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There are bad teachers and bad actors. One is a lot more damaging than the other, unless you're Tom, in which case you never forget what happened on the isle of Dr. Moreau.
There are three types of impression: the type where you pretend to be someone else, the type where you give your opinion, and some art thing. Frank is a master of the first and an acolyte of the second, which in modern parlance mostly means staying off Twitter.
Aretha and Tom have exactly one thing in common: they're both hall of famers. They also can't be James Bond for one reason or another.


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"White, brown or whole wheat – choose wisely!"
Over the years in my life, I have come to the realization that i love weddings — I love the food, the clothes, the tete-a-tete and even the jostling and shoving. But there comes a moment in every wedding that is dreaded by the most ardent wedding-lovers of all time — the moment we come across the fitness freak cousin who will harangue you for hours over the benefits of brown rice, the ill-effects of processed fruit juice and so on.
Last week, at a cousin's wedding, as I was merrily shifting through the array of food that was laid out, I was cornered by a middle-aged uncle, who, after being diagnosed with blood sugar, has undertaken the noble task of educating everyone about proper diet and eating habits. As the uncle embarked on his lengthy discourse, one thing that he mentioned really struck me – Wikipedia enlists about 176 varieties of bread across the world, which differs from each other in shape, size, taste, ingredients and technique of baking. This made me plunge into research.
The popular white bread
The most common variety of bread consumed in India is the 'white bread'. The flour used to make white bread is more processed than that in other types of bread, and in this processing, the germ and bran of the wheat grain are removed, and only the white, starchy endosperm is left, which is the least nutritious. The bran, or outer layer of the seed, is rich in vitamins and fiber. The germ contains vitamin E, protein and fat. The endosperm, or kernel, contains most of the wheat's protein and carbohydrate content. White bread also contains added sugars, including high fructose corn syrup. Consuming excessive amount of all this is known to lead to weight gain problems resulting into various degenerative diseases including diabetes and cardiovascular problems. One slice of white bread has approximately 66 Kcal.
Brown bread is an option
One of the other alternatives is brown bread. This is a mixture of refined flour (maida) and whole wheat flour. During processing, the bran and germ layers are removed to a certain extent, so the ingredients in brown bread are stripped of many nutrients. Brown bread contains less fiber and fewer vitamins as compared to whole wheat bread, but is a healthier alternative to white bread. One slice of brown bread has approximately 75 Kcal.
The healthier alternative
Another type of bread that is gaining popularity in India is the whole wheat bread or whole meal bread. This type of bread is made from 100% whole-wheat flour, and contains all the parts of wheat grain, including the bran, germ and endosperm. The whole wheat flour bread provides fibre, protein, vitamin E and B, magnesium, manganese, iron, phosphorous, potassium and zinc. Whole wheat also contains a phytonutrient called plant lignans that has been found to have a protective effect against breast cancer and heart disease. One slice of whole wheat bread has approximately 66 Kcal.
Checks before buying bread
Whole wheat bread has a "nutritional advantage" over white bread. However, wanting to eat healthful food, you may grab a loaf of brown bread labelled "wheat" at the grocery store. Unfortunately, you may be giving yourself the equivalent of white bread with caramel colouring added to make it look brown and healthy. Ensure you check the following before buying the 'healthier bread':
- Check label to see that the first ingredient listed is either whole wheat (atta) or whole meal flour.
- Do not buy if only wheat flour or refined wheat flour is mentioned and whole wheat flour is mentioned as the fourth or fifth ingredient.
- If the label reads 'enriched', the flour is same as that for white bread.
- The presence of caramel as an ingredient on the label often indicates bread colouring to darken white bread to brown.
- To ensure maximum nutrition and minimal additives, look for the bread product that contains the fewest number of ingredients. This, together with the presence of whole wheat or whole meal flour, is a sign that you are buying the healthiest bread available.
The above article is curated based on limited and publicly available open source information. The views and opinions expressed therein and all data and information so provided is solely for informational purposes, to be used at the sole discretion of the reader. If you disagree with any article or any part thereof, please contact us and we will resolve the issue at the earliest. KyaBae makes no representations as to accuracy, completeness, currentness, suitability, or validity of any information and will not be liable for any errors, omissions, or delays in this information or any losses, injuries, or damages arising from its display or use.

subset: commoncrawl


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Every time I walk into a fly shop I am magically attracted by the shelves of flies that are the backbone of a legitimate fly fishing store.
Although I have amassed hundreds of patterns over the years, I still find myself going through the boxes of flies again and again picking a few here and there. Back at home I take out the new patterns and start to reshuffle my fly boxes of dry flies, wet flies, nymphs, emergers, streamers, terrestrials, etc., a never ending process, a fun process however, at least for me.
The next question that always arises is which fly box to choose for which situation. My general preference is to reduce my gear and go out to the water with the least amount of things in my pockets. Sure, there are situations when you need a certain range of different types of flies. Still, I then try to choose a few from each category (dries, wet flies, emergers, terrestrials, etc.) and put them all in one or two boxes. I simply don't like cramped pockets of my jacket, vest or waders. It feels bulky and hinders my casting.
Fly boxes of different sizes, shapes and materials
Of course the size of the fly box increases with the size of the flies. A streamer for pike or hucho fishing definitely takes more space than tiny dry flies. Over the next few paragraphs I want to give you an overview of the fly cases I use, show you for which situation or species I use what type and work out the advantages and disadvantages of different models.
I group my fly cases mostly according to three features: size, shape and material. Naturally the smaller the flies, the smaller you can go in terms of size. On some summer days when I fish a small alpine stream, all I bring is a tiny fly box with a few dry fly patterns and a few nymphs. The size of the fly box is similar to a box of matches.
A tiny fly box the size of a box of matches (top right one)
For dry flies and terrestrials I prefer transparent fly boxes with small compartments. This way of storing keeps the flies nice and loose and doesn't damage delicate wings for example. If the box is transparent it makes it easier to preselect a fly without even opening the box (which can come in handy on windy days).
If you are a traditionalist, another great option especially for dry flies are aluminum boxes such as the classic model by Richard Wheatley of England. They have a neat mechanism with mechanical springs that pop open the different compartments. Here again the transparency helps with the preselection of your next pattern.
A classic dry fly box by Richard Wheatley of England
A nice choice to complement the traditional set up is a vintage Richard Wheatley of England fly box that you can get on sites that sell vintage tackle and eBay. They have a very slim silhouette and hold dozens of wet flies and nymphs. Personally I love the vintage feel to it with the scratches and dents telling of former fly fishing adventures.
A vintage Richard Wheatley fly box
The only disadvantage I see in this type of fly box is the storing system. Although they look neat and tight, the small metal clips don't always secure the fly 100%. Oftentimes when I take out the fly box after fishing a full day with a lot of wading involved, the flies have slipped or come loose entirely. So be careful when opening the box, especially while standing in the water.
A similarly slim box with a more modern touch to it is the Tacky Slit Silicone Insert. The American made fly boxes have made a name for themselves in recent years and rightly so. Even before opening the box you feel they are well made and will last a long time. The magnetic closure at the corners of the fly cases is a really effective and convenient feature. On top their patented slit silicone feature secures the flies and makes sure they stay where they are. Even after removing flies dozens of times I could not detect any deterioration of the silicone slits.
Tacky Slit Silicone Fly Box
A modern, slim alternative to the Tacky Slit Silicone fly case is the foam fly box from C&F Design. It has a very nice build quality as well and gives you a bit more freedom in terms of organizing your patterns. Yet, if I had to choose I would opt for the Tacky Fly Box as their slit silicone system is the most precise and repeatable way of fixing your flies inside the box.
C&F Design Foam Fly Box
When the flies get larger in size for species such as sea trout, salmon or hucho hucho, I still try to keep the boxes as slim as possible. For seatrout flies I have relied on a simple model by Guideline that has a slit system as well. It allows me to store smaller patterns and bigger streamers as well.
Guideline Fly Box used for seatrout flies
For salmon I have relied on similar builds. I mostly use two fly cases. One of them holds smaller salmon flies and also the hooks for the tube flies. In the other one I store large tube flies.
Fly cases to store tradition salmon flies and tubes
The newest addition to my collection of fly boxes is the Tacky Big Bug Box. It features the same slit silicone system as the smaller fly cases I use for wet flies and nymphs. It can hold large streamers of 4 to 5" with its silhouette remaining slim. It is a great choice for streamers to target big predators such as hucho hucho or pike.
The Tacky Big Bug Box (on the left), a nice streamer fly box
Special thanks to:
Isarfliegen for supplying us with high quality flies for the guide. Shop their selection here.
World Fly Angler for providing us with the Tacky Fly Boxes.


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#COLLABOREADS // Banned book
September 25-October 1 is Banned Books Week, a time to highlight free expression in written form and to shed light on books that have been challenged and banned. For #COLLABOREADS, we were challenged to pick a banned/challenged book to review this month (see HERE for classics that have been banned/challenged).
My choice was an easy one. A book I read twice in high school and have been wanting to re-read, To Kill A
Mockingbird is a classic that has stood the test of time ... and challengers. Since the 1970s, it has been challenged for a variety of reasons, including profanity, racial slurs, and rape references (see a more detailed list HERE).
To Kill A Mockingbird is a timeless coming-of-age tale told from a child's perspective during a shifting time in her small town when the fight for racial equality and prejudice rocked the core of an otherwise sleepy Southern town. Weaving hilarious stories of kids being kids in the first half of the book and then moving to a more serious tone with the trial of an innocent African-American man accused of raping a white girl, Harper Lee knit together a masterpiece that deserves to be read time and time again without fear of censorship.
Riveting: What part of the book could you NOT get enough of?
ALL OF IT. Seriously. I love Lee's descriptive prose. I love the nostalgic feel of small-town America. I love Atticus, Boo Radley, Calpurnia, and of course Scout and Jem. I love the way wise words of Atticus and his bravery to stand against the racism of his town.
Elements: How did you relate to/care for the characters?
My heart broke for the injustice of an innocent Black man being accused of something he didn't do, which of course is not limited to a fictional tale, but happened during that time period as well as generations before and afterward. We are still fighting injustices here in America, so this book is timely, heartbreaking, and challenging in the ways we view those who are different than us whether in the color of their skin, their culture, sexual orientation, or anything else that may set them as being different from what we are used to.
Associate: What other books are like this one?
I recently read Wolf Hollow by Lauren Wolk and it reminded me a lot of TKAM because of some similar elements and writing style.
Design: What did you think of it?
There are so many different cover designs for this classic. My copy had the same cover design as the high school copy I read over twelve years ago. The mockingbird, the hole in the tree that the kids would find treats in, and the overall dark feel of the cover are pretty fitting.
Stars: How many out of five do you give this book? Would you recommend this book to a friend?
5 out of 5 stars! If you haven't read it, read it! If you read it as a teen, read it again! I feel like I gain something new every time I read it.
If you want to hear about more banned books that were read this month, hop over to the link-up!


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Reading Intermediality: Lorca's Viaje a la luna ('Journey to the Moon,' 1929) and Un chien andalou (Buñuel/Dalí, 1929)
Paul Julian Smith
This article examines two experimental short films: the first one of the most famous in cinema history; the second a little-known script, lost for many years and brought to the screen sixty years after it was written. The former is Un chien andalou of 1929, generally attributed to both director Luis Buñuel and Catalan painter Salvador Dalí (who claims first screenwriting credit in the film itself). The latter is Viaje a la luna, written also in 1929 by poet and dramatist Federico García Lorca and filmed by Frederic Amat, a contemporary Catalan painter, in 1998, the centenary of Lorca's birth.
I will argue, firstly and unsurprisingly perhaps, that the two texts have much in common, in spite of the extreme disparity in their respective reputations and fortunes. (Lorca may have read the script of Un chien before writing his own, but could not have seen the film.) Secondly, the two works should be read not, as is commonly the case especially in Spain (see Sánchez Vidal), as products of intersubjectivity (that is, the collaboration between individual creative minds) but rather as manifestations of intermediality (the intersection of distinct creative media). I conclude with a close analysis of two sequences in order to extend the argument into the textual detail of these fascinating films.
While Un chien andalou has, of course, inspired a huge body of critical literature, much of it devoted to psychoanalytic readings of the film, Viaje a la luna has for evident reasons of accessibility given rise to less commentary. What is striking, however, is that this commentary, inevitably produced by Hispanists rather than film scholars and mostly published in a flurry at the turn of the millennium, reveals an awareness of the historicity of media in the early twentieth century and of the sometimes unlikely connections or distinctions drawn between film, poetry, drama and visual arts in the period. I thus offer a sketch of this invaluable historical research before giving a more theoretical account of the somewhat controversial status of intermediality in current film and media studies.
The readings of the film themselves are thus informed by both historical and theoretical contexts, and benefit from that hysteresis (or temporal staggering) implicit in Viaje a la luna's uniquely delayed journey from composition in the 1920s to publication and production in the 1990s and reception today. (Of course our response to Un chien andalou is also likely to be very different from that of audiences of the time of its release.) I should stress here that Amat, although ostentatiously faithful to his source, is not engaged in cultural archeology and exploits all the modern resources which Lorca could not have known: colour photography, a multilayered soundtrack and digital elaboration of the filmic image, although many of the special effects were realized in the camera or through expert make up or modelling. Cinema and painting or literature, subject and object of representation, time past and time present flicker and merge in my two chosen texts, engaging a figural quality which is indeed difficult to pin down.
To begin, I give a brief descriptions of the two films, which I take to be non-identical twins with a marked family resemblance. Un chien's script was written by Dalí and Buñuel at Dalí's family summer house in Catalonia in 1929, during a stay which echoed that of Dalí and Lorca's much studied and intimate vacation just four years earlier. Lasting only 16 minutes, it was shot and shown for the first time in Paris, where its supporters hoped it would inspire riots in theatres. Plot summary is not surprisingly impossible: fragmented sequences include a razor slicing of an eye as a cloud moves in front of the moon; a young man from whose hand ants emerge; and the same man's attempt to caress a woman's suddenly naked breasts and buttocks. The presence of the same two actors throughout Un chien, however, lends some continuity in spite of the film's transparent transgressions of time, space, and narration.
Viaje a la luna was written in that surge of avant garde creativity inspired in Lorca by his stay in New York from 1929-30, which included the better-known poetry collection Poeta en Nueva York and the radically experimental play El publico. Viaje may have been intended to rival Un chien, whose title (and somewhat effeminate protagonist) Lorca believed to be a slur on himself (Delgado, 26). The manuscript, which was believed lost, was retrieved from a drawer in the home of the widow of Lorca's friend, the Mexican filmmaker Emilio Amero, by scholar Christopher Maurer only in 1989. It was then edited in 1994 by Antonio Monegal, still the best and subtlest scholar of the work, and finally meticulously visualized by Frederic Amatin 1998. While a one minute fragment of Viaje is posted on YouTube, Amat's film has been for many years inaccessible as the director has refused permission for it to be shown in theatres. Curiously in 2011 he uploaded himself a 26 minute 'making of' video, while the film itself (shorter at just 20 minutes) remains little seen. In Amat's own resonant words Viaje remains an example of 'invisible cinema' (Amat, 'Making of').
Lorca's text for Viaje is divided into seventy-two brief fragments, which are sometimes too long and complex to correspond to shots but generally too short and inconclusive to be called scenes. Viaje is yet more discontinuous in both narrative and technique than Un chien. A tentative summary would include such recurrent images as the moon, ants and eyes,coinciding of course with Un chien: a 'man of veins', who recurs in a Harlequin costume, perhaps analogous to Un chien's man in a nun's habit, and fragments of bodies which include a woman's genitals.
It is evident, then, that there is a significant overlap of theme and image between two texts that were created so close together in time if not space. However, as we see when we look at secondary literature by Hispanists on the films, the same is also true of their engagement with intermediality as it was historically understood in the period.
A good point of entry here is the essay by Ignacio Javier López's 'Film, Freud, and Paranoia: Dalí and the Representation of Male Desire in An Andalusian Dog' (2001). López's essay falls well within the dominant modes of criticism of this first film, namely intersubjective collaboration and psychoanalytic exploration. Thus, beyond Buñuel's auteurist appropriation of the film, López confidently claims Dalí's creative contribution to the work as being the more significant (35).
Yet if that collaboration between men in the world is held to be self-evident, masculinity in the film itself is said to be in distress: male identity is a fragile form of 'subsistence' between desire and fear, with sex leading only to disease and death. In this spirit, López offers a compilation of the various (and mutually incompatible) psychosexual readings of Un chien penned by previous critics, which claim in turn that its 'true' (but artfully masked) subjects are homosexuality, incest, misogyny or the supposed progression from onanism to heterosexuality. While López stops short of calling male collaboration 'homosocial' in this case, it is clear that it is based, in his own model, on ceaseless rivalry for rights of ownership outside the text and on continuing undecidability of interpretation within it.
More promising, then, is López's account of intermediality. 'Dalí and Buñuel believed,' he writes un-controversially, 'that cinema was closer to the immediacy of thought than any other artistic form and that it could be used to represent unconscious processes, dreams, and basic human emotions' (37). Somewhat contradictorily, however, as López notes, Dalí also insisted on the objectivity of the medium. This importance of objectivity, held to be achieved visually through the representation of objects, and therefore free from the arbitrariness of human emotions, is expressed in a letter Dalí sent to García Lorca in 1928. López concludes that: 'Given the fact that cinema combines the representation of time and movement, it was ideally suited to depict human sexuality and the cyclical manifestation of desire and death' (48). Ironically, however, these themes can hardly be a necessary or sufficient means of defining the new medium since they are the same ones obsessively treated by Dalí's paintings (which are also openly dedicated to 'objectivity').
This debate on the problems of film form, expressivity and intermediality is taken up by the few critics to treat Viaje a la luna. In her article '"Viaje a la luna": del texto όστακον a la imagen onírica' (2001) María Teresa García-Abad García vindicates the όστακον (the broken shard of pottery) as the expressive form of a script which offers itself as a succession of fragments radically resistant to narrative, privileging silence over speech. Sacrificing artistic unity, Lorca also forsakes drama for metaphor, thus contesting those theorists of cinema who saw the film medium as one of realism (Dalí's 'objectivity', once more).
It is here that García Abad makes the connection with the accounts of media specificity in the early twentieth century, citing a text by filmmaker Jean Epstein, which was translated into Spanish in 1928: 'Una de las más grandes potencias del cine es su animismo. En el écran no hay naturaleza muerta. Los objetos tienen actitudes.' ('One of the great powers of cinema is its animism. On the screen there is no nature morte. Objects have attitudes', García Abad 39.) For García Abad the link between the poet Lorca and the painter Amat are in their shared aesthetic: the aspiration to silence, modernity anchored firmly in traditional roots, and the craftsman like care for the well-made work.
In his article 'Viaje a la luna: Federico García Lorca y el problema de la expresión' (2000), Nigel Dennis coincides with García Abad's stress on the avant garde as the engagement with the inexpressible. Dennis writes that Viaje is not just an 'unrealized' script but an 'unrealizable' one, not because of the technical problems posed by its shooting but because the cultural context in which it was written no longer exists (139). Yet if Lorca turned here, almost uniquely, to the film medium it was because of its specificity: briefly rejecting writing as a means of expression, he embraced the succession of images in silent film as an attempt to overcome a problem of expressivity linked by many scholars, autobiographically, to personal crisis.
Beyond this expressive or existential reading, Dennis notes what he calls Lorca's 'surprising' mastery of the expressive resources of silent film, listing specific techniques suggested by the script: close ups, camera movement, rhythmic editing, fast and slow motion, fades and dissolves, double and triple superimpositions and the incorporation of still images (143). This technical skill in the specific techniques of cinema is, however, as is commonplace in Lorca criticism, trumped by psychic allegory and tragic destiny. For Dennis, as for López, erotic desire (perhaps 'forbidden') leads not to consummation but to frustration and death (143).
This kind of abstraction or allegorization is replaced by historicism and intermediation in two final critics who treat the curious crossovers between film and poetry and film and theatre in the early twentieth century. In her study of 'Cinema', published in A Companion to Federico García Lorca (2007), Xon de Ros notes that: 'Paradoxically it was during this period [of silent cinema] that poetry and film were to be most closely associated' (101–2). Not only was there a shared affinity through 'lyricism' (a term much used in the period), but cinema was appropriating the experience of the numinous: the movie theatre was thus compared to a 'cathedral', in which the celebrant came to experience transcendence of everyday life (103). Conversely, as Ros claims Lorca suggested in his brief text El paseo de Buster Keaton (which features a bicycle), 'the urban, manufactured and mechanical world ... may be sophisticated but it is blind to poetic nuance ... the protagonist [is thus] estrange[d from] the modern transformation of traditional forms of perception, for which the cinema was both expression and effect' (105).
Dru Dougherty goes further. In 'El teatro a la luz del cine, 1914–36' (2001) he documents how in Spain theatre presented itself, in a curious temporal inversion, as dependent on cinema. Commentators wrote that the old medium would be 'purified' by the new, and the specificity or 'singularity' of theatre would be rediscovered (9). Strangely perhaps the aesthetic of the stage was held to be 'horizontal' and that of the screen 'vertical' (10). While some commentators celebrated the 'cathartic' and 'destructive' effect of film (with its ceaseless action and speed) on traditional cultural heritage (13), others lamented the 'mechanical character' of cinema, claiming that the film spectator was typically 'colder' than the theatergoer, dehumanized and attentive only to becoming (15). Yet if cinema offered (supposedly) no internal activity, no access to the 'soul' beneath the image (Is this Dalí's objectivity once more?), then cinema, as the art of spectacle, is also held by some to be the 'forma genuina y real de arte teatral popular' ('real and genuine theatrical art of the people') (18), more so than theatre itself.
Clearly, then, Spanish historical accounts of the medium are full of contradictions: cinema is at once emotional and emotionless; avant garde and popular; numinous and mechanical; objective and subjective. There can be no doubt, however, that film at its earliest in Spain was felt to be indelibly marked by the trace of other media. Rather than reading my two films as examples of homosocial intersubjectivity (amorous or rivalrous commerce between intimate male friends), I intend then to address their intermediality. Ironically, as we have seen, such readings are already prefigured by historical debates about film and its others in the time of Buñuel, Dalí, and Lorca, when commentators were of course untroubled by the nostalgia for the lived experience of the three charismatic artists that now mesmerizes many viewers or scholars.
The best and clearest theoretical account of intermediality I know is Agnes Petho's 'Intermediality in Film: A Historiography of Methodologies'. Petho begins by noting the continuing suspicion of a term which remains perilously poised between film and media studies, asking whether it still a maverick scholarly enterprise. Further questions arise: is intermediality a rift in film theory or just a blind spot? Is film itself, threatened as it is by digital media, an incredible shrinking medium or an intermedium?
Seeking routes along the historical research axis (as I did in the case of Spain) Petho returns to early models of film as synesthetic experience: The idea that cinema is unavoidably interconnected with other media and arts has been a constant issue … ever since the first moving picture shows were presented in a theatrical environment and ever since movies attempted to present narratives and to produce emotions by a combination of images in movement, music and words. [Rudolf] Arnheim's New Laocoön (1938) dealing with the advent of the talkies and dismissing sound as an unwelcome interference with the purity of the medium is one example in point. In a later article, however, Arnheim revised his attitude and admitted that: in film 'a variety of media could be involved, as is the case of an orchestra where every instrument plays its part in the whole performance. [...] I see now that there is no such thing as a work limited to a single medium. [...] The film medium, as I recognize now, profits from a freedom, a breathing space that I could not afford to consider when I fought for the autonomy of the cinema. … This freedom puts the film more closely in the company of the other performing arts, such as the theater, the dance, music, or pantomime'. This is an internal reference made by Petho. Thus Arnheim returns to a synesthetic or Gesamtkunstwerk-like model (50–2).
Turning to a more textual arena, Petho cites Yvonne Spielmann's study of Peter Greenaway's films in which the latter finds the cluster, i.e. 'multiple layering of different images or image elements, resulting in a spatial density' (61). More theoretically, once more, for Lyotard, the figural, characteristic of intermedia's stubborn alterity, is 'an unspeakable other necessarily at work within and against discourse, disrupting the rule of representation … the figural is the resistant or irreconcilable trace of a space or time that is radically incommensurable with that of discursive meaning' (65).
As Petho herself concludes:
The mapping of such tendencies has brought the study of cinematic intermediality far from the mere listing of media combinations or analogies of intertextual relations. … there has been, in general, a major shift 'from the utopia of the Gesamtkunstwerk to the heterotopia of intermediality,' [and] a similarly important shift towards a scholarship acknowledging cinema's non-discursive domains and more sensual modes of perception.
Let us return finally to the films themselves and examine the first five minutes of each. What is striking about the opening sequences of Un chien is how closely they conform to classical modes of editing and narration. Thus in the first scene, Buñuel as actor looks out of shot and, in a classic point of view, we see what he sees: the ominous moon. While the following montage is of course associative (the slicing of the cloud and blade linked by their common movement, the moon and eye by their shared shape), the cut in to extreme close up is by no means unmotivated.
Likewise, in the scene that follows, continuity editing is preserved to create a seamlessness in time and space. The man riding the bicycle is crosscut with the woman in the domestic interior, suggesting that they are temporally simultaneous, a hint that is confirmed when she looks down from the window and we see once more a POV shot: a high angle of the man in the street. Buñuel next gives us an equally traditional match on action, as he cuts from the woman exiting the front door to her reaching the man, now lying in the gutter. He then exploits the well-known editing technique known as the Kuleshov effect: by showing a close up of the woman staring intently at the clothes she has laid out on the bed, he suggests that her look has somehow materialized the man into her flat. The dissolve from armpit hair to sea urchin is purely associative or poetic, but the authentic location of the Parisian street, in which the androgynous woman now toys with the severed hand, reads as a concrete and contemporary urban space.
Clearly here there are a number of transparent references to Dalí's paintings and indeed texts (the sea urchin makes an uncomfortable appearance in his autobiography). As suggested by Buñuel's surprising respect for continuity editing, however, film remains relatively autonomous here; and surely it is no accident that the soundtrack should feature Wagner. The originator of the Gesamtkunstwerk is of course mocked here for his pretentions to totalization and transcendence. Nonetheless, Buñuel and Dalí seem to aspire, like Wagner, to an art of synthesis which does not wholly reject narrative. Indeed, in spite of its synaesthesia, Un chien relies on a partial preservation of the conventions of narrative discourse in order to register its own transgressive challenge to that narrative, that discourse. For example, as mentioned above, the central couple recur throughout the brief running time.
Viaje a la luna is very different, and its radical disruptions cannot be explained by its more recent production, as Amat faithfully reproduces Lorca's sequence of images. A circle (moon?) rises out to reveal a stark bed, superimposed with scratches, ants, and numbers. (The soundtrack is a guitar whose strings have been cut.) A close up of the harlequin's feet leads to a woman's face and sexual organs, the celluloid image once more degraded, with the word 'socorro' ('help') superimposed. A brief colorized shot of Times Square at night gives way to a woman beating a child (a visual reference to a Max Ernst painting). A single eye (like Buñuel's) is here overlaid with swimming fish before we cut to a vertiginous shot from a rollercoaster, the very image of that constant unmotivated movement which so troubled early critics of cinema. Footprints team with maggots and the moon becomes a balloon bursting into smoke.
While Un chien, typically, still respects the conventions of cinema as autonomous medium (even as it cites the visual arts), Viaje employs rather the radical technique of the cluster, the 'multiple layering of different images or image elements, resulting in a spatial density' (Petho 61). For Petho, it thus gestures towards Lyotard's figural. We remember that unspeakable other within and against discourse which disrupts representation, the resistant trace of a space or time that is radically incommensurable with that of discursive meaning.
Amat's work is itself inextricably intermedial: his first version of the script was not the film but a minutely painted storyboard that was exhibited in its own right. Here, he and Lorca also coincide more closely than Buñuel and Dalí with trends in the current study of cinematic intermediality. No longer do they (can we) simply list media combinations or analogies but rather we (and they) have shifted from the utopia of the Gesamtkunstwerk, still glimpsed in Un chien's self-conscious radicalism, to the heterotopia of intermediality that acknowledges cinema's non-discursive domains and sensual modes of perception.
Un chien will no doubt remain one of the most famous short films in cinema history, while Viaje, its accessibility limited by language and distribution, will stay in the shadows. In the radical challenge it poses in its text to discursive coherence, as in the historical discontinuity exhibited by its delayed production, Viaje offers, nonetheless, a more demanding and disturbing instance of intermediality as an artistic practice that spans creators, continents, and the course of the twentieth century.
Works Cited
Amat, Frederic, Making of Viaje a la luna. YouTube. Web. http://www.youtube.com/watch?v=CpahIqI0knA24, date accessed 24 August 2013.
Chien andalou, Un, Dir. Luis Buñuel. Screenwriters Luis Buñuel and Salvador Dalí. 1929. Film.
Delgado, María M., Federico García Lorca. London: Routledge, 2008. Print.
Dennis, Nigel,'Viaje a la luna: Federico García Lorca y el problema de la expresión', Revista Canadiense de Estudios Hispánicos, 25.1 (2000): 137–49. Print.
Dougherty, Dru, 'Pensándolo bien: el teatro a la luz del cine (1914-–36).' ALEC, 26.1 (2001): 9–25. Print.
García Abad García, María Teresa,'Viaje a la luna: del texto όστακον a la imagen onírica.' ALEC, 26.1 (2001): 27–44. Print.
López, Ignacio Javier, 'Film, Freud, and Paranoia: Dalí and the Representation of Male Desire in An Andalusian Dog', Diacritics, 31.2 (2001): 35–48. Print.
Monegal, Antonio (ed.), Federico García Lorca, Viaje a la luna. Valencia: Filmoteca, 1994. Print.
Petho, Agnes, 'Intermediality in Film: A Historiography of Methodologies', Acta Univ. Sapientiae, Film and Media Studies, 2 (2010). Web. 24 August 2013.
Ros, Xon de, 'Cinema', A Companion to Federico García Lorca, ed. Federico Bonaddio. London: Tamesis, 2007. Print.
Sánchez Vidal, Agustín, Buñuel, Lorca, Dalí: El enigma sin fin. Barcelona: Planeta, 1988. Print.
Viaje a la luna, Dir. Frederic Amat. Screenplay by Federico García Lorca. 1998. Film.
Viaje a la luna [clip]. Dir. Frederic Amat. Screenplay by Federico García Lorca. YouTube. Web http://www.youtube.com/watch?v=FJkHwddk7-Y, date accessed 24 August 2013.


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Monthly Archives: August 2018
Draw String Bag
I was super excited when Mrs Watson told us that we were making draw string bags. She gave us each a rectangular piece of fabric that would be the bag. In order to make it we had to map out a plan, you cant make something without a plan. We had to fold our fabric in half and along the top and bottom. Then we would go around it with the zig-zag stich to stop it from fraying. If you had a salvage you didn't have to do that, a salvage is when you have a piece of fabric which has been cut from the perimeter of the whole fabric. After you had done that we had to iron it so it wasn't crumpled. I learned to never keep the iron facing down or it can catch on fire. Like on the plan we folded the top and bottom of our fabric and did the straight stich on it, we then had to iron it again before putting another line of straight stich 1 cm above it. You then fold it in half and do the straight or zig-zag stich around the sides but not where the top is or you wont be able to open it up. After you have done that you send in string of wool that has been braided that is about up to an average persons chest. (you need 2 of them) Then you send them through at the top where your gaps were. It's easier if you send it through with a paintbrush. After trying to see if your bag works you are finished, and you will have your very own hand-made draw string bag.


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Heat shock protein 90 (Hsp90) is an abundant molecular chaperone especially important in the cytosol of eukaryotic cells. Its function is coupled to large conformational rearrangements within the dimer coupled to nucleotide binding. Hsp90 assists a large set of so‐called 'client' proteins to stay folded or to achieve an active conformation. These client proteins include among others protein kinases and many transcription factors such as steroid hormone receptors. The function of the Hsp90 chaperone machinery itself is highly regulated on several levels. A large set of cochaperones as well as post‐translational modifications help to fine‐tune the conformational cycle. Inhibition of the low intrinsic adenosine triphosphatase (ATPase) activity of Hsp90 leads to destabilisation of its clients resulting in their degradation. As many of the clients are oncogenes, inhibition of Hsp90 is an important target in cancer therapy.
Key Concepts:
Hsp90 is an essential molecular chaperone in eukaryotes.
Hsp90 function is coupled to nucleotide‐induced conformational changes.
Hsp90 stabilises the active state of a large set of clients.
Hsp90 function can be regulated via cochaperones or post‐translational modifications.
Inhibition of Hsp90 is an anticancer strategy.
Keywords: Hsp90; chaperone; cochaperones; clients; conformational rearrangements; ATPase; post‐translational modification


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We hear sounds over a huge frequency range of about 20Hz to 20,000Hz, although this range diminishes as we age. It has long been recognised that identifying the direction of a sound source (or 'localizing' it) requires a vast amount of neural processing.
For accurate localization, we require the neural computation of a variety of cues. When a sound comes from one side of us, say the right, it arrives first at the right ear and is also louder in that ear. At low frequencies, the brain processes differences in the time of arrival of the sound at each ear. At higher frequencies, the important cue is the difference in loudness perceived by each ear.
The final main piece of information is the way that our ears modify sounds - amplifying some frequencies and diminishing others - as they pass over the convolutions of the pinna. This is called the head-related transfer function (HRTF) and the HRTF of any one person is unique to that individual. The role of the HRTF is particularly important when we are trying to determine whether a sound comes from directly behind or in front of us. In such a case, the differences in timing and loudness at each ear are negligible and there is consequently very little information on which we can base a decision.
Each type of sound localization cue operates over a different and relatively narrow frequency range. Information from all cues is combined by our brains to provide us with a sense of where a sound is coming from.
Only certain types of sound are easy to localize and the crucial component is that they contain a large spectrum of frequencies i.e. broadband noise. (It can most easily be described as the Sound of a rushing river or waterfall.) With broadband noise, the brain has the maximum number of cues available to process. Pure tones, simple tone combinations or narrowband noise cannot be localized.
In one example of research at Leeds University it was shown that the sound of conventional police, fire and ambulance sirens is particularly difficult to localize. In laboratory tests involving some 200 drivers, 56 per cent (worse than a random guess) were unable to tell whether the sound of an approaching siren was directly behind or in front of them - a potentially dangerous situation if they were at the wheel of a real car.
|© Brigade (bbs-tek) Limited 2012 - All rights reserved - Terms of use


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Household Appliances
Showing all 12 results
Household Appliances, Ultrasonic Cleaners
2120 household portable Lint Remover Hand-held Epilator
Main Features:
● No need to charge, no battery, safe and reliable
● Humanized concave design, comfortable grip, more firmly
● Catching fuzz without hurt the clothing surface, leaving no trace
● Detachable, easy to clean
● High quality ABS material, resistant to pressure and durable
● Compact and convenient, easy to carrySKU: CGF201901243
Household Appliances, Power Adapter & Strips
Broadlink RM mini3 smart infrared wifi remote control
Main Features:
●Remote Control
Support scene mode and sleep mode
●Smart Control
Control your devices anywhere at anytime through the app, one key to control
Preset your own profiles, automatically work at set time
●Care Your Pets
Turn on the air condition when you are not in home
●Timer Function
Set up the time as you wish, don't miss any moment
●Easy Configuration
Connect to your home and office WiFi, no gateway needed
● Suitable for iOS 7.0 or above, Android 4.0 or above
● IR remote control distance can be up to 12m
● Infrared frequency: 38K
● WiFi frequency: 2.4GHz 802.11b/g/nSKU: CGF201901247
Electric Irons, Household Appliances
Foldable electric steam portable mini handheld iron
Product Features:
1. Built-in fuse and thermostat,It's safe to use
2. Adjustable thermostatic control,3 Gears to meet all you need (silk ,linen,wool,cotton,…)
3. Teflon non-stick soleplate which will easily glide over clothes
4. Foldable handle for compact storage,Ideal for when travelling on holiday or businessSKU: CGF201901239
Clothes & Shoes Appliances, Household Appliances
Handheld steam engine home portable electric iron
-Various functions
The garment steamer has a variety of functions such as ironing and dry cleaning and hair removal, suitable for any fabric
-Easy to operate
After 45 seconds of electrification, high pressure steam will be released and sprayed at the crease of the garment
-Constant temperature design
It won't burn your clothes, convenient for daily use
-Compact design
With simple button and comfortable handle, easy to operate
-60ml Removable water tank
The water tank can be removed and convenient for adding water
Comes with a brush, much more practicalSKU: CGF201901241
Household Appliances, Office appliances
Household ultrasonic mosquito repellent multi-function insect repellerHousehold Appliances, Office appliances
Household ultrasonic mosquito repellent multi-function insect repeller
Main Features
• Using advanced biological ultrasound technology, quiet but efficient
• Electric-saving design, save electric for you
• Protect your home from unwanted pests without using dangerous chemicals
• Works for rats, ants, roaches, spiders, bugs, fleas and much more
• Pest control ultrasonic is far away from hearing range of human being, will not do harm to human being and pets
• Simply plug electronic pest control ultrasonic repellent in the unit and let it do the restSKU: CGF201901246
Household Appliances, Ultrasonic Cleaners
Portable mini foldable clean dust roller
Main Features:
• The portable reusable sticky lint roller for daily use
• It easily removes pet hair, crumbs, lint and more without leaving a sticky residue behind
• Great for cleaning your clothing, bedding, furniture and car upholstery
• It even has little rubber fingers to reach deep into carpets to remove ground-in messes
• The adhesive surface is strong enough to pick up any messSKU: CGF201901244
Home Pest Killer Repellers, Household Appliances
Stainless steel automatic infrared sensor smart soap dispenserHome Pest Killer Repellers, Household Appliances
Stainless steel automatic infrared sensor smart soap dispenser
Main Features:
●Automatic no touch operation with built-in infrared smart sensor, just need 0.5 seconds induction time to make liquid out
●Adjustable selector to choose the desired amount of liquid
●Innovative anti-leakage design to avoid waste and countertop mess
● LCD screen to show the dispense amount, remaining liquid level and battery power
● Compatible with all kinds of liquid hand or dish soap, hand or body lotion, etc.
● Suitable for restroom, bathroom, kitchen, and coffee bar, etc.
● Powered by 4 x AAA batteries ( not included )SKU: CGF201901251
Home Pest Killer Repellers, Household Appliances
Xiaomi Mijia automatic soap dispenser antibacterial non-contact soap dispenserHome Pest Killer Repellers, Household Appliances
Xiaomi Mijia automatic soap dispenser antibacterial non-contact soap dispenser
Main Features:
● No contact, more sanitary, effective antibacterial, gas and liquid bubble ratio to 12:1
● Fine and dense foam can better cover skin epidermis, direct to fine pore, achieve deep cleansing
● Effective inhibition of daily bacteria, inhibition rate up to 99.9 percent, micron-grade foam, penetrate into pores, deep cleansing
● Compact body, natural plant essence, moist and comfortable, hand sanitizer close to skin pH value, gentle and skin-friendly, not tight, foam without residue
● Can effectively inhibit e. coli, staphylococcus aureus, candida albicans and other common life bacteria, effectively care for the health of the family
● The micro-high efficiency motor and its rubber damping structure not only have high bubble efficiency, but also will not be disturbed by noise when used, intelligent induction design, low power consumption
● 320mL large-capacity design, available for 400 times, compact, minimalist, understated design style automatically sensing bubbles without press
● Sensing distance: 60 – 90mm, waterproof grade: IPX4, rated voltage: 6V
● Power supply: 4 x AA batterySKU: CGF201901252
Household Appliances, Power Adapter & Strips
Xiaomi thermometer Bluetooth high precision temperature and humidity monitorHousehold Appliances, Power Adapter & Strips
Xiaomi thermometer Bluetooth high precision temperature and humidity monitor
Main Features
● Bluetooth wireless connection enables the thermostat allows for remote access via smartphone, tablet or computer
● Via Mi app to open humidifier when indoor humidity is too low and open air-conditioner when indoors temperature is too high
● LED digital display, you can get temperature, humidity and battery power easily
● Built-in advanced Sensirion temperature and humidity sensor, temperature accuracy: 0.1 degrees, humidity accuracy: 0.1 percent RH
● Battery powered, 1 AAA battery needed and includedSKU: CGF201901248
Showing all 12 results


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The New South Wales Police Force in Australia has just gotten a huge upgrade in their police vehicle line up with the addition of a new Honda Civic Type R. However, don't expect it to show up and start chasing after 'hoons', speeders, or street racers anytime soon though. Honda's hot hatch, despite the complete NSW law enforcement livery, is not intended as a pursuit vehicle, but will mainly be used for show.
Honda Australia donated the Civic Type R to the NSW police force for 12 months. Within that duration, the FK8 will be used for the police's Eyewatch social media initiative, which encourages the public, especially the youth, to be more comfortable and active when interacting with the police. The car will also tour schools and public events across New South Wales during its year with the police force.
"The eye-catching design of the vehicle will hopefully be a great conversation starter while on display and get more people, especially younger people, more comfortable with approaching their local police," said Assistant Commissioner Joe Cassar APM, Commander of the NSW Police Force Capability, Performance and Youth Command.
Since the Civic Type R is essentially a rental from Honda, it is unfortunate that we won't get to see it on the news chasing down the bad guys. Surely those who plan to break the law would have a hard time getting away from the Civic Type R's 2.0-liter turbocharged engine which produces 300 PS and 400 Nm torque.
"The Civic Type R has been engineered from the ground up to deliver the most rewarding driving experience in the hot hatch segment. It has proven to be immensely popular with customers, enthusiasts and the motoring media, so we're positive the NSW Police Force will find it to be a great community engagement tool," said Honda Australia Director, Stephen Collins.


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Caught up with Day 1?
With all of our stops along our Interrail journey being big cities, it was great to finally get out, and what better place to go to than Lake Bled? It was as special as the internet made it out to be, with so much to do and see in such a picturesque area.
We took the bus from Ljubljana which took just over an hour, and filled an entire day with walks around the lake, a spot of rowing, the climb up to Bled Castle, and then another short trip over to Vintgar Gorge. This leads all the way up to a beautiful waterfall, and the views along the way magnificent. We were in total awe of our surroundings the entire day, and had some of the best fun we've had on the entire Interrail trip so far.
Check out the photos!
Twitter | Instagram | Facebook | YouTube**Please note: we are posting everyday over a period of 5 weeks on both blogs, please do be offended if we do not reply to your comments. We appreciate every comment and the love you are showing, it honestly means the world to us. If you have any questions, please send us a tweet!**


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- Brand: Locherber Locherber
- Product Code: C 36 C 36
- Availability: In Stock
Anti - age LOTUM cream
Anti - age LOTUM cream is a regenerating anti-wrinkle treatment. Specially formulated complex to restore moisture, firmness and elasticity with Lotus flower, Cogon Grass, Algae, Saxifrage, Para cress, Irish Moss, Apricot kernel oil.
Anti - age cream Lotum by Locherber
Revolutionary "new generation" regenerating anti-wrinkle treatment. Specially formulated complex to restore moisture, firmness and elasticity with Lotus flower, Cogon Grass, Algae, Saxifrage, Para cress, Irish Moss, Apricot kernel oil. This special cream helps to fight the premature signs of ageing; supports face contour and smooth wrinkles, nourish and repair skin cells, encouraging collagen formation. Helps gently shape facial features and reveal the skin's natural beauty. Lotum contains an ingredient - the latest discovery in a beauty care field, Hexapeptide (Argireline), which is able to control muscle contractions and reduce expression lines, as well as wrinkles caused by repeated facial movements. This treatment is especially suits for dehydrated, stressed and mature skin. It has an immediate soothing effect. Lotum is also recommended as a support treatment after exposure to UV rays and intense cosmetic treatments. Skin looks firmer, lifted and smoother. Younger-looking effect and fresh skin radiance. With amazing Lotus flowers smell.
Anti age cream LOTUM Locherber
Does not contain derivatives of animal origin - Product not tested on animals - Dermatologically tested - Does not contain added metals - Does not contain colourings or synthetic origins - GMO free - Alcohol free - PARABEN-FREE - GMP certified
Direction for use: massage a thin layer onto a cleansed and toned face, and leave it to absorb without removing.
Ingredients: Aqua/Water, caprylic/capric triglyceride, butylenes glycol, c12-20 acid peg-8 ester, coco-caprylate/caprate, dimethicone,, phenyl trimethicone, imperata cylindrical root extract, citrus autrantium dulcis (orange) fruit extract, saxifrage sarmentosa extract, phenoxyethanol, cetyl alcohol, ethylhexyl methoxycinnamate, potassium cetyl phosphate, prunus armeniaca (apricot) kernel oil, helichrysum italicum flower water, carbomer, c12-13 alkyl lactate, ethyhexyglycerin, sodium hydroxide, bisabolol, disodium edta, butfly methoxyudibenzoylmethane, chondrus crispus (carrageenan), sodium hyluronate, elaeis guineensis (palm) oil, tocotrienols acetyl hexapeptide-8, phytosterols, glycerine, parfum/fragrance, peg-8, caprylyl glycol, limonene, tocopherol, nelumbo nucifera flower extract linalool, butyphenyl methylpropional, benzyl benzoate, hydroxzsohexyl 3-cyclohexene carboxaldehyde benzyl salicylate, hexyl cinnamal, ascorbyl palimate, benyl alcohol, dehydroacetic acid, squalene, acrylates/c10-30 alkyl acrylate crosspolymer, bht, ascorbic acid, citric acid ci 17200/red 33, ci 19140/yellow 5.
Before use cosmetics always check your skin condition and type of your skin. Don't use a product if you are allergic to components. Avoid contact with eyes. Always read the label. Keep out of reach of children.
Best skin care tips for combination skin. Lotum Locherber line. Best anti age cream in Vivasan
Related Products


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Dear Ann,
Got your 3 o'clock MomFone picture. It's a gem!
It's nice you've had an outing to the Monteagle Super Mall, but we're all in suspense since your recent blackout bulletin (see Found Objects). Then again, I was surprised to hear you had electricity to begin with. (Just kidding! I love an idyllic rural retreat as much as the next guy.)
Enough about you, what about us? Did you realize that today, Bastille Day, is the one-year anniversary of our very first post on this site, hosted by the incomparably Beckyish Becky? I would have baked a cake, but my batterie de cuisine is wrapped up in this:
(Yes, I'm hogging North America's allotment of bubble wrap. Sorry about that. Everybody else will have to move next month.)
What's the knitting news? Is there any knitting news? Well of course there is!
As part of the move, I spent some hours doing the essential task of organizing the Afghanalong squares and boxing them up in Big-Ass Plastic Containers (Hubby did not necessarily agree that this task was essential). This is not as easy as it would seem. First, I tried to make a bulky-versus-worsted divvy: this did not work unless the bulkies were rilly bulky. I find I cannot reliably tell a worsted that is on the chunky side from an aran that is on the svelte side. And why try?
I ended up doing the divvy chromatically:
Here we have the beginnings of the red, blue and green stacks. There is wide variation and with purples I made a judgment call as to whether to toss them on the red or the blue piles. I love tonal colorways, but we're not committed to laying out the afghans tonally. I do think it's a great way of harmonizing the squares. I did manage to get enough Indisputable Bulkies together to lay out this afghan:
I put this one together because the wonderful Cindy has volunteered to sew up another afghan. Fear not: There are plenty more squares!
Finally, an important Afghanalong note: Some are concerned about mailing the squares to my current address, given its short shelf life. As soon as I have a new address to give out (don't ask– it's a New-York-is-crazy thing!), I will post a notice so that people can email me and get it. In the meantime, the Superintendent at our building will hold the squares. He's a New York City firefighter and definitely worthy of this sacred trust.
I'm also going to be a bit slow (-er!) in posting pictures of the squares in the Found Objects. It is all I can do to log them in and keep track of them, at the moment. Thanks to everyone who has been sending them in. In our final month, we are hearing from Afghanalongers who have been there from the beginning, and from those who just joined the party. Mwahs to everyone.
And with that, it's Goodbye to East 19th Street.
Love, Kay
P.S. Almost forgot to share that I had a dee-lightful Celebrity Sighting this afternoon at local coffee bar. Jimmy Fallon was ahead of me in line. He appears to be approximately 14 years old, although I'm sure he must be flirting with 30 at this point. An adorably geeky young man. He ordered an Everything Bagel with Butter, specifying, "a human-being amount of butter". (Not surprisingly, I frequent a coffee bar that is generous with its buttering practices.) He was cheery! He made eye contact! He made chit-chat! He looks just like somebody I would have dated in high school, had I dated anybody in high school!
Dear Ann,


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Last month it was announced that the stable version of Android Pie was ready for the OnePlus 6, and was rolling out to select handsets. OnePlus 6 owners round here will have noticed it never arrived for them, and there's a reason for that. Turns out the proper UK rollout wasn't part of that. Instead, it's kicked off today.
OnePlus has announced it this afternoon, so if you head over to the software update page you should be able to upgrade to the new software. I can anyway, as you can see below:
There's a new UI, which was to be expected, the latest security updates, better 'Do Not Disturb' settings, and more. There's also support for Android Pie's own gesture navigation, though how that will affect OnePlus's existing gesture control isn't clear. I haven't had chance to update and tinker yet.
The two and a half month wait might not be ideal for the Android purists, but it's pretty good going for an Android developer. Far better than Samsung's meagre attempts anyway.
There's still no word on when Pie will hit the OnePlus 5, 5T, and 3T, but now the 6 is out of the way and the 6T is almost here, things should be underway pretty quickly.


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Creation of a leading-edge cancer resource that our community needs and
deserves has been a central component of our strategic plan. Opening in
late 2019, the Anderson Family Cancer Institute will provide convenient
access to multidisciplinary, evidence-based care such as that found in
the nation's most prestigious health care institutions.
Accredited as a Comprehensive Community Cancer Program by the Commission
on Cancer, our fellowship-trained physicians diagnose, evaluate and develop
personalized treatment plans for patients with known or suspected breast,
gynecologic, thoracic, hepatobiliary, and skin cancers. Our cancer specialists
work collaboratively within the community, and with top academic cancer
institutions throughout the United States to evaluate each patient's
diagnosis and to develop personalized treatment plans.
Under the guidance of Dr. Nathan Tennyson, Medical Director, Radiation
Oncology; Jupiter Medical Center's radiation oncology program is
committed to providing the most advanced care to its patients in a caring
and supportive environment. Jupiter Medical Center was the first in Florida,
and still is one of only a handful of hospitals in Florida offering the
next generation of radiosurgery: the
CyberKnife® M6™; the most advanced and accurate CyberKnife system in use today. It is
a nonsurgical, pain-free treatment option for many patients who have inoperable
or surgically complex cancerous and noncancerous tumors anywhere in the
body, including the head, spine, lung, prostate, liver and pancreas, or
who may be looking for an alternative to surgery.
To provide patients the optimum in treatment experiences and outcomes,
Jupiter Medical Center is also among the very few U.S. cancer centers to offer
Electron Beam IntraOperative Radiation Therapy (e-IORT), dramatically reducing the number of radiation treatments needed for breast,
gynecological, colorectal, lung and gastrointestinal cancers. e-IORT delivers
a fraction of radiation compared to the traditional six- or seven-week
course to a tumor or tumor bed during surgery using a linear accelerator.
For many patients, receiving radiation to the tumor in the operating room
immediately after the cancerous tissue is removed, enables them—in
most cases—to complete their treatment in just a single day, and
avoid weeks of post-operative radiation.
The Anderson Family Cancer Institute will house a new, state-of-the-art
TrueBeam® radiotherapy system—the most advanced medical linear accelerator. It customizes high-energy
X-rays or electrons to conform to a tumor's shape, and destroys
cancer cells while sparing normal surrounding tissue. TrueBeam treats
cancer anywhere in the body by delivering highly precise doses of radiation,
and offering clinicians intelligent tools for a wide spectrum of advanced
treatment modalities, giving them the confidence to know treatments are
delivered exactly as planned.
At Jupiter Medical Center, we provide the most advanced cancer care
by combining clinical excellence, cutting-edge technology and integrative
support services. We treat the entire patient by pairing world-class
care with unparalleled dedication to the physical and
emotional well-being of every patient.
Cancer is a complex disease and the varied malignancies are among the biggest
challenges that medicine faces. That's why Jupiter Medical Center
has prioritized creation of many disease-specific cancer programs as a
central component of our visionary, far-ranging strategic plan. Already
in development are programs for Hepatobiliary and Pancreatic Cancer and
Women's Lung Health Program.
A Hepatobiliary and Pancreatic Cancer Program will serve patients with
liver and pancreatic diseases, including disorders of the liver, bile
ducts, gallbladder and pancreas. Surgical procedures for these diseases
are usually advanced and complicated. Special training and skill is required
to ensure the best possible outcomes for patients. This program, once
developed, will be multidisciplinary and include the latest technological
advancements. The recent recruitment of Dr. Shanel Bhagwandin, Medical
Director for the Gastrointestinal Surgical Oncology Program, has spotlighted
the use of the most recent advances in technology to diagnose and treat
benign conditions and cancers. He has already performed the Hyperthermic
Intraperitoneal Chemotherapy (HIPEC) procedure at Jupiter Medical Center
for patients with cancer that had spread to various areas in the abdomen.
Before HIPEC is administered, the surgeon, using standard surgical methods,
will remove all visible tumors that can be removed throughout the peritoneal
cavity. This is known as cytoreductive surgery. Following cytoreductive
surgery, while still in the operative setting, the surgeon will administer
the HIPEC treatment. Jupiter Medical Center is the first medical center
on the east coast of Florida, and the only one in Palm Beach County, to
use the HIPEC procedure to treat and potentially save the lives of patients
with stage 4 cancers.
Despite the fact that more and more women in the United States are affected
by lung disease, women frequently do not receive the appropriate care.
The Women's Lung Health Program at Jupiter Medical Center will be
a unique resource dedicated to the care of female patients with lung disease.
Women's lung health is a focus for many reasons: Women have a higher
rate of asthma than men; in the United States women with COPD outnumber
men, and the incidence of lung cancer in women continues to increase while
declining in men. More women die from lung cancer than breast cancer—and
two thirds of them never smoked.
Studies have shown that women with lung disease are less likely to receive
appropriate medical tests, such as pulmonary function testing. Women with
COPD are more likely to be misdiagnosed as having asthma. And women are
less likely to receive referrals to specialists who thoroughly understand
their diseases. Developed in conjunction with the Thoracic Surgery &
Lung Center of Excellence, the Women's Lung Health Program will
be designed to optimize care across their lifespan for women with lung
conditions and diseases.
Under the guidance of Dr. Nancy Taft, Medical Director of Comprehensive
Breast Program; Dr. Orna Hadar, Breast Imaging Specialist at the Margaret
W. Neidland Breast Center and Genetics Counselor, Cathy Marinak, ARPN,
MSN, AOCN, Jupiter Medical Center's goal is to expand its existing
genetics screening into a comprehensive Genetics Screening Clinic to support
current recommendations by the American College of Radiology and the Society
of Breast Imaging. This clinic will be the first of its kind in the United
States, changing the way physicians diagnose cancer in younger patients.
It will also serve as a valuable care resource to the primary care physician
community that is often unsure when to recommend these important screenings
to patients, and have limited knowledge on advising patients on where
to have it done and how to have it covered by insurance.
The proposed model starts with individuals who will work with a nurse navigator
to begin the screening process, utilizing corporate genetic partners.
The test will be reviewed by a genetics counselor at Jupiter Medical Center,
identifying areas of possible risk. Those identified as what we call "previvors,"
meaning they're at increased risk due to their genes, will receive
additional assistance from a medical specialist, as well as wellness support
and counseling.
As a disease, cancer can affect an individual's entire well-being—from
physical to psychological, social, and even spiritual wellness. The cancer
survivor population must navigate a complex, constantly evolving field
to conquer and recover from their disease. To address the unmet needs
of the cancer survivorship community, the Oncology Program at Jupiter
Medical Center is working to create a high-quality, patient-centered Cancer
Survivorship Program. A board-certified medical oncologist will lead this
program under the National Comprehensive Cancer Network (NCCN) guidelines
for survivorship, screening, evaluation and treatment.
Integral to a patient's recovery will also be an expanded Oncology
Health and Wellness Program housed within the Anderson Family Cancer Institute.
The program will provide an array of services such as massage therapy,
reiki, nutritional counseling, acupuncture and meditation, as well as
an on-site boutique to provide professional assistance with wig selection
and fitting to support patients, families and caregivers at every step—from
innovative "prehab" (prehabilitation) to palliative care counseling.
Clinical research is another integral component to our multidisciplinary
approach. Clinical trials are one of the most important weapons in the
continuing fight against disease and in the advancement of medicine. These
studies may offer patients the opportunity to receive new or potentially
more effective therapies, as well as state-of-the-art approaches to treatment.
Jupiter Medical Center participates in clinical studies and affiliates
with national research organizations to deliver clinical trials to our
local community. Our affiliations allow access to National Cancer Institute-sponsored
clinical trials. Patients have access to research that addresses many
aspects of cancer care, including new forms of treatment, methods of prevention,
ways of screening for cancer, and ways to improve comfort and quality
of life for cancer patients. Jupiter Medical Center also participates
in trials addressing general medicine, surgical outcomes and biosciences.
To meet the needs of the region, Jupiter Medical Center's Comprehensive
Cancer Program will have the ability to fully serve patients from diagnosis
through treatment. Additional, philanthropic support is essential to fully
realize Jupiter Medical Center's evolution from a high-quality community
hospital to a worldclass regional resource, while maintaining our strong
community orientation and independence.
Contact the Jupiter Medical Center Foundation today to learn about the
good we're doing and how to get involved.


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Varietal Facts
Wine Basics — Grape Varietals 101: Malbec
An introductory guide to Pinot Noir wine. Everything you need to know about the grape variety including flavour, food pairings and growing regions...
Try Malbec Wine if You Like Merlot or Bordeaux blends. Overview of Malbec Wine Medium to full bodied wine with medium tannin and acidity. In cooler climates the wine leans toward red fruit flavours and in warmer climates is display blueberry and darker fruit. How To Pronounce the grape Malbec: MAHL-beck Why...
Wine Basics — Grape Varietals 101: Aglianico
An introductory guide to Aglianico wine. Everything you need to know about the grape variety including flavour, food pairings, growing regions...
Try a Aglianico wine if you like Nebbiolo (Barolo) Overview of the Aglianico wine varietal A complex, tannic red wine with intense colour and flavours. Why we like the Aglianico varietal, grape, and wine A wine like Aglianico with high tannins and high acidity make great food wines. Powerful flavours...
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About the Producer
Masi Tupungato
La arboleda, Mendoza, Argentina
Masi Tupungato is the name of Masiâs winemaking project in the Mendoza region of Argentina, located in the Tupungato valley at the foot of the eponymous volcano. Here Masi has found the perfect climatic and cultural conditions to host the grapes and oenological techniques of the Venetian regions, particularly...


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St. Wilfrid's Church, Mobberley
Mobberley shown within Cheshire
|2,546 [1]
|Unitary authority
|Cheshire East
|Shire county
|North West
|Sovereign state
|United Kingdom
|Post town
|Postcode district
|North West
|EU Parliament
|North West England
|UK Parliament
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Mobberley is a village in Cheshire, England, between Wilmslow and Knutsford, which in 2001 had a population of 2,546,[1] increasing to 3,050 at the 2011 Census.[2]
Mobberley railway station is on the Manchester to Chester line. Manchester Airport lies to the north of the village.
Mobberley is mentioned as "Motburlege", in the Domesday Book of 1086. A priory was located here. Antrobus Hall was built in 1709.[citation needed]
Mobberley is best known as the home of the Mallory family: George Mallory (1886–1924), a mountaineer who died attempting Mount Everest, and Air Chief Marshal Sir Trafford Leigh-Mallory (1892–1944), who was air commander for the Allied Invasion of Normandy during World War II were both born in Mobberley. Their father, The Rev. Herbert Leigh Mallory, was rector of Mobberley.[3][4][5]
The church was mainly constructed around 1245. It was until recently dedicated to both St Wilfrid & St Mary although in recent years St Mary has been "dropped".
The Victory Hall was built in 1921 at a cost of £4,500 on a plot of three quarters of an acre given by Mr R O Leycester.[citation needed] The Victory Hall was built in 1921 as a community meeting place for the villagers from local funds and benefactors and was originally in a cross plan occupying about three quarters of the site we see now. It was officially opened on Thursday the 30th of December 1921. The main hall was of timber construction with pitch roof - chosen to avoid the weight of a tiled roof - with the walls designed in a mock Tudor style to reflect many of the local buildings and to emphasise its importance to the community. The feature clock - now preserved in the small meeting room - was a focal point of the village until the Millennium when it was replaced by the stunning new clock. Indeed, if you were to ask directions to Mobberley, for many years those directions would have involved 'get to the clock at the Victory Hall and ....' The Hall is the spiritual home of the village Rose Festival which is very different from the many May Day festivals held throughout Cheshire, although many of the pagan dances remain. The Hall hosts the annual Rose Queen procession selection night and relevant rehearsals. The Hall has always been designed with multi-functionality in mind. It is split into two areas - the main hall with sound system lighting and stage and the side (meeting) room with adjoining kitchen. In 1992, the hall was completely refurbished to the exacting standards found nowadays - a truly community facility. The Hall is also home to many village based organisations including the Women's Institute, Village Society and playgroup and is a regular place for locals - and wider - to hold a variety of celebrations and meetings in fine surroundings and at minimal cost.
Mobberley has seen a lot of change demographically in recent years, first the opening of the nearby M56 from Manchester to Chester and then the Second Runway at Manchester Airport; which brought about improvements for some and deterioration for others in the Parish. These developments have led to Mobberley becoming largely a dormitory village of Manchester. Mobberley is well covered by pubs.[citation needed]
Mobberley plays a key role in the children's fantasy novel The Weirdstone of Brisingamen by Alan Garner.
Mobberley has a cricket club which plays at Church Lane, in Division two of the Cheshire County Cricket League.[6] It has many teams including a first, second and third teams, and a junior section. The main sports currently in Mobberley are based at the Victory Hall Memorial Club - crown green bowls and snooker.
Notable People
- Sylvio Campos - Manchester City and Brazil defender.
- George Mallory - English mountaineer, who died in his attempt to be the first to reach the summit of Mount Everest
- Trafford Leigh-Mallory, Commander-in-Chief of RAF Fighter Command in World War II
- Dave Dee, vocalist in 1960s hit recording group - "Dave Dee, Dozy, Beaky, Mick & Tich" (formerly Dave Dee & The Bostons)
See also
Notes and references
- ↑ 1.0 1.1 Census, 2001
- ↑ "Civil Parish population 2011". Neighbourhood Statistics. Office for National Statistics. Retrieved 13 March 2016.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
- ↑ Knutsford Guardian; 20 August 2011
- ↑ Trafford Leigh-Mallory profile at Oxford Dictionary of National Biography
- ↑ Air of Authority - A History of RAF Organisation - Air Chief Marshal Sir Trafford Leigh-Mallory
- ↑ Mobberley County Cricket Club. Retrieval Date: October 12, 2007.
External links
|Wikimedia Commons has media related to Mobberley.
- Mobberley Village In Cheshire: Community WebSite. Retrieval Date: October 12, 2007.
- www.mobberley.info. Retrieval Date: October 12, 2007.
- Mobberley Victory Hall Memorial Club: Community Hall Website. Retrieval Date: October 12, 2007.
- Mobberley Pre-School Website. Retrieval Date: October 12, 2007.
- Mobberley CE Primary School Website. Retrieval Date: October 12, 2007.
- Ringheye Morris of Mobberley
- St. Wilfrid's Parish Church Website. Retrieval Date: October 12, 2007.


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If you are seeking a drug and alcohol treatment program in Nevada it is important to understand the goals of treatment before you launch into a detox or treatment program.
There are many different rehab programs available in Nevada. One important consideration is whether or not the program you are considering is licenced and certified by your insurance plan. This is an important issue because not all drug programs are covered by all insurance companies.
Drug and alcohol programs may be based on an in-patient or out-patient program. In-patient treatment programs include a period during which the patient stays at the program for a matter of weeks and sometimes months. Some in-depth in-patient programs can last as long as an entire year. However, the average length of time for an in-patient program is approximately two to four months. Out-patient programs often include a very short period of time during which the patient goes through a detox program, but the rest of the program requires the patient to live in their own home while they attend daily and later weekly group and individual counseling sessions.
The primary goal of drug and alcohol treatment is to substantially reduce and even eliminate the drug and alcohol usage of the patient. Addiction is a complex and multilayered issue for most people and rarely can it be fully understood through a few simple counseling sessions. Instead, individuals with addiction issues require an in-depth understanding of why they began using in the first place and what is happening in their lives and their emotions when they actually use. As the patient begins to understand their behavior, then they are able to learn better ways to cope with their emotions that are not as destructive or toxic.
It is not uncommon for individual with addiction issues to find that their first attempt at recovery does not go well or does not last for the rest of their lives. Frequently, it is necessary to attend rehab for "tune-ups" in their recovery process. Additionally, not every counselor connects with or reaches a place of understanding with every patient. As a result, it is important to continue trying different drug and alcohol programs until you find one that works for you.
If you are looking for a drug and alcohol treatment program in Nevada, consider what programs your insurance policy provides for you and what your needs are for treatment. If you have tried other treatment programs, do not give up hope, the right treatment program exists for you.
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- June 1st, 2009


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You may think this is obvious, or perhaps not but either way we found something quite interesting. A few things actually.
As the old adage goes "turnover is vanity, profit is sanity, cash is a reality" and this is true of paid advertising of any kind.
Let's take this into the real world for a moment and let's say for example you paid us to bring people into your store. That's great no? If for example on any given day 10 people entered your store and by standing outside we could bring in 90 more people that'd be great surely?
People who walk into your store and don't enquire and follow up with a purchase are simply draining your resources and easting into your profit as you may well miss genuine customers because you were busy servicing prospects with no interest in making a purchase.
Any salesman worth their salt can identify buying signals, help customers be guided towards a decision and close the sale. The same is true of Facebook likes. With a few mouse clicks you can identify the fakes quite easily and sort out the chaff from the wheat.
Typically in paid advertising you'll hear of terms such as "CPC" or "Cost Per Click" and "CPA" or "Cost Per Acquisition". Simply put, a cost per click is the number of clicks received divided by the revenue invested in advertising. So if for example you spend $10 on advertising and receive 150 clicks or "Likes" then the cost per click was around 6.7 cents. That's not rocket science.
If then you get an engagement or a purchase from one of those clicks (depending on what you're end goal is) then the cost per acquisition is $10. If for example 5 of the 150 clicks result in an engagement of purchase of some kind then the CPA is lower at around $2.
If you watch the video below (about 9 minutes long) you'll see a very simply explanation of how Facebook unwittingly shows your advertising to click farms even if you do not target them and it's illuminating to see just how many famous profiles have accrued likes from locations that clearly have little or no interest in them at all.
We hope this helps clear up the confusion and if you have any questions or comments please leave them below.
We've just launched our new dedicated server for our clients and are making this available to the public too as we know there are clients out there willing to pay that little bit extra for performance and stability.
Like cars speed does not come cheap. However, unlike a car to get a faster website does not mean that you break open the piggy bank in order to get your website to load faster.
There are of-course tweaks you can apply and things you can do to speed up the delivery of your website but if the foundations are shared then you'll have to work that much harder in order to achieve your goals.
What No Website provide full featured and unrestricted WHM & cPanel web hosting to suit all your needs.
We've been providing hosting services for over 2 decades and with that comes the knowledge and assurance that we care about your website and do our level best to ensure that you have all the tools available to help your businesses succeed.
When you buy hosting from What no Website you're not simply buying hosting, you're buying over 2 decades of experience in the technology and hosting industry.
We have customers in Hawaii, South and Central America, Europe and further afield. All our customers enjoy fill featured WHM & cPanel web hosting as it's a platform they trust and helps them run their business.
This video tutorial covers creating an article, adding an image and also image gallery to that article and then linking to it from the menu.
Using this system new Blog entries are automatically added to your website as you publish them which means articles can be written by anyone within your company, all they need to do is select the correct category when creating the article and it will be automatically publiched on the website, no coding skills required.
We also cover optimisation of Blog posts on SEO Dojo should you need to know how to optimise these in more detail.
Security certificates are what show to users that your website is secure and it's safe for them to pass you personal information (for example their email address through a contact form).
More commonly people have security certificates for online shopping carts as they are taking credit card details from users online for an online store (https). However, since 2018 Google has given preference to secure sites in their search results so there's also a search results advantage to having SSL installed on your website.
If you are using cPanel as your website control panel then in all likelehood you can use self signed certificates which cost nothing to install. However, you will have to renew these from time to time and here's how...
The cPanel SSL service will also issue and automatically renew these certificates each year.
This will take a few moments to update but once done your site will be secure.
As with all our tutorials they come with a video which you can watch below.
It may become necessary to update your website's server to use a newer version of PHP. Where this is necessary we will already have provisioned and tested this new version for you and made it available. All you have to do is log in to your control panel (cPanel) and change this through MultiPHP Manager.
As with all our tutorials they come with a video which you can watch below.
It's frustrating receiving SPAM mails from your website but you also need to be able to allow people to make contact with you so here we have outlined how you can add Google ReCaptcha to your website to help ease this pain.
In this tutorial we cover SERPs (Search Engine Results Pages) for you and what to look for to help your business online.
In this tutorial we cover Google Search Console for you and what to look for to help your business online.
In this tutorial we cover Google Analytics for you and what to look for to help your business online.
In this video tutorial we cover how to recreate the "Mosaic" style blog layout we use that allows users to change the display layout of the Blog page themselves.
Using this system new Blog entries are automatically added to your website as you publish them which means articles can be written by anyone within your company, all they need to do is select the correct category when creating the article and it will be automatically publiched on the website, no coding skills required.
We also cover optimisation of Blog posts on SEO Dojo should you need to know how to optimise these in more detail.
There are many myths surrounding GDPR and what you should and shouldn't do in order to comply, here we hopefully dispel some of those myths.
This law is not about fines. It's about putting the consumer and citizen first. We can't lose sight of that.
Focusing on big fines makes for great headlines, but thinking that GDPR is about crippling financial punishment misses the point.
And that concerns me.
It's true the ICO have the power to impose fines much bigger than the £500,000 limit the DPA allows us. It's also true that companies are fearful of the maximum £17 million or 4% of turnover allowed under the new law.
But it's scaremongering to suggest that the ICO will be making early examples of organisations for minor infringements or that maximum fines will become the norm.
The ICO's commitment to guiding, advising and educating organisations about how to comply with the law will not change under the GDPR. We have always preferred the carrot to the stick.
Like the DPA, the GDPR gives us a suite of sanctions to help organisations comply – warnings, reprimands, corrective orders. While these will not hit organisations in the pocket – their reputations will suffer a significant blow.
The GDPR is raising the bar to a higher standard for consent.
Consent under the current data protection law has always required a clear, affirmative action – the GDPR clarifies that pre-ticked opt-in boxes are not indications of valid consent. The GDPR is also explicit that you've got to make it easy for people to exercise their right to withdraw consent. The requirement for clear and and plain language when explaining consent is now strongly emphasised. And you've got to make sure the consent you've already got meets the standards of the GDPR. If not, you'll have to refresh it.
This has understandably created a focus on consent.
But I've heard some alternative facts. How "data can only be processed if an organisation has explicit consent to do so".
The rules around consent only apply if you are relying on consent as your basis to process personal data.
So let's be clear. Consent is one way to comply with the GDPR, but it's not the only way.
You do not need to automatically refresh all existing consents in preparation for the new law. But the GDPR sets the bar high for consent, so it's important to check your processes and records to be sure existing consents meet the GDPR standard. If they do there is no need to obtain fresh consent.
Where you have an existing relationship with customers who have purchased goods or services from you it may not be necessary to obtain fresh consent.
It's also important to remember that in some cases it may not be appropriate to seek fresh consent if you are unsure how you collected the contact information in the first place, and the consent would not have met the standard under our existing Data Protection Act.
We've heard stories of email inboxes bursting with long emails from organisations asking people if they're still happy to hear from them. So think about whether you actually need to refresh consent before you send that email and don't forget to put in place mechanisms for people to withdraw their consent easily.
If consent is the appropriate lawful basis then that energy and effort must be spent establishing informed, active, unambiguous consent.
Taken from: ICO Blog | The Information Commissioner's Office.


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RENO GAZETTE JOURNAL / SEARCH: 711 Cedar Street Goldfield, NV 89013
Vacant Land
- $35,000 price
- 190012185 mls id
- Status: ACTIVE
Own a piece of Historic Goldfield, Nevada, an old (1861) mining town, 175 miles north of Las Vegas, off Hwy 95. The town is NOT vacant, and boasts a diner, saloon, church, museum, motel, radio station, & shops (auto, general store, ice cream, biker, gem). The pictures included here are area pictures that do not reflect the vacant property for sale, but the area nearby. Includes 15 lots of Block 179, 6-13 and 15-21, sub-dividable for a small fee ($200 8/6/19), for separate sale or kept together.
Courtesy of: Atlas Red Realty
Office Phone: 775-393-9639
Listing Agent: Kat Wilson
Updated: 6th April, 2020 5:57 PM.
711 Cedar Street Goldfield, NV
Real Estate | Reno Gazette Journal Powered by Placester


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RIMANO is a consultative approach to your branded merchandise and sales campaigns. More than just a product supplier, we look at the bigger marketing plan on how best to deliver your message and promote your business whether that's at an exhibition or conference, direct to clients or direct mail.
We provide high-quality promotional merchandise and branded products, knowing that your brand is more than just a logo, we'll work with you to deliver the best returns on your marketing investment.
Whether you need some printed pens for an event, or you'd like to discuss a complete marketing and exhibition strategy for your business, get in touch!
With innovative designs, UK products, express services and the option for completed bespoke made products, let us look at what we can offer that's different to help get you noticed, but more importantly, remembered!
Each business is different, we'll put a plan together to help grow your brand presence and develop it as a sales channel for your business.
We're not in it for the quick wins, we'd prefer to work with you on the long term objectives and be part of your growth and success as a business.
Additional Info


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Shortcuts to Microsoft Email Hosting That Only the Pros Know About
The Debate Over Microsoft Email Hosting
If you must guard your website to be penalized then it is critical to elect for a ethical, white-hat affordable search engine optimization business to care for your Internet advertising. The XSYS merchandise range can help get your company moving in the proper direction. Normally, software companies provide a totally free grade of a product in a bid to encourage their clients to eventually subscribe to the paid or premium edition.
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When you are starting out as a tiny company, the price of getting up and moving can be a significant stressor. If you would like to put your website, selecting the right hosting platform will wind up being the specific initial task. Not having the programs become supersets of one another, so they're difficult to compare.
You will find a excellent deal of domain websites where you can register your own domain name. If you cannot locate the email address for the site that has printed your copyrighted content, you can use WHOIS to locate the person linked to the site's domain . The essential issue is to make sure you're documenting the contact information of those men and women you meet.
A good deal more tasks aside from dissolving could be completed inside. Inside 24 hour you are able to receive your pack. If you're not well prepared to begin the migration then select initiate the batch afterwards.
Be cautious to not ask to make a new AdSense accounts in the event you now have one and you will need to utilize it to your Blogger website. When your bot was printed, you should get a code sample for many APIs to pull on to for data. You most likely already have one in case you've got a gmail account.
Microsoft Email Hosting – Overview
You can find free programs you may use to initiate a easy client engagement systems. To guarantee service level agreement criteria are satisfied. Consequently, it's imperative that there ought to be a committed e-mail solution service which will ensure the smooth flow of data in a business.
Using the trial version you will not receive all the features, but it's still true that you receive all the vital work be achieved. There are a wonderful many facets you have to look at. You understand you require an email migration to repair your issues, but you feel paralyzed.
Life, Death, and Microsoft Email Hosting
First let us look at what Grains are. True, their content might be invaluable. Some posts were quite popular.


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Today our house guest - the one who made us 6 - left on her way to continue her travels until she must return to Canada. She will be very missed in our home. Good Bye Lindsey!
The whole experience makes me want to open our couch to other travelers.
Here are a few awkward and badly taken pictures of the farewell.


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Three Chinese nationals have been indicted by the US Justice Department for allegedly hacking and stealing sensitive internal documents of American corporations like Moody's Analytics and Siemens for nearly six years. The indictment, which was unsealed on Monday, charged that the three defendants and others participated in "coordinated and unauthorised" cyber attacks in order to steal confidential business information and intentionally cause damage to those computer systems.
The three defendants have been identified as Wu Yingzhuo, Dong Hao and Xia Lei. Moody's Analytics, Siemens AG and Trimble were the American corporations that were hacked by the trio. According to the indictment, Wu, Dong and Xia were owners, employees and associates of Guangzhou Bo Yu Information Technology Company, a firm in the southern Chinese city of Guangzhou that offers cyber security services.


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Introducing Amanda
Amanda was born in Sydney and studied at McDonald College and at Tanya Pearson's Classical Coaching Academy. She was also a junior associate of The Australian Ballet School. At the age of 15 she moved to London to study at The Royal Ballet School. After graduation, she joined American Ballet Theatre (2007–2010) and then the Dutch National Ballet (2010 – 2013). With these two companies she toured extensively and danced featured roles such as Lady Montague in Romeo and Juliet, a Lead Swan in Swan Lake, and the Lilac Fairy in The Sleeping Beauty. She joined The Australian Ballet in 2014 and was promoted to coryphée in 2015.
repertoire highlights
- William Forsythe's In the Middle, Somewhat Elevated 2016
- Twyla Tharp's In the Upper Room 2015
- Fairy of Joy in David McAllister's The Sleeping Beauty 2015
- Stepmother in Alexei Ratmansky's Cinderella 2015
- Frederick Ashton's Monotones II and Symphonic Variations 2015
- Myrtha, Queen of the Wilis in Maina Gielgud's Giselle 2015
- Princess Royal in Graeme Murphy's Swan Lake 2015
You may not know
As a student, Amanda was an extra in The Australian Ballet's premiere of Graeme Murphy's Swan Lake.
Professional accolades
- Telstra Ballet Dancer Award nominee 2015