text:
MIPCOM Gears Up for Memorable 27th Edition
Ashley Judd, Margaret Cho, Fran Drescher and Werner Herzog among high-profile talent set for Cannes cameos at the content market.
PARIS - While a main attraction will be Missing, this year's MIPCOM won't be devoid of additional star power or industry intensity when talents, TV programs and technology descend on Cannes for the market's 27th edition in October.
This year's content market will see small screen talent schmooze with top industry execs as MIPCOM continues to raise its glam factor while keeping its focus on business.
ABC's thriller Missing will open the market with a gala screening and red carpet event with its stars Ashley Judd, Cliff Curtis and Adriano Giannini. The show's exec producers Gregory Poirier, Gina Matthews and Grant Scharbo will also be in town for the international launch of the series before its midseason premiere on ABC. "It's going to be a very big night," Director of Reed MIDEM's TV division Laurine Garaude said of the festivities planned at the Palais and later at the opening party's red carpet that will feature a lineup of international talent.
The Sopranos' star Stevie Van Zandt will head from Jersey to the French Riviera to present his new dramedy mafia series Lilyhammer. Also raising Hell on Wheels at the market will be hip hop artist turned actor Common and his co-stars from Entertainment One, Endemol USA and Nomadic Pictures' new series for AMC.
MIPCOM will embrace the seventh art when feature film directors Werner Herzog, Paul Verhoeven and Yann Arthus-Bertrand head to Cannes to promote their latest projects. Herzog and ZDF will bring market attendees Into the Abyss: A Tale of Death, A Tale of Life, Verhoeven will be launching The Entertainment Experience, in the Netherlands with FCCE.TV and Arthus-Bertrand will be in town with partner Jean-Yves Robin and their new Hope Production unit.
After a trip to Hell on Wheels and Into the Abyss, MIPCOMers will see Death in Paradise, a new BBC One and France Televisions drama series about an English policeman posted to the Caribbean island of Sainte Marie. The show's stars Ben Miller and Sarah Martins will be in Cannes paradise promoting the title.
Margaret Cho will be at the market to add some laughs to the dark drama atmosphere with her new show Cho Dependent repped internationally by Beyond Distribution.
Endemol will also be bringing TV Land talent to MIPCOM land including Happily Divorced star, co-writer and exec producer Fran Drescher and The Exes star Kristen Johnston.
"When top talents come, it helps in reaching out to the thousands of international buyers present at MIPCOM and, at the same time, creates a wider awareness for new programs through the buzz and anticipation created onsite and via the media. I think it does have real impact," Garaud said of the increasing number of talents present every year, but added: "All of this comes with a very serious business perspective. We don't want to lose sight of that."
The 2011 MIPCOM will definitely be getting down to business this year with a series of high-profile keynotes, matchmaking events and conferences. The market has been sold out for several weeks and boasts over 90 new exhibitors including Miramax and Hasbro, plus pavilions from MIPCOM first-timers Turkey, India and Indonesia.
"MIPCOM is the biggest place in the world to launch new programs and it's also a great place for producers to find new sources of revenue. Through networking events and matchmaking, execs can also meet new contacts to do business," Garaude said.
Russia will be in the spotlight with a MIPCOM-wide Focus on Russia. With 330 TV channels, 20 free-to-air networks and cable revenues in excess of 723 million euros, the country is a major player on the small screen scene. The international TV biz will be able to discover new content from the territory and participate in conferences, panels and production case studies.
Asia will also be a major force at this year's MIPCOM with 1,200 Asian participants, 451 Asian buyers and 53 different stands and pavilions from the continent. The market will play host to an "Asian Content Exchange" featuring a West Meets East buyers panel, an opportunity to meet the Asian animation financiers and networking opportunities.
"Trading has become more international. There's a strong focus on global partnerships and being able to come up with budgets for quality programming that will work internationally," Garaude said.
MIPCOM will head back to the future with conference theme "Tomorrow's TV today." "What seems like the future is actually very current," Garaude explained, adding: "These are developments that need to be addressed now." A series of "Money Matters" conferences and events will focus on alternative financing, branded entertainment and crowd-funding while a "Rebooting TV experience" theme will focus on connected TV, ultraviolet and social media TV. MIPCOM will add a new dimension to its program with a special "3D TV day" on Oct. 3 devoted to the format featuring a 3D keynote from Sony Corp.'s Akira Shimazu.
Also on this year's impressive keynotes slate are Miramax CEO Mike Lang, Netflix CCO Ted Sarandos, president and CEO of Viacom International Media Networks Robert Bakish, Channel One Russia's CEO Konstantin Ernst and Entertainment President of Fox Broadcasting Company Kevin Reilly.
Disney/ABC TV group president and Disney media networks co-chair Anne Sweeney will be the spotlight as MIPCOM 2011 Personality of the Year, the first woman ever to receive the honor. Sweeney will accept her award during a gala dinner on Oct. 5.
Even before the main MIPCOM market kicks off, this year's MIPJunior promises to be a market off the books.
"We're creating a forum where producers can meet with publishers to discuss the possibilities of working together," Garaude said.
The publishing and media industries will collide during this year's brand new Books to TV Exchange in partnership with the London Book Fair that will include matchmaking events, an intensive agenda of debates, interactive workshops and pitching sessions.
"Ebooks, apps and other developments are creating new opportunities for collaboration between these two sectors," Garaude explained.
Warner Bros.' evp of Creative Affairs Sam Register will give the MIPJunior keynote, and a Kids' Jury competition will be in its third year.
"Kids are watching more and more TV and watching on multiple screens in different ways," Garaude said of the importance of the MIPJunior market.
This year's MIPJunior will run from Oct. 1 – 2 in Cannes followed by the MIPCOM market from Oct. 3 – 6.


text:
No need for walls to equitably distribute the refugees
Friday, 25 September 2015
CEPS Commentaries
Downloaded 2,286 times
Authors: Sergio Carrera and Daniel Gros
Series: CEPS Commentary No of pp: 2
While acknowledging that the recently implemented EU Temporary Relocation System might not be the panacea for addressing the refugee crisis in Europe today, Sergio Carrera and Daniel Gros find in this commentary that it nevertheless constitutes a movement towards the urgent need to go beyond the current EU Dublin regime and ensure more equitable sharing of legal responsibility across all member states.
Sergio Carrera is Senior Research Fellow at the Centre for European Policy Studies and Associate Professor at the University of Maastricht. Daniel Gros is Director of CEPS.

subset: commoncrawl


text:
ERIC Number: ED054539
Record Type: RIE
Publication Date: 1971-Jul
Pages: 100
Abstractor: N/A
Reference Count: 0
The Development of a Model Exemplifying Business Services Objectives and Their Performance Indicators in Educational Program Budgeting. Final Report.
Forsythe, Ralph A.; Crawford, Thomas S.
This study developed (1) exemplary behavioral objectives and performance indicators for the business component of a school district and (2) a model to aid practitioners in stating the behavioral objectives and performance indicators of a school district's business function. A jury, whose members had a working knowledge of PPBS, school business services, and behavioral objectives, validated a total of 42 objectives states in behavioral terms, together with appropriate performance indicators. Divided into (1) business services, (2) buildings and grounds, (3) financial services, (4) transportation, and (5) food services, these objectives represent the desired conditions of the business services function of a school district. (RA)
Descriptors: Behavioral Objectives, Budgeting, Business, Educational Objectives, Educational Planning, Financial Services, Food Service, Maintenance, Models, Performance Criteria, Performance Specifications, Program Budgeting, Resource Allocation, School Accounting, School Districts, Systems Approach, Systems Concepts, Transportation
Publication Type: N/A
Education Level: N/A
Audience: N/A
Language: N/A
Sponsor: National Center for Educational Research and Development (DHEW/OE), Washington, DC.
Authoring Institution: Denver Univ., CO.


text:
The Human Face of Big DataDVD
From the critics
Community Activity
CommentAdd a Comment
Old news at this point: that everything we do online is tracked and sold without our permission. Still, worthwhile for people who don't realize the extent. The MTV-like style, jerky and quickly intercut, gets annoying at times. Would love to see a new documentary that focuses on what people can do to maintain some privacy, and/or create free space.
An insightful documentary which gives the viewer a better understanding of what changes are likely to occur due to the uses of social media worldwide, as well as the downsides of technology based data.
It makes you think about what we post, buy, where we go, who we talk to and what we search online.
Age SuitabilityAdd Age Suitability
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wizard, 22 Mar 2014what color is the box of this phone, I have a green one in kenya?Forget the box ,just see the phone .
AnonD-246401, 21 Mar 2014Please help me decide which one is better in terms of battery life. Huawei Ascend Y320 or Huaw... moreHello.
I would go for Y300. As you said, the features are almost the same, excluding the camera, which is 5 MP and does affordable pictures in daytime. The battery depends on where you live (there are two versions - 1730mAh and 1950mAh). Here in the Czech Republic, we have the 1950mAh battery.
With light use, the battery lasts 2-3 days.
When using camera/data/WiFi, the battery is empty in 1-1,5 days.
When playing games or watching movies, you can drain the battery in nothing more than few hours.
wizard, 22 Mar 2014what color is the box of this phone, I have a green one in kenya?here in Europe (Czech Rep.), the box colour is white. But the box colour doesn't have affect on the phone's features or acessories included.
Got this phone yesterday to replace my old sluggish blackberry that was falling to pieces must say for the price it is impressive, got all the apps i need and they work fine, if you are on a budget go for it might not have the brand power and status of other phones out there but definitely does the job
Please help me decide which one is better in terms of battery life. Huawei Ascend Y320 or Huawei Ascend Y300?
All I am focused towards is longer battery life. If y320 gives better battery then it would be perfect for me since the other features are almost same excluding camera. Those having user experience please a reply. Thanks
Pier, 16 Mar 2014use a Voip app like viber or tango via wifi, some phone provider don't allow video calls.Daz it download whatapp or facebook
@Pegasus66 - I recommended the Touchpal X keyboard a few minutes ago -; when I re-read your post again, I saw you were having problems concerning the Messaging app. + I'd assumed it was for e-mailing. I've since tested the Messaging part on my phone, (as as Touchpal X is my default keyboard), and once it registers I want to start typing, calls up my default keyboard. Therefore, as long as you activate either this or any new keyboard in the settings (as explained previously), it should pop-up whether for e-mail, messaging, notes (ie. note-taking app.).
Pegasus66, 21 Mar 2014Hi,
My partner bought one of these to replace his broken phone & has been happy with it s... moreHi Pegasus66 - I've had the same phone for more than a month, but cannot help you out with that (presumably) built-in keyboard issue; will recommend you download what you'll find to be a far superior 100% FREE keyboard from the Google Play store (or via Appbrain if registered there). Search for TOUCHPAL X ; link: https://play.google.com/store/apps/details?id=com.cootek.smartinputv5 You won't be sorry ; remember to activate this keyboard in the Settings, under Sub-headings, "Language & input", then scroll down to "Keyboard & input methods" and select Touchpal X (obviously after it's downloaded to your phones). Finally, go into the new keyboards settings, and adjust / play around with them until happy.
You'll no longer need to type in whole words as the word prediction is usually very good + can either swype whole words to the bottom of the screen to select them, or select them from a bar in the centre of the screen, based on the word prediction. Much better, I'm sure, than the built in app. Hope you come right!
My partner bought one of these to replace his broken phone & has been happy with it so far, so when i needed to replace my phone due to an accident i purchased one as well! :) A major problem we seem to both have is when we put the message keyboard onto English (9-key) input method it WILL NOT identify "I" as a word & keeps putting in "g"!!!! very very very annoying to say the least!! :/ It also has a tendency to make some of the words in the sentence i am typing to have a Capital letter. We have tried restoring to factory settings but it still happens. It only does this if the keyboard is English (9-key) setting. Can someone please help???
Excellent phone! Guys dont get caught to these rumours.. its a really good phone. Wont lag at all. supports most of the applications(important ones.Camera is great.No lagging during playing games. Can play Sims without lagging. my S2 started lagging while playing Sims!
I suggest you guys to buy this phone! well done Huawei.. Good job
The Huawei(sorry, didn't mean to throw up) Ascend y300 is useless. It just stops working. I can still text people and call them, so I'll just keep it 'til my contract runs out or the phone dies, I believe the latter will be sooner.
My camera has died, my SD is not usable. I cannot install anything from Google Play. This phone is a piece of (add your own expletive).
purchased a few hours ago
really good value
my s2 is really laggy compared to this
I have problem, while receive the call out voice mute automatically within some second what is the problem where can i get repair?
jayaprakash, 11 Mar 2014I got HUAWEI Y300 MOBILE On jan 17th it was purchased from kuwait I had problem while roming A... moreI got HUAWEI Y300 MOBILE On jan 17th it was purchased from kuwait I had problem while roming Activation not working, while receive the call out voice mute automatically within the 15 second what is the problem where can i get repaire
I have the same problem, anyone can help?
Anonymous, 07 Mar 2014I have recently bought this phone type - 3 days ago. I am trying to download WhatsApp but am n... moreWhatsapp is working fine just go to the appstore


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Alaska is a less densely populated state of United States. It is estimated to have only 1.0 person per square mile and thus also considered as most sparsely populated area in the world. According to the census conducted by United States Census Bureau in June 1880, the total population of Alaska was estimated as 33,426. The census conducted on June 2, 1890 reported the total population size of Alaska as 32,052. The twelfth United States census conducted on 1st June 1900 showed that the total population size was 63,592 and that conducted on April 15, 1910 reported Alaska's total population size as 64,356. The fourteenth census conducted on January 5, 1920 showed a decrease in the population size compared to that of 1910. The population size during this time was 55,036. The 1930 census estimated the total population of Alaska as 59,278. The population was found to be increased by 13246 people and reached 72,524 in 1940. According to the 1950 census the total population was 128,642. In 1960 census, the population size further showed an increase and reached 226,167. The census conducted on next year, that is 1970 reported the total population as 300,382. The twentieth census held on 1980 estimated the population size of Alaska as 401,851. The total population increased by 148192 people and reached 550,043 as per the 1990 census report.
According to the twenty second census conducted by United States Census Bureau on 2000, the total population of Alaska was 626,932. Among them 51.7% were Males and the rest 48.3% were females. 54.5% among the total population were married individuals and 45.5% were single. The percentage of individuals at and over 18 years of age were 69.6%, the percentage of median aged persons was 32.4 % and those at and above 65 years were 5.7 %. During this period Alaska was rated as 47th most populous state of U.S. The 2000 census also reported that 74 % of the Alaska's population included White Americans, 4.3 % comprised the Black or African Americans and 19 % of them were American Indians and Alaska Natives. Asians made up 5.2 % of the total Alaska's population and Hispanic or the Latino constituted 4.1 %. In addition Native Hawaiian and other Pacific Islander made up 0.9 % and only remaining 2.4 % were constituted by people from other race.
|Demographics of Alaska (csv)
|By Race
|2000 (Total Population)
|2000 (Hispanic Only)
|2005 (Total Population)
|2005 (Hispanic Only)
|Growth 2000–05 (Total Population)
|Growth 2000–05 (Non-Hispanic Only)
|Growth 2000–05 (Hispanic Only)
As per the study conducted on 2005, the total population of Alaska was estimated as 663,661. This showed an increase of 5,906 0r 0.9 % compared to the previous year. As compared to the census conducted on 2000 there was an increase of 36729 people or 5.9 percentages. This shows a natural increase compared to the previous census of 36,590 people (that is 53,132 births minus 16,542 deaths), it also shows an increase due to net migration of about 1,181 people into the state. Immigration of people from places outside United States resulted in net increase of 5,800 people, and the migration of people from the country resulted in a net loss of 4,619 individuals. The American Community Survey conduced by the United States Census Bureau between 2005 to 2007 revealed that 68.5 % of the Alaska's population included White or European Americans, 3.8 % comprised the African or Black Americans and 13.4 % comprised the American Indians and Alaska Natives. Asian Americans made up 4.6 of Alaska's total population and Hispanics and Latino constituted 5.5%. In addition the Pacific Islander Americans made up 0.5% and only 1.4 % was comprised of people from other race and 7.2 % of two or more race. This American Community Survey conducted between 2005 and 2007 also gave details regarding the languages spoken in Alaska. And according to this report about 84.7 % of people above the age of five speak English at home, 3.5 %of Alaska's total population speaks Spanish language at home and 2.2 % speaks Indo-European language other than Spanish at home. In addition 4.3 % speaks an Asian language at home and 5.3 % speaks other languages. Out of the total Alaskans 5.2% speaks one of the total native languages which include 22 indigenous languages. These languages come mainly under two main Language families. These two language families were Eskimo-Aleut and Na-Dene. Most of the Alaskan's followed Christianity as their religion.
The total population size of Alaska was estimated as 686,293 as per the census conducted by United States Census Bureau on July 1, 2008. This census result showed in increase in population size by 59,361 or 9.5% as compared to the last census conducted in 2000. This shows a natural increase compared to the 2000 census of 60,994 people (86,062 births minus 25,068 deaths), it also shows a decrease of 5,469 people due to net migration of people out of the country. Immigration of people from places out side the United States resulted in net increase of 4,418 people, and the migration of people from the country resulted in a net loss of 9,887 individuals. Anchorage, Juneau and Fairbanks are the three most populated places of Alaska, and out of the total population two-fifth lives in Anchorage alone.


text:
Nutrient Trading Framework in the Coosa Basin
Nutrient Trading Framework in the Coosa Basin - Descarga este documento en PDF. Documentación en PDF para descargar gratis. Disponible también para leer online.
The Northwest Georgia Partnership is a group of water providers in Coosa Basin and surrounding watersheds. The Partnership is facing new permit limits in the Coosa Basin for wastewater discharges due to the Lake Weiss TMDL. GAEPD has proposed Total Phosphorus limits of 1 mg-L on all major dischargers. For some facilities, this represents a significant investment to meet these requirements. The Partnership applied for and received a USEPA 319h grant to evaluate Nutrient Trading in the Coosa Basin, set up a framework to implement trading, and identify a demonstration trade between a point source and non-point source BMP. There are many potential benefits to water quality trading including achieving pollution reduction goals at an overall lower cost, targeting reduction closer to the water body of concern, and engaging non-point sources that may not have other regulatory incentives to meet reductions. If a trade and framework are implemented, it would be the first in the state of Georgia. The presentation will include benefits of trading, common elements of a trading framework, phosphorus runoff coefficients, point and non-point costs, and example trade with non-point BMPs concept plan.
2013 Georgia Water Resources Conference -
Autor: Hawks, Laurie - -
Fuente: https://smartech.gatech.edu/


text:
Danske Maritime against small climate goals
25-10-2017 14:00:00
Danske Maritime believes that there is no technical excuse for small climate ambitions. Danish maritime technology can meet high international climate requirements for shipping. It's just about getting started, says Danske Maritime.
"The technology is present, so there are no excuses based on technology in order not to have as high climate ambitions as possible. It's just about getting started," says CEO Jenny N. Braat in Danske Maritime.
< Front page
Copyright © Maritime Denmark


text:
SPRINGFIELD, Ore. -- Some patients at the Riverbend emergency room waited up to 13 hours Monday night.
Robert Blake, the COO of Sacred Heart Medical Center campuses of Riverbend and University District, said the emergency room saw a surge of patients around 5 p.m. Monday, which increased the wait time.
On average, the wait time for the ER is anywhere from two and a half to four hours. Blake said normally they see anywhere from 175 to 225 patients a day. However, they saw about 350 on Monday and they didn't have enough rooms available until later in the evening when they were able to help facilitate transportation for discharged patients.
"Even when we are full, we still have the capacity to place individuals in a safe place with providers who are able to care for them while we are waiting for an ICU bed or a medical, surgical bed to open up," Blake said.
He said they have a triage area in the waiting room where providers can evaluate patients and see if they need immediate care, and normally patients are seen in this area within 30 to 90 minutes of arriving.
Blake said the ER hits capacity about once a week. He estimates about 25 percent of people going to the ER may not have a primary care provider they see for common ailments.
Some of those people may be homeless or unemployed and are going to the ER because they can't afford other resources, while others go because it is easy and accessible.
Blake said they help connect patients to primary and urgent care providers to help free up the emergency room for people who have more serious injuries.
"We take our mission to the community seriously, that we continually press ourselves to see how we can effectively treat larger numbers of people even though the population is growing," Blake said.
Right now at Riverbend, he said they are evaluating the services they offer and how many beds are available for each service. They are also looking into potential renovations to make additional space.
Related Content
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- Patient life-flighted to Riverbend after crash
- No one injured when two SUVs collide near Riverbend Hospital
- Harlem Globetrotters spread smiles by visiting children at Riverbend, YMCA
- Therapy dogs spread holiday cheer at Riverbend Hospital
- Health care unions hold rally outside RiverBend over contract negotiations
- Guild pledges $1M for Heartfelt House at Riverbend Hospital campus
- Walmart surges heading into holidays
- Oregon girl, 13, hit and killed while waiting for school bus
- Oregon girl, 13, hit and killed while waiting for school bus


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Hello, everyone.
Well, the big day has finally come. Santa's big day. Leaving for work this morning, I was outside cleaning off my car, and the lights were off. It was incredibly quiet, and it was flurrying just a little bit. I was imagining what it would be like in 12 hours….lights on, snowing just a bit, happy children running around.
Everything is ready….almost. The last minute details are being tended to in the workshop.
We'll have the lights up at 7 PM. It'll be a longer than usual show, 40-45 minutes, and Santa and his elves will arrive towards the end of the show with goodies for everyone.
This is what it's all about….quiet, peace, music and lights.
Try to get here early….and once again, thank you so much for all you've done to support Koehler Family Christmas and the Food Bank of Central New York.


text:
Baby Beach is located on the opposite end of Arashi (southeastern end) and right past San Nicolas. It took us 45 minutes to get here (even with all of the construction and traffic detours and us being tourist...taking our time and snapping pictures along the way). You'll know you are getting close when you see the huge red anchor dedicated to the seaman (stop and take a picture with the ocean in the background). You might also get lucky and see the donkeys out running around in the road or on the side of the road. There was a baby donkey when we were there. So cute.
The parking lot is huge and free of course. There's actually 2 parking lots. The beach area we stayed at is the second parking lot.
This beach is absolutely gorgeous! Very nice, soft sand and it's a calm lagoon that makes this the perfect place for families with smaller children. You can walk really far out and it's still very shallow. The beach is HUGE!
There is a restaurant, called Big Mama's Grill, with food and drinks. This place is themed from the Flintstones and the employees are dressed up with the Flintstone attire as well. You'll find "stone-age" chairs and tables and statues of the Flintstones themselves around the building. It's pretty cute.
They do have a dive shop here, but the day we were there, no one seemed to be in it (or I just walked over later in the day and they had already closed).
You can also rent beach chairs (I want to say $10 each???) or you can rent a 2 person windscreen/canopy type of contraption that they set up for you on the beach and it's really nice with a screen in the back to let to nice breeze flow into it. It works great! We never really felt hot while sitting in it. It also comes with 2 lounge chairs. The price is a little on the expensive side, so be prepared to pay $56 for it all. But, if you plan on staying all day, it's well worth it because natural shade is scarce here.
Now lets get to the snorkeling...I have read multiple reports on the snorkeling that were totally opposite of each other..."great snorkeling", "not the greatest", "not good unless you go out of the lagoon area, which is too dangerous" and so on. So...here's my opinion: I thought it was pretty darn good! I snorkel everywhere we go and we usually cruise 3-4 times a year and I'll snorkel in every single port (usually 3-5 ports per cruise). So, I'd say I have snorkeled around 75+ times, all over the Caribbean and Bermuda. I'm not a pro, but I can only offer my "opinion" based on all the places I have been. I think Baby Beach is pretty good for snorkeling and the variety of things you'll see. Is it the best? No, not at all, but it won't disappoint you either. It can definitely take up a lot of your time exploring and in my book, that's good enough!
So where is this snorkeling located? When you are standing on the beach looking out at the water, look to your left. You will see a small area roped off along the rocky area not far out at all. You can walk all the way out to this area. Once you go under the ropes, it gets a little deep and you'll have to swim JUST in that area, which isn't big. That's not really the snorkeling area IMO. You'll find a lot of fish everywhere and they'll swarm you with curiosity. However, if you want to see, what I would call the snorkeling area, you'll need to head between the rocks (which would be more left). There is a HUGE current right here and you'll kick and swim your heart out. It's NOT DEEP! You can put your feet down at any time AFTER checking to make sure there's no coral you might be stepping on of course. I found at one point that I would turn around (with the current to my back), wedge my foot down on a rock and lean back to keep the water from pushing me. You can swim up and down this area (head left once you are in it) and it's almost like a little stream through there. SO MANY FISH in this area and coral too! This place has some of the BIGGEST Parrot fish ever! It reminded me of Bermuda (there's are huge too), but I spotted the biggest parrot fish I think I have ever seen in my life before. I learned on this trip that the dark blue with black parrot fish seem to be the huge ones. I don't think I had ever seen this variation before snorkeling. I tried to look them up and maybe they are called midnight parrot fish? If anyone knows, let me know. During our trip, we would continue to see these monsters when snorkeling at places like DePalm as well.
Parrot fish go through many stages of life and change colors. Some Parrot fish are hermaphrodites and start as females and change to males later in life, while others start as males. They are called Parrot fish because they have a mouth like a beak (or parrot) with teeth. If you are in a calm place and be still, you can hear them munching on the coral and you'll hear a crunching sound. It's pretty cool.
Of course you'll see plenty of other fish and some coral as well. You can go way back in this little "stream-like" area and no worries, you can stand up along all of it...it's not deep...just watch where you put your feet down. On the way back out...just simply float your way back. The water will carry you back to the beginning. So much fun. I stood up many times to take some pictures of the water outside this area crashing over the rocks and my daughter was standing beside me on the rocks at the shore. LOL They could see the huge parrot fish because he would manage to get himself in smaller/shallow areas and he'd be sticking up out of the water. They stood right there on the rocks at shore watching and could see everything.
We spent the entire day here and met another family from the US and became friends and hung out the rest of our vacation (going to beaches and dinner together). Sakari loved that she had a new friend to swim with and we enjoyed adult company...even talked them into extending their vacation and they ended up renting the exact some cottage we were considering before we came.
Amazing day here! (It's also one of the other couples favorite beaches and they come here several times during their stay in Aruba each time). I highly recommend this beach.


text:
The dichotomy of Dan Tanenbaum's life is obvious. When this self-proclaimed "technology geek" isn't operating his internet companies, he's i...
Watch Parts Motorcycles, or alternately Watchparts Design, is the artistic alias of Dan Tanenbaum (Canadian, b. 1973/4). Known for creating assemblage works from watch parts, historically in the shape of motorcycles, he began texturing Dunny forms with a similar style in 2016.
For more information on Watch Parts Motorcycles:
website | representation | instagram | twitter | facebook


text:
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text: When you download music from iTunes, it has DRM in it so that you can 'Transfer Purchases' from your iPod to another computer, as you have paid for them. I have quite a few songs in my iTunes library that are not from the iTunes store - they are from CD's and friends - and therefore have no DRM and i cannot easily transfer them from one computer to another via the 'Transfer Purchases' menu option. Is there any way i can put some DRM into these files so that iTunes think they are FREE songs downloaded from iTunes, and i can 'Transfer Purchases' ????? I know there are other means of transfering the music, but i would much rather do it this way. Please help if you can, MI986 --------------------- mi986.deviantart.com


text:
Poems - Bio - Essay - Reviews - Interviews - Reading
Joy Katz
From That Time Infus'd Sweetness Into My Heart
When the
lead crystal hangs dully, In the wondering as
I write this,
During the carboniferous period,
Having finished the meze,
After the dog goes
back to bed, In the continual hum,
After we buckle on our parachutes,
As ash settled over Brooklyn,
When the Moors ruled in
Europe, Next summer maybe,
After the morning hosts uncross their legs,
Every four to six hours,
That becomes a basket tossed
weightlessly On the day we adopted a boy,
When I step off the quickly dropping elevator,
After the seclusion of the cellarage,
The night before I left for college, During intermission,
When someone with a clipboard called our name,
At the ideal time,
Pending fire department approval, When I turn to the sink for a minute, the light switch,
Often, hungry for marvel,
After nothing in process can come transforming,
And then,
one day, What seemed fair in all the world,
Before the tap water discolored,
During the oiled sound of a dog dream,
In the sun's year
on earth, Oil, boil, squeak, uplift
In the evenings,
In the far back of the drawer,
During the cocktail hour,
Eventually will I
After I have come down the hill and up the hill
After we have had a few lessons, At
night my mother,
When she first entered the air,
In the equal sign of an allowed hour,
When the power
went out, Every so often,
After the woken up and gone returned
When I asked her how she saw herself,
After my son has kissed me the more times, That becomes
a basket tossed weightlessly
As the opposition receives non-lethal assistance,
In the wondering as I write this,
On a seventy-six-degree
day, This hour, for example,
Now, passing between my shoulderblades,
Before the jury deliberates,
After four minutes (at sea level), As I grow
bigger in the wanting,
As I ride around on blue ikat,
At the urgent intervention of ground troops,
When my
father returns from Africa, On the anniversary
When he gets his genius back,
After three sets of repetitions,
As you began treading
these long thresholds, As Ho Chi Minh witnessed
our names,
After the woken up and gone returned
Before the music stops,
When I try remembering her voice, In 1978,
"What next?" you say,
In the middle of a budget battle
That becomes a basket
tossed weightlessly As a baby is handed through
the air to us,
In the final seconds of the fourth quarter,
Halfway through the preface,
After they set us on fire, It was time for a
When the sugar is dissolved,
Before the poet began his
third ode, Till at last, pop!
When I understood there was a chance,
-Which intifada was that?
Again. Again (in the
patience of),
Before you can say it's cool as measuring salt,
Whenever we rushed to the embassy,
When it was
noon, In the middle of the night,
In that hour of my life, to have
A moment, so plastic,
As I stood at the foot of her
bed, A basket tossed weightlessly
Long after the data is useful,
While thou on press'd flowers dost sleep,
As he meets
with the rebel leadership, Midway through the
As the lead crystal spins dully,
Until she solved the difficulty,
Some thirteen years
ago in a gale of wind, On a foil packet
of shampoo,
After a prayer with no words,
When a spoon leaves a firm imprint,
During the last known
hours, As the meltdown hit groundwater,
When we signed off on everything,
And then, a face: the woundable face of a boy.
Mother's Love
IGive the child up, says the warm
blanketGive the child up, says death, saysruination, says torture, give the child up we will care for him
say the men with carapace facesYou can grieve, says the netyou are my favorite, says falling out a
windowGrief has rules, says the raven, grief has grades,sidelines, crowds to cheer you on say the
friendly faces smeared with dung you can ace it, say the men with beetle-shell facesIIThe
baby is tearing up tissues one by one each in pieces with a strengthlessrippingOn my eyelids the fibers linger Pale filaments of fairy dust, the hairsof donkey ears creatures
under spellsThe fairy makes a sound like cellophaneThe baby answers in lighter-clickspah
of little flameThe baby looks upward into a weather system it settles round his head, a crownHe
makes a sound like eyeliner coming wet and thin onto a brushHe makes a sound that wet and silken you are getting very young you are getting very
veryWake mother wake this is how they take your babywhen you are drowsy with enticement—IIIHis voice comes like a veil onto my eyes Lightly a mother's bridal veil crumblesThe sweetness has come up to my collarbones shows yellow under my chinThe mother is marked, tired. Tired
and marked. "Let's play on the bed"(Don't speak, it will pull out the slow dripanesthetic of his voice) He pulls a book off the nightstand I am helplessWe are addicts, an old
boyfriend would sayThis is not that. But it is I am helplessMy hair fills with sparks He is eating the rare book curls the corner back so prettilySo what, say the hairs on my armsso
what, says the water rising in the roomHe is melting all the books, tasting themeating the corners—In between, that sweet voice of no-words-yetHis sounds turn words to eyelashes, a fine neta white powder
IVThe baby pulls tissues from the box Out! and then the nextone
he pulls that one one more with equal attention to them all the pleasure
is up to my skull again the feel of my hair, new-cut, on my backa rabbit asleep thereHe pulls
pulls a white, still rabbit from the box he wouldhold it up till it became vapor The air gathers in pleats of vaporI lie backWe are pulled together toward— Are we are
alive on a planet"My son and me"(try to speak)The words heavy as cured meat
can't push themoutward into the street the sunThe baby holds up an erasure tears it, tears off
a room Vfloats over the edge of a breath of a stand of milkweedHis breath exists as sand, slipping over my elbowsWater is pouring over the bedWhere is any fierceness
Traffic holds the house in a five-point harnessclickThere is no trafficno door
just the edge of an infinite pournot even that open your eyesAnne says: "it is like
mother's love"(heroin)What is it I asked herwhat does it feel like?VILeft alone with the baby is boringwoodfloors knees clockfalls make roundsof hours
Then the light, milkily, comes We are sugared in a medium, he and I He is smilingHappiness
is on me like a scratch in a car doorThe floor is dirt and chalk and cool as a henhouseHe has crawled
into in the bathroom
"Can you open the door?"
"Can you close the door?"The tub's cool slope frames his head with stoneI smell like done bread Turn over the loaf, tap tap—hollow sound—door open.
He is smiling A fishing line, clear, thindraws through my legs then tight across my chesta line fine as rapidographconstant, narrow, even, drawn round my wrists, shoulders, I am bound back
to front, tied up lightly in VIIin what?The light is beautiful again.Outside
in the stopped air the animals have stopped.The baby points at the light. "?" he says
Answers sparkle and turn like coins on a lineLook at this look how you are a fish-mother, silvery
and still on the pond-bottomcan't breach the surface where the boy churns up hard light—There is a spreading through me like snowmeltHe is in the milky world of the bathroom, the daytimedry chill, he is suspended in marbleAll at once he points at meThen he is out the door, stepping
onto a silver wing
How to describe to you this height, this opening?
Death Is Something Entirely Else
Department of TranceDepartment
of Dream of LevitationDepartment of White Fathom Department of WindingSometimes my son orders me lie downI like when he orders me lie down close your eyes Department of Paper
Laid GentlyDepartment of Sound of Sheets of Paper
he covers me withthen singsI like best the smallest sounds he makes thenDepartment of This Won't StingAm I slipping away Department of Violet Staticas if he were a distant stationDepartment of SatelliteMy child says you sleepDepartment of Infinitely Flexible Weband covers my face with blanknessDepartment
of Tap-Tapping the VeinDepartment of EyelashI can't speak
or even blink
or the page laid over my face will fallDepartment of Clear Tape in Whorls and Double Helixes on the Wall He says
mama don't look Department of You Won't Feel a ThingI cannot behold Department of PinprickHe will not behold Department of Veils and Chimesof Lungs Afloat in Ether I like this bestDepartment
of Spider Vein when I am most like deadand being with him then, Department of Notes Struck from Thin Glasses
Successively at RandomI must explain to my child that sleep
is not the same as deadDepartment of Borderlessnessso that he may not be afraid ofDepartment of Fingertips
Lightly on Eyelidsso I can lie and listennot holding not carrying not working Department of Becalmed
faint sound of him I am gone
His song is the door back to the room
I am composed of the
-from All You Do Is Percieve
Joy Katz is the author, most recently, of All You Do Is Perceive, a Stalecher Selection
at Four Way Books and a National Poetry Series finalist. Her other collections are The Garden Room (Tupelo) and Fabulae
(Southern Illinois). Her honors include an NEA fellowship, a Stegner fellowship, and a Pushcart residency at Jentel. She
teaches in the graduate writing programs at Carlow University and Chatham University and lives in Pittsburgh with her
husband and young son.
Left Behind by Joy Katz, first
published at Poetry
When my mother died,
eight years ago, I stopped reading poetry. A strange thing for a poet to say, but it's true. In fact, it wouldn't
be overstating it to say that I hated poetry after my mother died.
Poems felt false. I resisted, especially, the
kind of piece whose impulse is to resolve. These poems, many of which were sent to me by well-meaning friends,
reduced death to a salvo. It was unbearable to be confined to the limits of their "meanings" at a time when
the territory of mourning was expanding before me, and it appeared to be infinite.
My discomfort with language spread from poetry
to moment-to-moment thinking. People said that I would find a metaphor for where my mother was. I understand this often
happens for grieving people. But when my mother died, I grew suspicious of metaphor. Metaphor insisted: your mother might
be the sea. I tried to imagine her as the sea. I tried to feel around in my soul for whether my mother could ever become
the trees. But I couldn't. Metaphor said: you are deficient, you have not found a place for her.
I could
not imagine what form she might take partly because I had not settled for myself that she had "gone." Even today,
I sometimes hesitate at the verb. Occasionally the people who wanted to comfort me in grief seemed discomforted themselves.
Their faces were tense, as if anticipating an unreturnable emotional volley. I tried to find an expression that felt honest
and, at the same time, safe to use after a casual "what's new?" There wasn't one.
I remember
once, when I was 12, trying to reckon with the idea that my mother would one day not be here. I promised myself that when
the time came, I would say "dead," because it was the true word. I understood "passed away" as
a pretend phrase adults use when speaking to children and the infirm. Decades later, when I came back to claim the truth,
I discovered that "died" is only a syllable from the slipstream, useful for emails to one's employer,
but otherwise featureless as a light switch.
Poetry felt drained of its possibilities by the time I stood graveside.
My disorientation with language was complete as my mother's coffin was being lowered into the ground and the rabbi
read out her name: Elaine.
Elaine. Something seemed off to me about this. A mistake. Maybe even a lie. I don't know why, but
I was absolutely certain of one thing: That is not her name anymore. It was as if someone had whispered this message
into my ear. It did not have to do with anything poems had said, or anything people were saying after the funeral, as we
were spooning egg salad and potato salad into bowls. "Elaine is with Tom now," someone told me. And "Elaine
is in a better place." Not Elaine, I thought to myself, as if it were an obvious error of fact that any proofreader
would catch.
The next week, while going through my mother's things, I found an old etiquette book. In the chapter on
condolence, there was a drawing of a woman's hands, narrow, graceful, cartoonish 1950s hands, holding a teacup.
The grieving person, said the book, will forget to eat, but she may accept a cup of bouillon. Reading
that, I felt, truly, like a pale gold light moved over me. I felt the weight I had been carrying ease just a bit. The etiquette
book was not elegiac. It did not offer beauty, or a "message." Its author spoke from a time when people thought
about grief and knew what to do when it happened, a time when grief was an ordinary household condition. The grieving
person, the etiquette book explained, is ill. The assessment was as flat and serene as a sickroom tray. This
language had possibility. The etiquette book offered a calm voice, recognition, an assurance that I wasn't falling
through space.
Several months later, I was sitting in a theater watching Sarah Ruhl's play Eurydice. After marrying
Orpheus, Eurydice dies. In the underworld, there is a chorus of stones that addresses the audience.
Eurydice wants to speak to you. But she can't speak your language anymore. She talks in the language of dead people now.
Eurydice wants to speak to you. But she can't speak your language anymore. She talks in the language of dead people now.
This was it. Further to the communiqué I had received at my mother's grave, and to my problem with poetry
while mourning.
The play said: elegies are false. They think they can talk to the dead, but dead people speak in the language
of the dead, and we can't.
Eurydice is about the playwright's own bereavement. After dying and traveling to the underworld,
Eurydice sees her father, but she does not recognize him. An ocean of sadness opened up in me as I watched. This play
understood what the loss of a person means. I couldn't speak to my mother not because I didn't know where she
was, and not because I had too little faith or imagination to envision where she was. I couldn't speak to her because
I could not recognize the Her she had become.
For me, the vital part of grieving was not to try to "resolve"
or cross this distance. It was the distance. Eurydice led me back to poetry because it is not an elegy.
It is about being left behind.
I began to think there could be a poem about death that was as large as this distance. Or that a poem about death
might enact a failure of language that seemed to me the truest part of my mother's absence.
In the
years since, I have found poems into which I can take my remnant grief. It took me a while to sense what kind of writing
I could trust with it, because my relationship to poetry was shifting. Owing to my mother's death, I had become
uneasy with closure and impatient with poems that offer epiphanic "truths." Poems of sorrow, especially, needed
to do something else.
The ones that sustain me, I find, have to do with living people, humans who mourn, rather than with the departed.
These poems are not "like" grieving—they are not lamentations—but instead open up the isolating
process of mourning. They translate sorrow through poetic form rather than confining it to a metaphor. Here are a few of
The narrator of Ai's "Cuba, 1962" is a plantation hand who discovers his lover dead in
the sugar cane. First he cuts off her feet with a machete—"what I take from the earth, I give back."
Then he takes her body to market with the crop.
tastes my woman in his candy, his cake, tastes something sweeter than this sugar cane; it is grief. If you eat too much of it, you want more,
you can never get
tastes my woman in his candy, his cake, tastes something sweeter than this sugar cane; it is grief. If you eat too much of it, you want more,
you can never get
I couldn't have imagined there was anything surprising to say about death. But this poem surprises me by
rhyming grief with greed. It shows me a stage of mourning I passed through without realizing: punishing aboundingness.
When my mother died, so many people brought cakes to the house, the soft, airy kind that always seem to be frosted a lip-staining
blue. I ate and ate. The cakes made me sick, and they never satisfied. The person speaking in "Cuba, 1962"
is a laborer, but the labor in the poem is sorrow. Sorrowing is work, and it does not satisfy. At the end of each day
I did not know how far I had come or when I would be done. Grief was infinite, and yet no amount was enough.
1962" feels true to me because the pain in it is not assuaged. The poem is brutal, and it is a love poem. It is almost
a reproach of sympathy-verse. So often the "comfort" in grief poems seems like pretense. I feel easy around
this poem; paradoxically, the way it forsakes comfort comforts me. It reminds me of the condolence card I got from my
mother-in-law: Dear Joy, she wrote, Do you feel like you have a hole in your heart that nothing can fill?
Her question held a mirror up to my pain. This twinning of grief was generosity itself, in the form of a question I was
not obligated to answer. Do you feel this? Not death feels like _________.
Davis, in her incantatory poem "Furthermore," focuses on the body after the death of her father. I love the
ancient sound of lines such as these:
to have for a body the going away of the body, to have for eyes
the going away of
the eyes. And for hearing, a silence, where once were people.
to have for a body the going away of the body, to have for eyes
the going away of
the eyes. And for hearing, a silence, where once were people.
the poet has left of her father—what she gets to keep—is even less substantial than a memory. Her father has
become an abstract process, the-going-away-of. And there is more transformation: the body is also the poet's body.
All she can see with her own eyes is the going away of his.
"Furthermore" is the opposite of poems that
make the site of mourning an object, such as an ocean or a tree. In those poems, an image becomes a reliquary, a stand-in
for a person who was once able to see it. Images can be objects of faith: a poem can make a tree more real than a real
tree (to misquote Marianne Moore). But in this poem, I find the lack of image more faithful to experience.
In a
way, "Furthermore" argues against the faith poems place in images. A passage in Psalms, echoing this poem, explains:
"Eyes have they, but they see not; they have ears, but they hear not." In the psalm, the Jews are being instructed
to reject idols. Instead of worshiping gold effigies, they are supposed to rely on a God whose presence is abstract. A
process. Not wind or vapor, but the fact that wind and vapor are created.
How to turn, in need and sorrow, to a process,
where so recently there was a living body? In return for my mother, I had going-awayness and, after a while, having-goneness.
Davis's acceptance of this transformation, in "Furthermore," strikes me as a strong act of faith.
Mary Szybist's "On Wanting to Tell [ ] About a Girl
Eating Fish Eyes" questions poetry's faith in metaphor, even as it is full of metaphors. "On Wanting
to Tell" is really about a helpless way of seeing that happens in grief. Death creates an intensity of perception
that causes objects of the world to change:
died just hours ago. Not suddenly, no. You'd been dying so long nothing looked like itself: from your window,
fishermen swirled
sequins; fishnets entangled the moon.
died just hours ago. Not suddenly, no. You'd been dying so long nothing looked like itself: from your window,
fishermen swirled
sequins; fishnets entangled the moon.
"You'd been dying so long, nothing
looked like itself." In death's slow approach, starlight became sequins. This is a romantic metaphor, spun
of sweet sorrow. But "On Wanting to Tell" is not the kind of poem that turns starlight into sequins. It is
not sweet, either. Death has come finally. Metaphor disappears.
Now the dark rain looks like dark rain. Only the wine shimmers with candlelight.
Now the dark rain looks like dark rain. Only the wine shimmers with candlelight.
In mourning,
it would have been a relief to find, even for a minute, that the world was just the world again, and nothing was "like"
anything else. An ordinary minute in a universe where my mother wasn't dead, and the rain was not charged with loss.
But this moment, when the rain is simply the rain, is not a resolution. The world of this poem is not normal. We know
this because in its first lines, before any mention of death, there is a little girl going around eating eyes.
—how her loose curls float above each silver fish as she leans in
to pluck its eyes—
—how her loose curls float above each silver fish as she leans in
to pluck its eyes—
Is a girl actually going around the room and pulling eyes out of fish and eating them? Is "eating eyes"
a metaphor? It is unclear. All we can tell for sure is that the speaker of the poem is at a dinner party where she turned
from an ordinary wine-drinking person into a person-who-is-still-alive. It is a very, very odd moment. She speaks to the
dead person, but wishfully, not with any investment in communicating:
If only I could go to you, revive you. You must be a little alive still.
If only I could go to you, revive you. You must be a little alive still.
At the end of the poem, the girl who has been
helping herself, apparently from platters of eyes, is asked what they taste like. She responds: "They taste like
eyes." Metaphor declined—no explanation, no truth revealed, no diversion from the weirdness.
voice throughout the poem is pacific, hypnotic. And there is tenderness (awful tenderness) in the description of the girl
slipping eyes into her mouth with "soft," "rosy," chewed fingers. The creepy girl hovers in the
uncomfortable place between metaphor and reality as the poem wonders about the border between still-alive and no-longer-alive.
Ted Berrigan's poem "People Who Died" does not want to set me up for philosophical understanding.
It does not have flashy chops. It moves obviously, deliberately, like someone laying down a weapon in surrender. The poem,
as the title announces, is simply a list.
Pat Dugan……..my grandfather……..throat
cancer……..1947. Ed Berrigan……..my dad……..heart
The people who died are Berrigan's family and friends. The recitation is chronological, so it intermingles
the legendary and the obscure:
Woody Guthrie……dead of Huntington's Chorea in 1968.
Neal……Neal Cassady……died of exposure, sleeping all night
in the rain by the RR tracks of Mexico….1969.
Franny Winston……just a girl….totalled her car on the Detroit-Ann Arbor
Freeway, returning from the dentist….Sept. 1969. Jack……Jack Kerouac……died
of drink & angry sickness….in 1969.
It's not that the poem refuses to confront death's mystery
or that the experience of grief is missing from "People Who Died." Quite the opposite. Grief is in the poem's
form. It is in how Berrigan trips up, interrupting his list, pausing and then continuing, as though snapping out of a
reverie. "Jack……Jack Kerouac." In the hesitation, I feel a tension. The poem doesn't tell
me how to interpret this pang—I am free to take it as sadness, or as an emotional double-take. The ellipsis could
be a crack, just a flash of the infinite territory of sorrow. The details of their relationship aren't important.
The epic of Kerouac's life could have crushed this poem. "Drink & angry sickness" compresses a life
into a teaspoon of radioactive material. It satisfies the part of me that wanted adults to tell it straight.
The poem
closes: My friends whose deaths have slowed my heart stay with me now. The pitch of the last line is not so different
from the rest of the poem. It is a gesture of acceptance, not a reach for the lyrical sublime. It is a low-key observation.
deaths have slowed my heart describes the cadence of this poem, calm as a resting heartbeat, or a train on a long nighttime
stretch. My friends stay with me now limits the poem to saying something about Berrigan. "People Who Died"
makes no pronouncement about my relationship with my own people who died. But because the poem is so modest, I feel invited
into its ongoingness, the train that carries all the dead and the living.
A Review of Joy Katz's All You Do Is Perceive by Kay Cosgrove, first published at CutBank
Some thirteen years ago in a gale of wind,
On a foil packet of shampoo,
After a prayer with no words,
When a spoon leaves a firm imprint,
During the last known hours,
As the meltdown hit groundwater,
When we signed off on everything,
And then, a face: the woundable face of a boy.
From That Time Iffus'd Sweetness Into My Heart")
concludes the first poem in Joy Katz's latest collection, All You Do Is Perceive. This first poem, set off
from the rest of the book, reads as an invocation to the muse, who, in this case, happens to be the adopted son of the
speaker. Written as one long, breathless sentence, "Which From That Time Infus'd Sweetness Into My Heart"
establishes the arc of the book as akin to "a basket tossed weightlessly" (line 13). The poems float from
page to page, linked by their shared perception of the world through the eyes of a speaker, who, in turn, sees like a child
again. One can feel the joy bursting forth from the pages of this collection, and as readers, we get to share in it through
the language of the poems, like children in awe.
Take, for example, the poem "[Noon, F Train]." In it, Katz
creates a simple, beautiful portrait of a daily life. Nothing much happens in the poem: there is a woman, arguably the
speaker, and she rides the F train home, reading a book. Written in a block of prose, "[Noon, F Train]" unfolds
like a movie clip before the reader's eyes, as if we are there with her on the train. Though the echo of Eliot ("there
is time enough…") might be a bit heavy-handed as an allusion, this repeated phrase evokes a mood that allows
the reader to see this ordinary scene through new eyes, to "pass up into the world and leave nothing behind…"
("[Noon, F Train]").
Much of the book reflects on being a woman in the world, specifically, a woman in relation to a man and/or a child.
The speaker both identifies with and makes a distinction between herself and the other 'characters' in the
collection, the man and the child, who are perhaps representative of the family unit. There is the relationship to a beloved:
"his song is the door back to the room/I am composed of the notes" ("Death Is Something Entirely Else"),
the relationship to the son: "we are sugared in a medium, he and I/He is smiling/Happiness is on me like a scratch
in a car door" ("Mother's Love"), and the relationship to both of them: "how she must hold
to everyone and swim them to the same shore" ("He Laughs Too Hard About The Wine"). In each poem, the
speaker, at times in a playful tone and at times rather gravely, highlights these relationships in order to underscore her
femininity – the defining difference between both the beloved and the son. This accounts for a different perception
of the world, as in the poem "The Lettuce Bag" ("If labias were in/season, their tender interiors, their
roundness, would be touched by/the grocer's mist"), or the fourth stanza of "The Imagination, Drunk With
Womanhood is more embarrassing than manhood.
If the woman is
old, breakfast is hopeless.
If breakfast is brioche, it becomes less frightening.
Insouciant is more French than nuance,
disappointment more French
than matinee,
London more suave than Paris.
("The Imagination,
Drunk With Prohibitions")
There is even something childlike in the more
serious meditations on womanhood and motherhood, something that insists on finding delight in the most unlikely places.
Katz establishes this child-like wonder largely through her playful use of anaphora and repeated images. Katz succeeds
in using the phrase "Department of" twenty-one times in "Death Is Something Entirely Else", and
in "Mother's Love," she similarly repeats the opening few words again and again so that the poem begins
to sound like a song. Less original, but just as striking, is the ending of "Just A Second Ago", which relies
on anaphora to establish an eerie tone of possibility: "just a second ago/while you were crossing the street/while
you were finishing your lunch/while you were handing me your terrible secret—" (lines 25-28). Finally, there
is the sky, the air, the natural world we inhabit, and the language we use to understand nature, as in the poem "We
Are Walking Into The Sunset":
Look, the sky has become stained glass made of meat!
You keep talking, as if in utter faith that life will go on forever.
Yet that in itself
is lovely. Keep talking. What is more of a pleasure to
See, a moon as big as a bison
head or the face of a friend, talking?
("We Are Walking Into the Sunset")
Another level of perception present in the collection is the perception
of the world through the eyes of a writer, specifically, a woman writer. Again and again, Katz acknowledges that she is
at work in All You Do Is Perceive, that she has "a few minutes left to write" ("The Composer"),
that "mornings [she] wrote and workmen/raised up their nets" ("All You Do Is Perceive"). The speaker
seems to be trying to reconcile the world with her place in it, a task that might be impossible through poetry:
I get a great, blank feeling, driving. I am a girl, driving.
Poems aren't
labor, progress, robber barons—not poems. Four men sit
in recliners on
a grand side lot. Lush weeds, what grows without regard.
Girls' names no one
thinks to pick: Lorraine. Here is the street where
I lived. Where I can be—nothing.
Four p.m., light rain, no one asks
what I am writing. A room livingly painted sends its notion
into me.
("To A Small Postindustrial City")
All You Do Is Perceive explores a way
of being in the world that relies on consciousness alone, on paying attention to even the most mundane aspects of life,
such as carting the empties to the dump ("Big Baby") or admitting that being "alone with the
baby is boring" ("Mother's Love"). In this collection, there is joy even in sorrow, and Katz
teaches her readers to notice, to be alert, "to prefer autumn's bigger name, fall, and/its battering change"
("Big Baby"). All of the poems, as with all of the aspects of life, accumulate one on top of another.
Some are happy, some less so, but, through the eyes of a new baby, a son, they can be beautiful, like a basket as it comes
crashing back down to earth:
That becomes a basket tossed weightlessly,
As a baby is handed through the air to us,
In the final seconds of the
fourth quarter,
Halfway through the preface,
After they set us on fire…
("Which From That Time Infus'd
Sweetness Into My Heart")
Click here to read a review of All You Do
Is Perceive at Pank
An Interview with Joy Kats by Elizabeth Hoover, first published at Post No Ills
ELIZABETH HOOVER: Four Way Books recently published your
third book, All You Do Is Perceive. How did that book lead into your current poems about race?
JOY KATZ: My book wonders about
perception. We are most alive when we are perceived—even, misperceived. Misperception is a form of love in these
poems, except one: "A Lynched Man Came with the Mail onto My Desk."
This poem is about an image from Without Sanctuary,
an exhibit of lynching photographs. I don't know why I wanted to write about it. Writing the poem, I hit a limit
of perception. I wrote about the photo's visual composition; I'm good at that. But it feels awful in this
case. When I look at the photo just as a human, I feel pain. But what is my pain exactly?
In his essay on Without Sanctuary,
critic Hilton Als says that writing about those pictures forces him into a "niggerish point of view." As a
black man, he feels constantly watched, "niggerized." For my part, I can't not look at the lynched man
from a white perspective. Am I "niggerizing" him? No matter how much empathy I try to summon, through all
of my ways of seeing—artistic, intuitive, human—there are limits to perception. Why should my gaze confer
dignity? Maybe I am merely gaping at a "blockbuster disaster movie," as Als refers to the collective effect
of the pictures. "All you do is perceive" becomes a problem. That problem was the door to this new work.
In your poems, the speaker encounters resistance when she brings up race. You write, "People go quiet who
know about it/ when you try to ask about this white." Why do you think whiteness is a taboo subject?
It's only taboo for white people. Kids of color are raised talking about race. I was raised to pretend it
doesn't exist. If you're a person of color, race affects your life every day, from the minute you're
born. If you're a white person, it's easy to not think about because our race doesn't limit you in stark,
everyday ways.
I am always aware of my inexperience navigating race in everyday conversations. (Elizabeth, you are white, and
you're interviewing me about being white. Shut up!) I know someone reading this must be rolling her eyes.
The poet Reginald Dwayne Betts has said: "Don't write about being white."
I didn't want to send my son to a school
with all white kids and I live in a segregated city. Trying to figure that out, I thought about race ten times an hour.
When I brought up the subject with people of color, the conversation felt natural. When I broached the topic with white
people, they would get a look on their face like I was standing there with my blouse unbuttoned down to my waist.
Why did it become so important for you to write about race?
KATZ: I don't want to
raise my son as a symbolic white. I have seen how that hurts kids of color with white parents. Writing is how I am thinking
through this, how I'm trying to change my life.
I use the phrase "This White" in the poems
to mean the white I was raised in. I need to know how it happened, because I cannot raise my kid inside it. I need now
to be a different kind of white. I don't want to write poems that gaze at an Other with wonder or narrate white guilt.
I feel freest in my poetry to interrogate, skewer, love, and fray "this white." Wildness can come into poems
about "this white." I can't make whiteness go away, but I can find out how it came to envelop my life,
and try to fray it. Maybe I can poke a hole in it big enough to fit myself through and stand on the other side. It is
hard to perceive something that has been invisible to me for so long.
HOOVER: In terms of white poets
writing about race, Tony Hoagland springs to mind. Do you look to his work at all?
KATZ: I perceive Hoagland recording
the whiteness of generations, and implicating himself, without falling into the guilt trap. His poems are full of white-maleness
and are cognizant of that. His poems are not timid. Hoagland's frankness and boldness are models for me. And his
Hoagland said that his controversial poem "The Change" may be for white people. Taken out
of context, the idea is troubling. I don't want to write poems for "whites only," and I don't believe
that's what Hoagland was doing. But—could it be useful if one of my poems made clear it was talking about,
or to, a white person? It's a risk, because intentionally white spaces are so awful. Klan rallies, skinhead blogs.
But I recently drafted a "Poem for White People." The decision lifted a burden off the poem. I could record
a tension I felt in talking specifically to a white person. It's a poem anyone can read, but if you're a person
of color reading it, it's clear you are looking on as an observer at a certain conflict. It lets both of us off the
hook—me and a reader—so I can concentrate on the language of the poem and not be inhibited about its content.
Writing to a
white person, explicitly, is a strategy I'm experimenting with. In my poems, I try to find ways to record white
anxiety and self-consciousness. A fundamental meaning of the poem comes from the title, "Poem for White People."
The poem functions in part because of where you stand in relation to it. I needed to make that clear. A poem can orient
itself toward white people the way a side of a mountain is oriented toward a town. I think that's Hoagland's
approach (in his poems on race, I mean). My "Poem for White People" operates more in the spirit of Frank O'Hara's
HOOVER: Do you look to any other white poets writing about race?
KATZ: There aren't too
many white poets working in this area. Todd Fredson is writing about his experiences in Ivory Coast during the buildup
to civil war. Tess Tayor writes about the history of slavery in her family. Martha Collins also investigates race through
her family. Personal history is one way in, for white poets. Jenny Browne uses her white privilege (legibly) to make observations
about race. The poems are funny, meditative, intelligent. I love Ailish Hopper's lyric poems that inhabit racial
consciousness. CD Wright's One Big Self is a huge influence. The introduction sets Wright up in relation
to the situation: visiting maximum-security prisons in the South. A white professor among mostly black incarcerated people.
Imagine all the ways that writing could have failed. The book turns on its introduction, which is gorgeous and moving.
Wright pledges "to be wakeful."
I am excited by the irreverence in work by contemporary playwrights of color.
I love Qui Nguyen's The Inexplicable Redemption of Agent G, Young Jean Lee's Songs of the Dragons
Flying to Heaven, David Henry Hwang's Yellow Face. All, hilarious, disturbing, smart. These plays
say the worst things; they don't tread carefully. I have to be careful talking about race, but self-censorship is
problematic. I don't want to shrink from what poet Khadijah Queen calls "the profane frequency." I don't
want to make tentative poems (except to make tentativeness the subject of a poem). Ideally, anyone can say anything, but
Click here to read an interview with Joy Katz
at The Paris Review
Click here to read view multiple readings by
Joy Katz
Enter content here
Enter supporting content here


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I did a mile today. I didn't really time it, but I know I was swimming faster as I got more tired, and found myself stopping for a 30 second rest after every ten lengths. And tomorrow I am going to put my head in a sink of cold water and practise breathing out, and go for a longish run.
I now need to adjust my plan, to make it a standard triathlon training plan, as well as a marathon one. It's 6 weeks until the triathlon, and 10 until the marathon.
I am also going to knit a big moth.
That's rather exciting. It will be bigger and happier looking than this one.


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Calvin Klein
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- Slim fit
- Dry clean only
- Polyester, wool
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For orders being shipped to California, please click here for Proposition 65 WARNING.
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Shipping your purchase is easy at belk.com. Depending on your shipping method and the destination of your package, you can expect it to arrive within 4-7 business days Shipping Information.
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Returns are easy at belk.com. Easy returns


text:
Why At Home Senior Care Matters In Fairfax, VA
See how being a hero to families with at home senior care can make a real difference in their lives
The exquisite city of Fairfax, VA, has a rich and varied history—something the locals here take great pride in. From its modern urban center to green spaces and pretty parks, the city has it all. It's a wonderful place to work, raise kids, and retire.
Currently, 23% of Fairfax seniors live alone. This number is set to rise sharply in the coming years as more baby boomers turn 65. Over time, some elders will need at home senior care if they're to age independently at in their own place. The caregivers at Comfort Keepers of Fairfax, VA, really do help to make a difference here.
If you'd like to give back to the local community by getting involved in the caregiving profession, then keep reading. Enhancing the lives of local seniors who need help with everyday tasks is an immensely uplifting experience for all parties.
Local Solutions
The professional caregiver's role is invaluable, not only for those in their direct care, but also in the lives of close family. You're probably aware of the usual duties like assisting with regular household chores, meal prep, light housework, shopping and running errands, etc.
But there's a lot more to the caregiving role than just these things, as important as they are. Every situation is unique of course. It's why Comfort Keepers of Fairfax Virginia tailors each case based on the specific needs of the client.
The Real Rewards of at Home Senior Care
Professional care workers are not only qualified, they're compassionate and committed too. Take a look at the short list below and see how caregivers make a difference in the lives of their care recipients:
- Senior gets to age at home and maintain a level of independence
- Provide peace of mind for dependents and their families
- Caring companionship (a vital at home senior care service)
- Chauffeuring to medical appointments, visiting, social events, etc.
- Medication reminders and management
- Encourage mental and physical activity via Comfort Keepers Interactive Caregiving approach
- Help to make the home a safer environment
- Personal care, like bathing, toileting, grooming and general hygiene
- Specialist nurse delegation, dementia and end-of-life care
There are not so many jobs where you get to make a real, positive difference in the lives of others. For more information on the rewarding at home senior care careers at Comfort Keepers of Fairfax, VA, contact us. You can call direct if you have any questions at (703) 520-2189. We look forward to hearing from you soon!
Comfort Keepers of Fairfax, VA proudly provides services in the following communities:
Comfort Keepers
10721 Main Street #304
Fairfax, VA 22030


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BA School board operational goals [PDF]
BAA Evaluation of the school board/board self-evaluation
BB School board legal status [PDF]
BBA Board powers and responsibilities [PDF
BBAA Board member authority and responsibilities [PDF]
BBB Board membership – elections/appointments [PDF]
BBBA Board member qualifications [PDF]
BBBB Board member oath of office
BBBC Board member resignation[PDF]
BBBD Board member removal of office
BBBE Unexpired term fulfillment/vacancies [PDF]
BBBF Board candidates
BBBG Board elections
BBC School board liability
BC School Board member conduct [PDF]
BCA Board member code of ethics [PDF]
BCB Board member conflict of interest [PDF]
BD Organization of the school board [PDF]
BDA Board organizational meeting
BDB Board officers [PDF]
BDC Appointed board officials
BDD Board-superintendent relationship [PDF]
BDE Board committees[PDF]
BDEA Board committee of the whole
BDF Advisory committees [PDF]
BDG School attorney/legal services [PDF]
BDH Board consultants/staff assistants [PDF]
BE School board meetings [PDF]
BEA Regular board meetings
BEB Special board meetings
BEC Executive sessions/open meetings [PDF]
BED Meeting procedures/bylaws
BEDA Notification of board meetings [PDF]
BEDB Agenda [PDF]
BEDC Quorum [PDF]
BEDD Rules of order [PDF]
BEDE Second language procedures for board meetings
BEDF Voting method at board meetings [PDF]
BEDG Minutes of board meetings [PDF]
BEDH Public participation at board meetings [PDF]
BEDI News media services at board meetings [PDF]
BEDJ Broadcasting/Taping of board meetings
BEDK Reporting board meeting business
BEE Board hearings/appeal proceedings
BF School board work sessions and retreats
BG School board policy process [PDF]
BGA Policy development system
BGB Policy adoption
BGC Policy revision and review [PDF]
BGD Board review of regulations [PDF]
BGE Policy communication/feedback
BGF Suspension/repeal of policy [PDF]
BH School board communications
BHA School district log and/or motto
BHB Use of school district/board member name
BHC Board communications with staff
BHD Board communications with public
BI School board member services
BIA New board member orientation/handbook [PDF]
BIB Board member development opportunities [PDF]
BIBA Board member conferences, conventions and workshops
BIC Board facilities and services
BID Board member compensation and expenses [PDF]
BIE Board member insurance/liability [PDF]
BJ School Board legislative program [PDF]
BJA State legislative program
BJB Federal legislative program
BK School Board memberships [PDF]
BKA Liaison with school boards associations
This Table of Contents contains all available policy topics for this section. It is not required that the district have a policy for each topic.
The School District of Edgefield County


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An Autumn inspired cake also my favorite season of the year. Above pumpkin were carved out from an 8" marble cake sitting on a 12" Chocolate cake. I've used edible dust on all shadings of the pumpkins and leaves.
Tags: birthday
8 Comments
This is such an adorable fall cake!
Wow! I love the autumn colors! Amazing!!
Thank you so much on your lovely comments DeliciaDesigns and Nicky :)
Amazing!! Love it!!
Joyce… this cake is absolutely TOPS!!! oh my goodness I love it so much… what an amazing talent you are!!!
WOW..! adorable!!!
Love it Joyce, make me wish we really did Halloween here in Oz :) x
Wow! I'm so honored having so many talented ladies popping by and leaving me such wonderful comments on my post!! Thank you Ana and Cakes4All!
Calli, I love, love love your "Pumpkin Cupcakes Tutorial"!! What an Amazing work!! xx
Raewyn, "The Cake Decorator of the week!!!" Hip hip Hooray!! Yay!! You are one increadible Lady!! What a great Halloween Celebration for you indeed…lol!! xx


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Damariscotta River Association (DRA) is partnering with Great Salt Bay School's PTO to host Winter Fest, a free, family-friendly event at DRA's Round Top Farm on Saturday, Feb. 18 from 12-3 p.m.
Outdoor adventurers of all ages are invited to celebrate the best of winter with sledding, ice skating, a sled dog demonstration, a children's craft, hotdogs on the grill for $1 and free hot chocolate.
The warming hut will be open, and ice skates of all sizes will be available to borrow. This year, thanks to a grant from the Great Maine Outdoor Weekend School Partnerships Fund, there will also be adult and kid-sized snowshoes to try out.
A rain or no-snow date has been scheduled for Sunday, Feb. 25 at the same time.
This event is part of the Great Maine Outdoor Weekend (GMOW), a series of events in February and September led by outdoor oriented organizations and companies to celebrate the how, where, and what of being active outside in Maine. The goal of GMOW is to connect friends and neighbors with the natural world and to promote fun, physical activity, & good health.
Other GMOW events include a hike at Crooked Farm led jointly by DRA and Pemaquid Watershed Association on Saturday, Feb. 17 at 10 a.m., and a DRA workshop on hiking and camping with kids on Saturday, Feb. 17 from 4-5:30 p.m.
Also taking place on Sunday is the annual ice cutting and harvest at Thompson Ice House in South Bristol from 9 a.m.- 4 p.m. For more information, visit thompsonicehouse.com.
For more information about any of these events, call (207) 563-1393, email email@example.com, or visit online at www.damariscottariver.org.
A non-profit, membership supported, and nationally accredited land trust and conservation organization, Damariscotta River Association is dedicated to preserving and promoting the natural, cultural, and historical heritage of the Damariscotta region, centered on the Damariscotta River.
DRA has active programs in the areas of land conservation, stewardship, community education, water quality monitoring, marine conservation and cultural preservation.
Visitors are welcome at the Great Salt Bay Heritage Center in Damariscotta as well as the many other DRA properties throughout the region.


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(images from their respective owners)
February 23, 2011
Tara Keely and Rivini
More wedding dress designs. As you can see, I am a fan of the sweetheart neckline (one with a prominent v-shape). And yes, lace is making a comeback!
Labels: inspiration, wedding
2 comments:
- magdamagda said...
dream and sigh -worthy dress!
- February 24, 2011 at 4:53 AM
- September Daze said...
@magda - I agree! One day... :)
- February 28, 2011 at 11:04 AM
Subscribe to: Post Comments (Atom)


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Catalogue for Philanthropy is Building Community and Driving Donations
ServicesAnalyticsCampaignIdentity & BrandingInfographicsSocial MediaMulti-Platform Web DesignPaid ContentWebsite Development
The Catalogue for Philanthropy: Greater Washington is the region's only locally-focused guide to giving and volunteering. CFP highlights the best local charities in the Washington region. It was created to link local donors to community-based nonprofits.
For the past three years, Connections Media has worked closely with CFP to bring in a powerful wave of support during the crucial fall giving season, which includes Giving Tuesday (the Tuesday after Thanksgiving) and the traditional end-of-year fundraising push.
Each year of our collaboration, we've challenged ourselves to design new and creative campaigns and hit higher targets both in fundraising and visibility. The theme the first year was "Give Like a Local," and last year's theme was "Find Your Charity Soulmate." This year, we built on the "Find Your Charity Soulmate" approach which resonated well with our focus on localized giving.
In 2015, CFP came to Connections Media to support their "Give Like a Local" campaign design design and website support. We focused on bringing brand awareness and offering input and expertise before Giving Tuesday, traditionally their largest single fundraising day. After Giving Tuesday, the client wanted a more deliberate drive for donations on other important giving days counting down to the end of the year.
CFP has two fundraising targets. When visitors use the Catalogue to find regional nonprofits to support, 100% of their gift goes to that organization. As a nonprofit itself, the Catalogue for Philanthropy wanted to raise funds for itself as well as those organizations. Over the multi-year engagement, we've had to adjust and revise our approach to this challenge, building on successes from the previous year while accommodating new elements the client wished to put in focus.
The digital goal in year one was to increase impressions across social media, display ads, search ads and the website. In 2017, the client wanted to engage a younger than average demographic in their work.
There were three phases in this project. The first phase was updating an existing quiz we created the previous year to the newest class of charities featured in the Catalogue. The quiz allowed users to answer questions about their giving and lifestyle to find their personalized charity match. The goal was to build trust with donors in the community and position the Catalogue as the premier hub for local giving. To do this, we focused on getting a clear picture of the audiences who interacted with the quiz and developing qualified audience groups based on that information. We then deployed a retargeting approach to boost brand awareness and engagement, ensuring that people who had visited the quiz would see additional messages about the Catalogue for Philanthropy in the following days. The quiz was promoted through social media, search and display ads so the exposure was wide enough to ensure a sizable audience for retargeting. This way, we were able to introduce a donation-minded community of users to CFP and their member charities by making it fun and relatable.
The second phase was activating that community to drive donations for Giving Tuesday. Along with promoting the quiz, we created ads and social content that linked back to the CFP homepage, which was focused on Giving Tuesday.
The third and final phase was similar to the Giving Tuesday, but a push for donations from Giving Tuesday until the end of the year. The messaging was tweaked to hit on charitable giving as a tax deduction to encourage more support. By building on the messaging and audience established in phase one and cultivated in phase two with the Giving Tuesday push, we were able to communicate value, impact and need through year's end.
That language reinforcing a donor's impact performed well and encouraged additional gifts. Positive and encouraging imagery telling a story about the area nonprofits featured in the Catalog also performed well.
Since the beginning of the engagement, CM's team was able to more than double the amount of donors during the three-month campaign.
In 2017 CFP saw:
- A 20% increase in overall donations
- A 13% increase in Giving Tuesday donations
- A 27% increase in year-end giving
- Digital donations accounting for 91% of all donations
The content and design assets we created to reach the client's goal of targeting a younger demographic increased donations from that group and overall. There was also an increased average donation value.
Year after year, Connections Media has been able to help Catalogue for Philanthropy execute their main goal of raising awareness and money during one of the busiest donation times of the year. Thanks to innovative digital campaigns and compelling social content, CFP exceeded their 2017 targets and entered 2018 with a strong community of supporters.


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400 mtr synthetic athletic track & international standard long jump, high jump, disk throw, hammer throw pits.
International standards cricket ground with turf wickets.
Synthetic cricket practice pitch with bowling machine.
Wall climbing arena, shooting and archery range.
Modern Physics, Chemistry, Biology labs with equipments where students can take a small research project.
State of the art computer lab with Wi-Fi connectivity and latest projection systems.
Highly computerized library with separate reading & journal sections.
Well equipped conference hall and audio-visual room.
Having world's best sound and projection systems.
Air cooled girl's hostel.
Squash courts to strengthen the child's mental and physical power.
A modern Gymnasium separate for both boys & girls.
Well architecture auditorium with facilities to organize stage performance.
Special classes for IIT, PMT & CPT .


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WT3 Switchable remapping
Switchable Remapping with the GAD WT3 System
Switchable ECU Remapping and DPF Removal, with the WT3 unit all that is required is a PC or laptop and a valid email account. The WT3 unit is able to handle x2 UPGRADED files plus the factory software, you the customer are in complete control of you vehicles management. There are no limits to how many times you change the vehicles software and no limits the the number of files / remaps you can have however at any one time the unit will only store two upgraded remap files.
The WT3 can switch remaps at any given time from upgraded software to the factory software. We can develop remaps to any spec and or requirements. Giving the end user complete flexibility, The WT3 is also great for clients wishing to put the vehicle back to factory when visiting the dealer as the WT3 leaves no footprints when back in factory mode.
Diagnostic functions
Alongside remapping the WT3 acts as a basic code reader, the WT3 will read fault codes and if required delete any codes that may be stored.
DPF Removal
DPF Removal software can also be used with the WT3 to disable any diesel particular filter functions in conjunction with DPF Removal pipe and or hardware. DPF removal software can be added to a remapped file or be a factory file with the DPF Funtions NOT in place.
Speed Limiters
Speed limiters can be removed with the WT3 the software can be applied to any remap and can be used on the factory software.
– Launch control
– POPcorn limiter
– Antilag
– Increase rev limits


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mercoledì 25 maggio 2011
Happy towel day!!
Pubblicato da Fed Zeppelin a 00:01
Etichette: fan art - books, photomanipulation
4 commenti:
- Anonimo3 giugno 2011 15:54
Maybe mine should say, "Already out of Control" because I turned 44 this year...ouch!RispondiElimina
Can you comment on my political post over at my main art site? I would like your international opinion...
thank you,
done :) sorry if I took a lot of time.RispondiElimina
- Anonimo16 giugno 2011 19:34
Hi sweetie,RispondiElimina
I have an award waiting for you on my main art blog, and thank you for posting your comment on the politik here in the US.
I respect your thoughts, thank you once again, so please come on over and take your award, and tag.
thank you so much!! I hope I wrote something understable: it isn't easy for me to write complicated things in English and that topic was quite complicated :)RispondiElimina
Iscriviti a: Commenti sul post (Atom)


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Yesterday we said goodbye to Picadilly. At 17 1/2 years old he was still a very sweet old boy, but he'd had a tumor that just kept getting worse and worse and when I was checking him over yesterday morning (like I did everyday), I noticed he'd started to lose control of his bladder now too. Poor sweetie.
We have had these cats since they were born. 17 years is a lot longer than I ever expected to have them, and while I didn't spend as much time focused on them as I did before the kids, they will forever be in my heart as my long time companions.
It's so hard to keep losing one after another. And it's so weird to have just two cats now. I keep looking for the others. :(


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Neural Plate
Also found in: Dictionary, Thesaurus, Medical, Wikipedia.
Related to Neural Plate: neural crest, notochord
neural plate[′nu̇r·əl ′plāt]
The thickened dorsal plate of ectoderm that differentiates into the neural tube.
Neural Plate
(also medullary plate), the early rudiment of the central nervous system in chordate animals and in man. The underlying chordamesoderm induces the formation of the neural plate from the ectoderm.


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Visa Gift Cards
Searching for the Perfect Present? Is this the right SIZE? COLOR? ITEM? Is this the right GAME? We found it. Visa Gift Cards give the freedom to buy anything, safer than cash, with the convenience of a credit card. You can purchase visa gift cards from $10 to $1000 dollars, and unlike most stores, we don't charge an activation or card fees.
Incredible time Savers – No shopping, Wrapping, or Mailing.
Eliminate the hassles of wondering what to buy or returning unwanted gifts.
Can be used anywhere Visa credit cards are accepted.
More flexible than merchant gift cards.
Multiple design options available


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Viewing Asheville, NC from above
Posted On Wednesday, July 28, 2010
What could be prettier than viewing the mountains from above? On your next trip to Asheville, take a hot air balloon ride over the Blue Ridge Mountains! I was surprised to find out that we actually have two separate companies offering a trip through the air in the area: R.O. Franks Aviation Company and Asheville Hot Air Balloons. A unique surprise or gift idea, a hot air balloon ride can excite and delight those of all ages. Gather your family and call for a ride!


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Subscription Form
The informations you submit will be kept secret by ICODE.We will not use them to spam commercial advertising to you, nor we will sell or give them to others.
Registration is free but mandatory, since ICODE needs to verify the identity of people using it to avoid overloading of its hardware resources. For this reason we kindly ask you to provide your "official" email (not Hotmail, Yahoo, Gmail and so on), ie the one belonging to your Company/University.
Subscriptions are suspended, we'll come back soon.


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The Glory of the Dead
Lucky Dube is now gone, and another South African entertainment icon falls, murdered, alongside Gito Baloi, Brett Goldin and Taliep Petersen. The 'South African Bob Marley' was the face of the reggae genre for over 25 years, beginning with his ironically titled first album Rastas Never Die.
I've been thinking about the glory of the dead. The Kurt Cobain Syndrome. Everyone who's dead is immediately a legend. Because they're dead.
The token arrests have been made. I am just not certain how to react to this yet. I see the sense in using this horrible, child-scarring event as a red flag for the state of South Africa, and I hope that for the sake of those genuinely concerned, action will follow.
But these things are not tragic for any reason other than that we allow them to happen through inaction. I refuse to grieve anyone but my own ignorant self.
The only way, human animals, is mob justice. Let's drop the negative stigma of the term. To you, the person who thinks with his hands (you know who you are): next time you feel led, calmly assemble an active group, try to get to those responsible before the authorities do, and whatever you do, make it public.