionals Northwest (IPN); the Internet Librarian 2001 Conference on November 6, 2001 in Pasadena, California; the CHIFOO meeting on Web Site Accessibility on August 22, 2001; and on September 17, 2001 at the Making Information Technology Accessible to Employees and the General Public with Disabilities Program, sponsored by the Northwest Disablity Business Technical Assistance Center (DBTAC).
Optimizing Your Website for Search Engine Success: 21 Tips for Getting Better Rankings See more.
This presentation was given at the Internet Professionals Northwest meeting on January 9, 2001.
Website Usability and Accessibility Guidelines See more.
This presentation was given at the Internet Professionals Northwest meeting on June 13, 2000. (Last updated September 25, 2000) The Usability section includes a page that lists various validators for accessibility, html and java standards, color-blind optimized sites, and more. (Last updated April 17, 2001.)
How to Conduct Research on the Internet See more.
This is the printable course guide that goes along with the seminar of the same name. (110K in length.) (Last updated September 21, 2001.)
Business Uses of the Internet See more.
This is the printable course guide that goes along with the seminar of the same name. (80K in length) (Last updated October 20, 1997)


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Dallas Cowboys 2022 New 3D Hoodie All Over Print Shirts
Unique 3D designs, with many themes for you to choose from: Festivals, animals, people. Our product will include 5 types: Hoodie, Zip Hoodie, T-Shirts, Sweatshirts, and Bomber Jackets suitable for all seasons of the year. All products are made to order and proudly printed with the best printing technology or print-to-garment process available. Our high-quality build with attention to detail ensures it will never fade, crack or peel. Please choose the right size using our size chart!
Look for similar items by categories: TRENDING, T Shirt, All Over Print T-Shirt, Cut Metal Sign, Blanket
Available product:
Dallas Cowboys 2022 New 3D Hoodie All Over Print Shirts
Hoodie: 95% polyester and 5% spandex blend. Hood and pouch pocket.
Zip Hoodie: 95% polyester and 5% spandex blend. Hood, pouch pocket, and zip closure.
Bomber Jacket: Outer lining is a slightly waterproof polyester fabric. The inner lining is two orange polyester layers with cotton or polyester (random) lined. Zip closure
T-Shirt: 95% polyester and 5% spandex blend.
Sweatshirt: 95% polyester and 5% spandex blend
360-degree All-Over-Print made by using dye- sublimation technology.
Double-needle stitched for strength and durability.
Designs will not fade, crack, flack or peel.
Storage Instructions:
Machine wash: Warm (max 40C or 105F); Non-chlorine: bleach as needed
Tumble dry: medium heat; Do not iron; Do not dry clean.
The actual color of the item may vary slightly from the images due to differences in the computer display.
NOTE: In printing technical, CAN NOT print 3D in cotton fabric.
(hint: make a gift for someone or team up)
Scroll to the top now and click Add to Cart to begin your favorite experience.
Thank you so much for your choice.
I really would like to see you in my store again!
Follow us on social media templates: Facebook, Twitter, Instagram, Pinterest


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The Closer You Are To Fine
We spent most of the afternoon, yesterday, at the hospital. It is not a happy experience, taking your baby to the hospital. Even when you've mentally psyched yourself and have told yourself that it's nothing it's nothing it's nothing it's just tests they're just being cautious it's just tests there's nothing wrong, it's rough. When they tell you that you need to bring your baby to the hospital for tests, that they need to check his spine, that he has some markers for spinal problems, for serious things but maybe nothing but still maybe serious, that it might not be anything but maybe it's something so it must be checked, it must, your heart constricts and you hold your breath.
And you can manage the constricted heart and the withholding of breath until you get there, to the hospital, but once your baby - your tiny, tiny baby - has been stripped of his tiny clothes and is laying naked on the hospital bed - a vast expanse of cold sheet beneath his tiny frame - the machines looming, menacing, around him, you struggle. You crouch beside him, cradling his head and nuzzling his cheek, babbling whispers of love into his ear, willing him to not cry, to not squirm, to let this be over, fast.
And when he does begin to cry and squirm it feels as though your heart has retracted into the furthest recesses of your chest to cower and hide.
You say to the ultrasound technician, can I lay down beneath him, put him on my belly, my chest? Can we do it that way? He'll be calmer. And you think, I'll be calmer.
So you remove your shirt and lay yourself down and ease your naked, struggling baby onto your own naked belly and you cradle his head between your breasts and you breath. And you breath. And you breath. And he settles into you, letting his little body relax from the arch and flex of discomfort and fear and settle, softly, into the curves of your belly and breast and lay there, eyes fluttering, cries turning to gurgles and squawks, and he rests. Happy now, safe now.
And it occurs to you, as you lay in the dark, on the hospital bed, an ultrasound wand hovering above your body, the light from the screen of the sonograph flickering just out of sight, that this is just as it was some weeks ago, before he arrived, when he was still in your belly, tucked away safe in your belly, and you were wishing with all your heart that he'd come out soon so that you could hold him your arms and nuzzle his little head and keep him safe here, in the outside, out in the big wide world but always, always pressed close to your heart.
And he did, and you do. And you tell him, in the softest of whispers - and you tell yourself, in the loudest of internal cries - that he is safe, that you will keep him safe, and that it will all be fine, no matter what.
And he is, and you do, and it will be. It will be.
(We don't know the results of the ultrasound. We probably won't know for another week. I'm choosing to not dwell on it. I'm choosing to simply believe that it will all be fine.)
Labels: post-partum bad, sprout


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Privacy Policy
Thank you for visiting Compass Self Storage's Internet web site located at the domain https://www.compassselfstorage.com. This privacy policy details certain policies implemented throughout Compass Self Storage governing Compass Self Storage's collection and use of personally identifiable information about users of our site and our services.
Privacy Policy Updates
Due to the Internet's rapidly evolving nature, Compass Self Storage may need to update this privacy policy from time to time. If so, we will post its updated privacy policy on our site along with a change notice on the site. We may also send registered users of our services a notice that this privacy policy has been changed. Compass Self Storage encourages you to review this privacy policy regularly for any changes. Your continued use of this site and/or services and/or your continued provision of personally identifiable information to us after the posting of such notice will be subject to the terms of the then-current privacy policy.
Information Collection
You can generally visit our site without revealing any personally identifiable information about yourself. However, in certain sections of this site, we may require you to submit your personally identifiable information to us and we may invite you to submit questions, comments, and request information.
Due to the nature of some of our services, you may provide us with personally identifiable information such as your name, email address, username, password, address, phone number, and other contact information that you voluntarily transmit with your communication to us.
Information Use
We may use your personally identifiable information to deliver our services or information you have requested, verify your authority to enter certain password protected areas of the Site, verify that you are a customer or prospective customer, send you information that you have signed up to receive, notices about our products and/or services that you have used or that may be of interest to you and notices about events, and improve the content and general administration of the Site and our services.
If you are a user of our services, we may use your personally identifiable information to provide the services to you.
Children's Privacy
Compass Self Storage recognizes the privacy interests of children and we encourage parents and guardians to take an active role in their children's online activities and interests. Neither our site nor our services are intended for children under the age of 13. We do not target its services or this site to children under 13. Compass Self Storage does not knowingly collect personally identifiable information from children under the age of 13.
We use both session ID cookies and persistent cookies. A session ID cookie expires when you close your browser. A persistent cookie remains on your hard drive for an extended period of time. You can remove persistent cookies by following directions provided in your Internet browser's "help" file.
On our Site, we use session cookies to make it easier for you to navigate the Site by remembering your locale preferences and to improve and track the overall Site experience. For our Site, we set a persistent cookie to authenticate your login and authorization to use the services. Persistent cookies enable us to track, store and target the interests of our users to enhance the experience on our Site. If you reject cookies, you may still use our Site, but your ability to use some areas of our Site may be limited.
Third Party Analytics Tools
Beyond the personally identifiable information you voluntarily provide to us, Compass Self Storage utilizes analytics tools including third party technologies, such as Google Analytics, to collect non-personally identifiable information utilizing cookies. Certain types of information, including geolocation, device type, onsite website usage and behavior, demographic data, and purchase history, is collected and aggregated across our site users for our analysis and advertising efforts.
Compass Self Storage uses Remarketing with Google Analytics and Google Adwords to display relevant advertisements to users who have previously visited our site. Referred to as remarketing or retargeting, we may utilize previous session information to serve display advertisements to you on the site, and based on such session information, Google may set a cookie and serve ads to you on third-party websites on the Google Display Network. Third-party vendors such as Google may display our ads on websites across the Internet. Aggregated user data may be utilized to create remarketing/retargeting "lists," or groups of users with similar onsite behaviors or demographics.
Compass Self Storage also uses Google Display Network Impression Reporting and Google Analytics Demographics and Interest Reporting and Interest-Based Advertising to display advertisements to users based on their inferred interests and demographics. We do not run interest-based advertising campaigns that collect personally identifiable information.
Users may learn more about Google Analytics use of cookies by visiting the Google Privacy and Terms page at http://www.google.com/policies. You may opt out of being tracked by Google Analytics by:
i) Turning off cookies in the preferences settings in your browser
ii) Downloading the Google Analytics opt-out browser add on available at: https://tools.google.com/dlpage/gaoptout
iii) Opting out of user interest and demographic categories in the Settings for Google Ads feature to manage or opt out of Google interest based ads at: https://adssettings.google.com/authenticated
iv) Managing cookies used for online advertising across multiple companies at the US-based Network Advertising Initiative at https://optout.networkadvertising.org/?c=1
Aggregate Information
The Site may track the total number of visitors to our Site, the number of visitors to each page of our Site, browser type, IP addresses, External Web Sites (defined below) linked to and other aggregated data collected through our services and we may analyze this data for trends and statistics in the aggregate but such information will be maintained, used and disclosed in aggregate form only and it will not contain personally identifiable information. We may use such aggregate information to analyze trends, administer the Site, track users' movement, and gather broad demographic information for aggregate use.
Disclosure of Personally Identifiable Information
We may provide your personally identifiable information and the data generated by cookies and third party analytics tools and the aggregate information to the vendors and service agencies that we may engage to assist us in providing our services to you.
We will disclose your personally identifiable information if we reasonably believe we are required to do so by law, regulation, or other government authority or to assist in any investigation, to protect our or our users' rights or to enforce our terms of use. We will not sell your personally identifiable information to any company or organization except we may transfer your personally identifiable information to a successor entity upon a merger, consolidation, or other corporate reorganization in which Compass Self Storage participates or to a purchaser of all or substantially all of our assets to which this site relates.
Links to Third Party Sites
The site may provide links to other Web sites or resources over which Compass Self Storage does not have control ("External Web Sites"). Such links do not constitute an endorsement by us of those External Web Sites. You acknowledge that Compass Self Storage is providing these links to you only as a convenience, and further agree that we are not responsible for the content of such External Web Sites. Your use of External Web Sites is subject to the terms of use and privacy policies located on the linked to External Web Sites.
We may employ industry standard procedural and technological measures that are reasonably designed to help protect your personally identifiable information from loss, unauthorized access, disclosure, alteration, or destruction. Compass Self Storage may use, without limitation, firewalls, password protection, secure socket layer, and other security measures to help prevent unauthorized access to your personally identifiable information.
Notice to European Users
This site and the services on this site are targeted for users in the United States of America. Any information you enter on this site may be transferred outside of the European Union to the United States of America which does not offer an equivalent level of protection to that required in the European Union. In particular, you are advised that the United States of America uses a sectoral model of privacy protection that relies on a mix of legislation, governmental regulation, and self-regulation. Article 26 of the European Union's Data Protection Directive (Directive 95/46/EC, 1995 O.J. (L 281) 31) allows for transfer of personal data from the European Union to a third country if the individual has unambiguously given his consent to the transfer of personal information, regardless of the third country's level of protection. By using this site or the services, you consent to the transfer of all such information to the United States of America which may not offer an equivalent level of protection to that required in the European Union and to the processing of that information by Compass Self Storage on its servers located in the United States of America as described in this privacy policy.
If you have any questions regarding this Privacy Policy please contact us.
- This Privacy Policy was last updated: 2018-10-08 14:03:56 -0700
- This Privacy Policy is effective as of: 2016-05-17 13:40:06 -0700
Self Storage Tenant Insurance Program
We understand that the personal property you store in your storage unit is valuable and important to you. However, our storage facility is not responsible for property stored at our facility. That is why our lease requires that each tenant maintain insurance coverage on their stored property.
Some, but not all, homeowners' and renters' insurance policies cover property stored in self-storage facilities. You should contact your insurance agent to confirm whether your insurance policy will cover the property you store at our facility, and ask your agent about applicable policy deductibles and exclusions.
As a convenience, we make available to our tenants a Self Storage Tenant Insurance Program administered by Xercor Insurance Services LLC. This insurance coverage satisfies your lease obligations, and premiums are collected monthly when you pay the rent for your storage unit.
The Self Storage Tenant Insurance Program is underwritten by one of the most reputable carriers in the marketplace. Note that the operator may receive remuneration for its administrative services, such as assisting in enrolling the tenant in the Program and collecting the monthly premium, and that affiliates of some owners of certain facilities enrolled in the Program may own an interest in the program administrator.
Again, you are not required to purchase insurance through the Xercor Program, but you are required to maintain insurance. Please see below for answers to Frequently Asked Questions about Xercor's Self Storage Tenant Insurance Program.
Frequently Asked Questions About the Self Storage Tenant Insurance Program
Q: What levels of coverage are available under the Self Storage Tenant Insurance Program?
A. Three levels of coverage limits are offered under the Program: $3,000, $4,000 or $5,000. Monthly premiums are $12, $14 or $16, depending on the policy limit you choose.
Q: What losses does the Self Storage Tenant Insurance Program cover?
A. The Program protects your stored property against damage or loss from over thirty perils, including fire, lightening, windstorm, hail, tornados, hurricanes and other perils, like burglary and vandalism, all subject to a $100 deductible for each claim. For a complete list of covered causes of loss, see the sample certificate of insurance at our facility. You also can obtain a copy of the insurance certificate by contacting the Program administrator, Xercor Insurance Services LLC, at 1-844-769-2904.
Q: What types of property does the Self Storage Tenant Insurance Program cover?
A. Most types of personal property are covered under the Program. However, there are some exclusions, such as: firearms, photographic equipment, currency, contracts, securities, lottery tickets, precious metals, jewelry, watches, fur, food, alcohol and other specifically identified exclusions. To see a complete list of the property excluded, see the sample certificate at our facility or call the Program administrator, Xercor Insurance Services LLC at 1-844-769-2904.
Q: Does the Program cover losses from flood, mold, rodents and vermin?
A. Yes, subject to the $100 deductible for each claim, the Program protects against all of these perils, but with the following sub-limits:
- $1,000 for loss or damage from flood
- $500 for mold, mildew, fungus, wet or dry rot damage
- $500 for vermin, rodents, moths or insect damage
Q: When does my coverage start? When does coverage expire?
A. Coverage begins when you complete and sign the Enrollment Form and pay the first month's premium. Coverage ends when your rental agreement terminates or on the date specified in any notice you may receive for failure to pay your monthly premium.
Q: If I'm insured under the Program, how do I file a claim if I suffer a covered loss?
A. All claims for losses should be directed to the Program administrator, Xercor Insurance Services LLC, by calling 1-844-769-2904. You also may submit a claim through Xercor's website, www.xercor.com.