text:
Filed under: Dance | Tags: counterfeit madison, eve hermann, justin fitch, osu, osu dance, phil brown dupont, the ohio state university, TOWARD BELONGING
On April 29 and 30, I premiered a new dance work entitled TOWARD BELONGING, featuring performers Phil Brown Dupont, Justin Fitch, Eve Hermann, and Counterfeit Madison. Over the last several years, while working on my PhD, my choreographic practice has been almost entirely focused on developing solo queer burlesque pieces, dances that I choreographed for me to perform on burlesque stages in and around Columbus, Ohio. TOWARD BELONGING was a step back into the studio, working with people I care about on making something meaningful and critical together. If you were not able to see the performances, I have finally gotten documentation posted.
April 29 in the Barnett Theatre in Sullivant Hall in the Department of Dance at the Ohio State University, videoed by s lumbert:
April 30 in Studio 290 in Sullivant Hall in the Department of Dance at the Ohio State University:
Filed under: Dance, inspiration, personal | Tags: american college dance festival, annie sprinkle, autumn quartet, baton rouge, click here 4 slideshow or 6-8 character limit, coco loupe, cocoloupedance, columbus, columbus dance theatre, comfest, cuddle, deborah hay, dj moxy, elizabeth stephens, eric falck, feverhead, FIERCE International Queer Burlesque Festival, from one foot to the other, grooveasana, jeff fouch, loupe'd, of moving colors productions, queer porn, queer yoga, stupid cupid, the ohio state university, the runner, TRAUMA, wall street nightclub, wholly craft, wild goose creative, Yoga
I want to write about CoCo Loupe in Columbus, Ohio. Or maybe it's more like: I want to write about CoCo Loupe and me in Columbus, Ohio.
I recognize the impossibility of this endeavor before I even begin, but the impossibility of an endeavor must not diminish the possibility of attempting it, because the attempt will surely produce something other and more than that which is impossible.
Impossible because it will never be a complete account; any trace that I can write will only thread together fragments and gaps to offer an incomplete view, a partial perspective, woven from memory and forgetting.
My life with CoCo begins long before Columbus.
CoCo's life with Columbus begins before I arrived here.
My life with Columbus will continue once CoCo moves back to Baton Rouge—where we first met—although her having been here will always continue to be how I know this place.
This trace will not offer an account of everything. I doubt it will be entirely linear. But here it is:
I first met CoCo when I was in high school. She was my first modern dance teacher, at The Dancer's Workshop in Baton Rouge, Louisiana, where we are both from. My memories of CoCo from that period: her shaved head, the intensity of her classes, the Run Lola Run soundtrack, something called "acid jazz," learning to do "illusions" and something she called "shnorkles," and lots of pushups and crunches—a series she called G. I. Jane.
She was teaching at LSU at the time, and sometimes her students from the university would come and take class with us.
I would often see her getting coffee at the CC's around the corner before class. I knew of her before I took her class at Dancer's Workshop; she had done a show called Loupe'd with the modern dance company with whom I would eventually dance, Of Moving Colors Productions (OMC), and I remember seeing the posters for the show at my high school. Later when I worked for OMC, I filed lots of flyers with her bio on them, and saw this photo all the time:
This was how I saw CoCo for many, many years.
When working for OMC, I saw a video of Loupe'd, and I watched it obsessively for years; she did not know this at the time. What I saw in CoCo's choreography, and her collaborative work with Amiti Perry, was unlike any dancing I had seen in Baton Rouge. It was so strong and connected; I could hardly keep up with how one action became another and led into something else. I knew I wanted to dance like that someday.
Years later, I would create a solo based on a solo that CoCo presented in Loupe'd; I didn't know this at the time.
Then she moved to Columbus, Ohio, for grad school, and I went to college in Jackson, Mississippi. We saw each other several times at American College Dance Festivals during those years, and I felt like our lives were being braided together somehow, from this starting point in Baton Rouge to somewhere I did not yet know. I took her technique classes a these festivals, and I remember being disoriented by how familiar it was, and also how much her dancing had evolved, the mix of the unfamiliar within what was already intimately incorporated into my body from years earlier. When I graduated from college, I chose to apply to the Ohio State University for my MFA in Dance because this was where CoCo went and because the work that I had seen her present at ACDF year after year was the kind of work I aspired to make. I was accepted to the program.
During those years, I devoured CoCo's blog, From One Foot To The Other. The things that she wrote and thought about were the things I wanted to write and think about, and we left long traces of comments back and forth discussing things I can no longer recall but which gave me the first taste of what it would be like to think about and write about dance. I felt like my world was expanding line by line, post by post, thread by thread, comment by comment. Her blog gave me a connection to somewhere else, both literally her life and practice in Columbus (and then Oregon), and also a dancing life where dance and choreography functioned as research, where bodies were sites for critical inquiry, and dancing could ask questions about time and space and memory and cognition.
Year later, her blog would disappear—deceased—and it would be transformed into a zine and live on as a dance. We didn't know this yet.
Years later, I would be teaching a course called Writing About Dance at the Ohio State University, and CoCo would come perform for my students so that they would have live dance to write about. We didn't know this yet either.
When I first came for a visit to Columbus to find a place to live, CoCo met me for lunch at a place called Bodega. We ate salad and drank coffee, and she showed me a video of her dancing a solo called The Runner choreographed by Deborah Hay. Years later, words from Deborah Hay would become part of the structure and score for a dance CoCo would make called from one foot to the other, and I would see some of the words from Hay scribbled on the walls of a place called Feverhead, but we didn't know this at the time.
In the years since then, I've seen CoCo perform The Runner several times. I saw it at least once at AGORA when Junctionview Studios was still in operation. And this is the dance that she would eventually perform live for my students, an updated version of the solo, formerly The Runner, now entitled 1976: a bicentennial death at the disco. we ran for our lives. I saw this dance for the first time on CoCo's laptop on a hot June afternoon sitting in the front of Bodega in 2008.
At the end of my first year of grad school, CoCo asked me to dance in a new piece, originally to be titled 3 boys and an old prophetess, with Eric Falck, Jeff Fouch, CoCo, and myself, to be performed in a concert called Anthro(pop)ology II at the Columbus Dance Theater. I didn't know Eric before this project, and I hardly knew Jeff. During the process of creating that piece, the four of us rehearsed in CoCo's attic and a dance studio called Floorspace that no longer exists. During the process, it became unclear who were the three boys and who was the old prophetess; we all had prophetess solos, we all made solos to pop songs, we all danced together and with one another. And then CoCo got injured. Her role changed, and she became a figure who watched us, witnessed us, recorded us, and shared us. In the final version of the piece, she sat at a desk on the front edge of the stage with her computer and camera, watching us dance; on the opposite side of the stage was a large screen onto which was projected her computer's desktop, and the audience watched as she watched us and uploaded comments and photos live to her Facebook. In the final version of the piece, we took turns dancing with one another and dancing for one another, watching each other and being watched by each other. The succession of solos was suffused with anticipation, I remember, charged with aggression and eroticism and tenderness, and each time we danced it, I think I fell in love with everyone involved again and again. The piece was entitled click here for slideshow or 6-8 character limit, and we danced it all summer and throughout the autumn until it premiered in the fall of 2009.
That same fall, I began choreographing a new dance temporarily then permanently entitled Autumn Quartet, with Erik Abbott-Main, Eric Falck, Amanda Platt, and myself. It was an experiment with explicit violence and sexuality, with more pop music, with conventional vocabularies of erotic performance—pre-figuring my work in burlesque, but I didn't know this at the time—and systems of determinate and indeterminate algorithmic choreography. More aggression, more eroticism, more pop music, more tenderness, more falling in love. We danced set phrase material, made choices within an algorithmic score, stripped for one another, rolled around on the floor biting each other, leaving our marks on each other, being naked with each other, getting dressed in each other's clothes. I asked CoCo to come see the piece and give me feedback. This is not the only dance of mine to which I would ask her to watch and respond; it was not the first nor was it the last. She was my guide, my other eyes; I could trust her to see what I could not see and to show my own dance(s) to me. I was so lost in that lovely, unpredictable, structured mess of a dance, and the dance CoCo described back to me was perhaps the first time I realized that we are always doing so much more than what it is that we think we are doing, in our choreography and in our lives. It's an intimate act, to ask someone to give you their view of your own work, to invite that view into the creative process, to let their words affect the choices that you make in the dance that you are creating. In life—by which I mean something like life beyond the dance studio, although admittedly the boundaries get blurry—I think we call this something like love. CoCo is one of the few people who I have welcomed again and again into that position.
Over the next year, we danced together sometimes, as CoCo healed from her injury. She played golf. And sometimes we danced.
One time we danced at a food festival in the Gateway.
[I'm forgetting all kinds of things, and leaving things out. Each memory unravels into all kinds of other stories, other histories, other connections. Why don't I remember enough to write about BACKSPACE or the times I saw CoCo perform with them, all the different settings and situations in which we were together at Columbus Dance Theater? Why not explain that at the Gateway food festival, in the middle of an improvisation with whatever band was playing, I met Heidi Kambitsch who would eventually host the Queer Yoga classes that I teach at a space called It Looks Like It's Open? How can I not tie together all the strings of relationships with other people and faces in these photographs? Isn't it amazing that in trying to write one impossible trace, I can feel the pull of so many intersecting histories and how we've all made a life together here in this place called Columbus?]
That year—2010, the year I was accepted into the PhD program in the Department of Dance at OSU—CoCo did several performances/practices with the idea of "the other woman" (I think that's what she was called). It was a version of CoCo, a video of her dancing, sped up and digitized, and the flesh-and-blood CoCo tried to learn this digitized, sped up version of herself, tried to dance like this other woman. Those were really important works for me to witness; I felt like she was dealing so directly with the impossibility of ideals, the intense labor of our bodies struggling to live up to standards that have been manufactured as digital images of ourselves, while also fully accepting our own cyborg statuses, how we are already actualized in conjunction with all kinds of digital software/hardware, and how our flesh-and-blood bodies have already become something other than they might have been because we have looked at ourselves in the mirror of technology and (mis?)recognized ourselves as our digital avatars. This is grown-up, cyborg "mirror phase" shit, and I was enthralled. She danced around this hybrid other woman for a while, at Wild Goose Creative, in the window of Wholly Craft, other places.
I didn't know that soon thereafter CoCo and collaborators would stage an interactive dance/projected chat room spectacle at Wild Goose where I would be invited to be an "expert commentator," to write about the dance that was happening live, to have that writing projected on the walls of the gallery for the spectators and performers to see, to have that text absorbed back into the dance. She has been dancing around our lives with technology for a while. I didn't know that years later I would be dating someone that CoCo introduced to me who performs at Wild Goose month after month. There's a lot we didn't know all along.
A lot happened the following summer—2011. We did a performance with a lot of dancers at Comfest, and many friends I have since come to know and adore reference that performance as the first time they saw me (dancing with CoCo).
That same summer, Feverhead came into existence.
How do I even begin to write about Feverhead? It has been the setting for so many important moments in my life and in the lives of dancing and not-dancing people in this city. In July 2011, CoCo had the opening and tour of the Feverhead space, a space for making dances and for dancing, for performances and classes, the home of a collective of dancers called They Might Be Dancers and their collaborators. I showed up late after teaching yoga across town. I stretched out in the space for the first time that night.
I had no idea how many times I would stretch in that space, dance in that space, rehearse in that space, watch performances in that space, teach in that space, read my own writing in that space, teach and take Queer Yoga classes in that space, watch myself in a dance film projected on the walls of that space, cuddle in a bed with friends and lovers and strangers in that space, screen queer pornography on the walls of that space, cry on the floor of that space, pose for photos for a Valentine's article about Columbus couples in that space, listen to music composed and performed by friends and loved ones in that space, discover new ways of thinking and moving and loving and performing all in this crazy little space called Feverhead. We simply had no idea at the time.
That fall, CoCo asked me to perform with her at TRAUMA, an annual kink/fetish Halloween event that has been happening in Columbus for over a decade. We learned choreography and rehearsed at Feverhead. This would be the first time I would perform in six-inch heels on stage. This would be the first time I would be flogged in front of hundreds of people. We danced for almost five hours on two different nights, on the main stage, on the dance floor, and again on the main stage. We left with welts and bruises from COREROC/Ashley Voss whipping us with floggers dipped in paint, marks on our bodies that would linger for days/weeks. It continues to be one of the most intense performances I have ever done, and I did it with/for CoCo. I have continued to perform in TRAUMA every year since then. Performing together was surreal and a total genderfuck: CoCo is this intensely muscular body wearing combat boots and I am next to her, long and lean, in six-inch heels; we were both wearing gas masks. I like to think that we brought something queer/genderqueer to the TRAUMA stage, that together/alongside one another, we brought contemporary dance to a non-traditional space, and performed bodies that do not readily conform with the normative expectations for what gendered bodies should be. I know I felt visible because I was dancing next to her.
A month later, CoCo had an event at Feverhead called "Afternoon Delight," a kind of mixed-media casual art event, with live music and visual art and dancing. She asked me to read an essay that I had written called "Who/How I?" We didn't know at the time that two years later, this essay would be published on NPR's This I Believe web archive. I thought this one public reading constituted the life and impact of that writing, and sharing it in public was a gift that CoCo gave me. We ended up dancing together that afternoon; it seems like we always end up dancing together.
In 2012, CoCo decided to create an event modeled on events that she used to produce in Texas (I think?) called STUPID CUPID, an alternative Valentine's party. She asked me to contribute a performance, and I staged a piece called cuddle which I had first performed in U.Turn Art Space in Cincinnati as an homage to the piece by the same title originally performed by artists Annie Sprinkle and Elizabeth Stephens. This piece involved installing a full sized mattress in what was then the gallery space at Feverhead. Over the course of the evening, I cuddled with partygoers for seven minute intervals, in solos, pairs, and trios. We may have had one quartet? I think I cuddled with around forty people that night. But one of the first people was CoCo. We were very quiet. Some people talk when they cuddle. Some want to chat or share intimate details or ask questions; we just rested together, for seven minutes, before the party really got going.
Shortly there after (maybe a week?), I hosted my first queer porn screening at Feverhead. I had attempted to have a queer porn screening in multiple other venues in the city, and it had never come together. CoCo offered me the space. It was an opportunity to bring more visibility to work that is already being done in pornography to bring visibility to more bodies, sexes, sexualities, and genders. We screened the work of Shine Louise Houston, Madison Young, and Courtney Trouble, all queer/feminist pornographers committed to ethical productions and ethical representations of bodies, people, and their sexualities. This was the first of two porn screenings that I have had at Feverhead.
The screenings were both followed by conversations in which a room full of people talked about their perceptions of pornography, sex, sexualities, what it means to be queer, what it means to be trans, how to stimulate the g-spot, what it means to produce ethical representations of sex and bodies, and the sheer excitement of seeing other people have sex in ways that you perhaps have never imagined. Feverhead has been an incredible space for many people and for may purposes, but hosting those queer porn screenings/conversations were pivotal for me: through those events, Columbus became more of the city where I wanted to live. I know I'm not the only one who feels like Columbus is a better place to live because Feverhead is here.
Sometime that spring, CoCo was training for a 24-hour or multi-day performance. She had a (I think) four hour performance in which people were invited to drop by for any amount of time throughout the afternoon. I stopped by for a bit. I ended up dancing with CoCo while DJ Moxy made sound with us live in the space. It was not the first time I had danced to Moxy's music, but it was maybe the first time I had danced with CoCo to Moxy's music. It would not be the last. I have lost track of how many times and the different places where we have danced so hard while Moxy dj'ed that we sweated through all of our clothes and closed down the bar, soaking wet and completely alight. We had no way of knowing that over a year later, the three of us and others would be grooving through a yoga practice that might be one of the most transformative physical experiences of my life thus far (also at Feverhead), or that we would be standing together on Gay Street watching Way Yes at the Independents Day Festival, or dancing into another sweaty mess together at the Columbus RED Party.
That autumn—2012—CoCo premiered a new dance called FROM ONE FOOT TO THE OTHER: what was once digital is dead & now lives on as a dance with They Might Be Dancers Too (Zachariah Baird, Counterfeit Madison, and Eve Hermann), with appearances by They Might Be Dancers (Noelle Chun, Nicole Garlando, Lindsay Caddle LaPointe, Noah Demland, Leigh Lotocki, CoCo Loupe) and Karen Mozingo, with original music by Counterfeit Madison and Noah Demland. This was the dance that her blog became, the blog that I read before coming to grad school. It became a zine and it became a dance, made with and for three adult dancers—Zachariah Baird, Counterfeit Madison, and Eve Hermann—who had only begun dancing months earlier. I have written at length about that piece here, and if you have time, I hope you follow the tangent to read about that piece and come back here.
[There's so much I'm leaving out. There's so much I'm forgetting. There was the time that I desperately wanted to present my research at the Ecosex Symposium II in San Francisco and I did not get the travel grant I applied for and CoCo sponsored my travel so that I could present my research, where I continued to collaborate with Annie Sprinkle and Elizabeth Stephens, about whom I am writing part of my dissertation, who first performed the cuddle piece to which I performed in homage, where I met Jiz Lee who performed in the queer porn that I would eventually screen in Feverhead, where I stayed with Karl Cronin who CoCo introduced to me years earlier and about whom I am also now writing in my dissertation. And the quarter that CoCo taught technique at OSU and I took her dance class again, six or seven or eight years after I had first taken her classes in Baton Rouge. And that CoCo performed with the Velvet Hearts before I did, and I watched her performing with this burlesque company on the stage of Wall Street years before I would perform with them on that same stage. And dancing into a sweaty mess at HEATWAVE. And the time we were both part of the Noble Peach Awards, and I gave Eileen Galvin the award for Biggest Genderfuck, and CoCo called the two of us goddesses, and she was given an award for—I think—most likely to dance into exhaustion, and I was so excited to be part of a community of people who would show up and celebrate and honor these kinds of people and accomplishments. And watching one another perform more times than either one of us could possibly count. And more.]
In the spring of 2013, I created a dance for the first FIERCE International Queer Burlesque Festival based on a solo that CoCo had choreographed that I had watched again and again on an old VHS tape of a concert called Loupe'd in Baton Rouge. CoCo let me use/adapt her choreography for this solo, choreography that was too difficult for my body to dance, choreography that had to be slowed down and altered to fit my body and to function as burlesque. Somewhere in what the choreography became, our bodies met (again). I made a video from footage that CoCo shot so that there could be a video component that approximated an idea that CoCo had for the original piece that had never been realized. She met me in a warehouse in Franklinton, and videoed me dancing this solo that I had made from her solo; in the final performance, the video was projected on five screens surrounding the audience at Wall Street Night Club while I performed the solo live on stage. This is the video that was projected, CoCo videoing me dancing the solo made from her solo:
There's so much more to tell, about sitting on a couch at Impero and exchanging mantras to mend our broken hearts while clutching mala beads as spring became summer. About all the dances and classes and collaborations through which CoCo has made Columbus what it is, for which I was not present, for which I cannot account. This is, after all, an impossible trace. It's all fragments and gaps and memories and forgettings. There are people who maybe should have appeared in these traces that have not, and tangents that I maybe should have followed. There are so many other accounts that could be written.
This autumn—2013—we knew CoCo would be moving back to Baton Rouge.
She also started this Friday night class called Grooveasana, a yoga/movement improvisation hybrid class the danced in and out of asana, that found asana and transitions between asana as we danced around them. I can't completely explain why this practice has been one of the most fulfilling/generative practices in my life…it has something to do with my long-time yoga practice providing a trusted preparation and container for wherever else my curiosity might take me/my body. For many weeks, we were still trying to figure out exactly what it was we were doing, how to go about a loosely structure yoga asana practice that could dissolve into grooving and dancing and exploration and then easily transition back into savasana/relaxation. Sometimes Moxy dj'ed. And we found our groove, again and again and again, in different ways, along different paths.
But I don't want to diminish the significance that it was CoCo leading the way, and my earliest experiences in dancing were following CoCo's lead, as a teenager taking dance classes in Baton Rouge, following her lead to OSU and Columbus, OH, following her throughout this community, in and out of Feverhead in so many ways, and through this groovy familiar/unfamiliar yoga/dancing space.
It is no exaggeration to say that I don't know where I would be if I had not followed CoCo, all the traces she left for me and in my dancing body/life; I know that I would not be here. I don't know how my body would move; I would have never considered moving to Columbus or going to OSU; I'm not sure if I would have made the dances that I've made; I know I would not have danced the dances that I've danced. When and where would I have ever had queer porn screenings or cuddling performance art or watched my loved ones new and old performing together for the very first time or grooved my way in and out of yoga?
I have never lived in this city without CoCo, and Columbus will always be what it is to me because of CoCo having lived here with me.
But this is really just a concrete metaphor for something vastly more true: I have never lived the life I am living—and dancing and writing and teaching and loving—without CoCo, and it will always be what it is to me because CoCo has been braided in and through it for so long.
This is an insufficient trace. I can't seem to put words to what it felt like, all these years, the ebbs and flows of inspiration and elation and hesitation and contemplation and perplexity and frustration and grief and laughter and seeing each other again after longer periods of time and the overwhelming sense of recognition, of having been seen by another for so long, and so much delight and so much relief and so much love… There is so much I can feel slipping just beyond the edges of the screen, and what I've written cannot begin to do justice to this person I love. But I needed to try to record what I could fathom of these years, pieced together from memory and Facebook. There's a part of me—the part of me who is a writer, the part of me who writes in order to show appreciation, in order to extend the duration of that which I appreciate—that is already grieving the loss of being able to write about CoCo and her work, at least for the foreseeable future. And here I've found myself writing a trace of her/our dancing life/lives perhaps as a way of holding in the present—and into the future—the tangle of that dancing and writing that I will miss so very much.
Our lives will continue to braid, in Baton Rouge, beyond; the trace certainly does not stop here.
[Friday, December 13, CoCo is offering a gratitude and farewell concert at Feverhead: https://www.facebook.com/events/391730200961595/
On the program:
Noah Demland's "Timelines"
Obstinate Robinson AKA Counterfeit Madison AKA Sharona Sharona Sha-ro-na
Corbezzolo – Marie Corbo, Philip Kim, and Noah Demland
"Very, Very, Very": A new trio by CoCo Loupe with music by Noah Demland for Nicole Garlando, Leigh Lotocki, and Amanda Platt
New video work by Nicole Garlando w/ photography by Eve Hermann
"re: addressing": A solo (CoCo) bon-voyage-dancing-gift
Friday, December 13, 2013
Feverhead: 1199 Goodale Blvd, Columbus, OH, 43212
Tea and BYOB party follows performance.
Free admission but donations happily accepted.]
Filed under: culture | Tags: fall fashion preview, fashion, scarlette magazine, student bodies, student fashion, sullivant hall, the ohio state university, wexner center for the arts
Last week I had the pleasure of attending the Scarlette Fall Fashion Preview on the Wexner Center for the Arts Plaza.
Scarlette Magazine is the Ohio State University's first fashion magazine, released twice a year. Friday's runway show previewed looks from the magazine's upcoming Fall Issue.
Taking place on the Wexner Plaza, Sullivant Hall, currently under renovation, served as the backdrop for the event. As I sat in the overbearing sunlight waiting for the show to start, the DJ blasting sounds across the plaza, I thought about how the context and setting were already coloring my experience of what was yet to unfold. I came to graduate school in 2008 for my MFA in Choreography. Sullivant Hall was my second home for three years. To date, I have probably spent more hours in that building than anywhere else in Columbus. I have danced, choreographed, studied, taught, and shared so much inside those walls. But over the last two years, the Department of Dance has been displaced, spread throughout a handful of buildings across campus while Sullivant was gutted and rebuilt from the inside out. This fall the Department will gradually begin to move back into our spaces, along with the Billy Ireland Cartoon Library and Museum, the Department of Arts Administration, Education, and Policy, the Advanced Center for Computer Art and Design, the Barnett Center for Integrated Arts and Enterprise and the Barnett Theatre; the new building will no doubt hold wonders untold. As I sat in the sun anticipating this fashion preview on the OSU campus, I felt suspended before renovation, somewhere between a manifold of memories of what once was and all the promise that is suggested by what is yet to come.
Then the show began. Photographers, maybe five or six, hovered around the crowd and at either end of the runway. The first model was one of my former students, wearing a palette of golds, khakis, and beiges, a kind of sarong wrap skirt, a lace midriff camisole, and golden lips. Gold was a theme throughout a number of looks (nineteen in all?), a kind of anchor that shimmered across the surface. I am not a fashion writer, and I cannot pretend to be; what has lingered with me days later was the event as a performance, how the event enacted a version of fashion within a particular choreography, within a particular context, and with particular bodies. The choreography, with minimal deviation, involved a long single pass down the cement runway at one side of the plaza, a pose, another pose, and a second long pass back up the runway, affording the audience the opportunity to apprehend, accumulate, and appreciate the bold and subtle details of each look. The pace of the steps was driven mostly by the music of the DJ, with only one or two models experimenting with different layers of tempo, differing the rhythms of their steps. Throughout a show that seemed run through with individuality and personal expression, the rhythm of the runway had an odd regulatory effect, these bodies falling into step with tempos being given to them by the DJ. This is of course not uncommon for runways, but perhaps that is something to be considered: the runway as ambivalently given over to both individual expression and a—can I call it disciplinary?—regulation of bodies. Fashion [shows] as a form of corporeal discipline? This all collapsed momentarily when the sound system overheated and shut off, leaving the models to walk the runway to no given beat, only the busy sounds of the Friday campus outdoors. After the initial flurry of, "What happened? Is something wrong?" settled in the crowd, there was an almost John Cage-ian quality to watching these models walk with whatever sounds there were, as if they were simply walking through daily life.
And this is an important part of how the show has lived with me over the last few days: what it had to do with daily life. These were students' bodies on display in an outdoor public space on the campus where we live our daily lives. That we were all sweating together in the intense sunlight—the audience and the models alike—made this liveliness tangible. Behind the models was Sullivant Hall. Pedestrians—possibly their professors and classmates—stopped throughout the show to take a look at what was happening. I myself have walked across the Wexner Plaza more times than I can imagine, on my way to teach or take class; I've danced with those trees, walked that cement runway, noticed the bodies of other people moving around and alongside one another in loose choreographies, and in ways that are likely both similar and distinct, I'm sure most people sitting there or walking that runway have lived portions of their lives on that plaza. But it wasn't just the context the gestured to everyday life; it was the fashion itself. I can't go into detail about every look—there was a black dress with what seemed to be white metallic paint on the front side, worn by a model with severe black eyebrows penciled in and carrying a candle; there was a beige open back halter shirt draped with a loose harness made from ropes and tassels, a kind of baroque suggestion of a BDSM aesthetic—but what I noted was that most of the garments were what I would call found and/or altered pieces. This was not haute couture, and it was not big budget. Most of the models wore their hair in ways that likely isn't that dissimilar to how they wear it any other day, and most of the shoes were what I would think of as a "best fit," the shoes that worked best given what people had to work with. In short, this was a student fashion show. And herein was its brilliance: it was not a display of the unattainable, garments fabricated from far-off fantasies and aspirations. It was a parade of looks cohering around several tangible themes—gold, black and white, the juxtaposition of athletic wear and formal wear, among others—all of which were imaginable and realizable by and on the bodies of students, in some ways that echoed currents trends and aesthetics in RTW and couture fashion lines, and in other ways that seemed to emerge from the possibilities suggested by these found pieces themselves. For me, this was a glimpse of what a campus like ours could look like, with students experimenting with what they have in order to make something new and different and exciting. By the end of the show, the backdrop of Sullivant, in the process of renovation, somewhere between what it was and what it could be, felt very appropriate.
Scarlette Magazine makes its mission "to showcase campus individuality and beauty, presenting new ideas and exciting photography both to the Ohio State University campus and to the world." If the presentation of both new ideas and the potential for beauty and individuality on campus within their Fall Fashion Preview is anything to go by, I would say that they are serving that mission. And I look forward to seeing the forthcoming Fall Issue.
For more information about Scarlette Magazine, its staff, past and current issues, and writings about fashion, visit:
Filed under: culture | Tags: 2011, michael j morris, osu, owen david, performance protest, the ohio state university, wbc, westboro baptist church
This morning, Westboro Baptist Church picketed on the campus of the Ohio State University. I have chosen not to offer any hyperlinks to WBC's sites, or to offer any photos of their protests or transcriptions of their rhetoric; I have chosen to not reproduce or proliferate what I categorize as hate speech/rhetoric. I think it is enough for the purposes of this post to summarize that WBC considers homosexuality to be "soul-damning" and asserts that the "sanction" of homosexuality in the United States (and around the world) has exposed our country to wrath of god. The Ohio State University is apparently also complicit in this "sanction," making it a target for these radical protests.
Last week, a colleague of mine named Owen David told me that WBC would be on our campus again. He suggested that we stage some sort of performance response to their presence at OSU. I agreed; while I rarely engage overtly in public protests, it felt important to me to oppose the presence and sanction of these voices in the place I call home. Over the past week, the idea for the performance evolved and developed, settling into its final form this morning. We decided to engage in a walking meditation on intersecting pathways, converging nearby where WBC would be protesting. WBC was set up on the corner of High Street and 12th Avenue. Owen started approximately 100 feet west of the intersection on 12th, and I started approximately 100 feet south on High. Our plan was to take twenty-five minutes to walk from our starting positions to our convergence point only a few feet from where WBC were positioned, hopefully finishing our walks around the time that the protest dissipated. Instead, our walks took over an hour. We started when they started, and long after they had gone, we were still progressing. This transformed the situation of the performance, and in doing so provided me with unforeseen significance for what it was we were doing.
This performance/performative protest was intended as a quiet assertion of the visibility and mobility of bodies that would be prohibited under the politics of WBC. It was important that we were not responding in the same social registers as those deployed by WBC (signs, loud music, etc.). Our response was articulated through silence, sustained mobility, concentration, and contemplation. By the end of our walks, several other themes had emerged for me: endurance was significant, not only in the sense of the bodily endurance necessary to take over an hour to walk close to 100 feet, but also in the sense that our presence/action endured/persisted far beyond the presence/action of those to whom we were responding. I was also deeply aware of how my understanding of visibility had shifted by the end of the performance.
It is worth taking a moment to reflect on the overall context in which we enacted this performance/practice. WBC protesters were not the only bodies present on the corner of 12th and High. In fact, the crowd of counter-protesters dramatically outnumbered the small but vocal WBC crowd. There was also a large police presence on the scene, some officers spread around the periphery of what felt like a rally, but most establishing a line of protection around the protesters from WBC. The crowd that had gathered in opposition was exemplary of the productive force of power, and the unforeseeable/uncontrollable effects of political action. The hate rhetoric of WBC became a foundation for unlikely alliances: those who showed up to oppose the homophobic rhetoric occupied space alongside thus who showed up out of a sense of school spirit, opposing the anti-OSU rhetoric deployed by WBC, as well as those who showed up out of a sense of national patriotism, to defend the country and the military against the attacks issued by WBC. This church opposes the nation and the university, claiming that both institutions enable homosexuality, and that this enabling marks this nation for destruction. However, these attacks produced unlikely results, namely, provoking a response that allied bodies/individuals alongside homosexuals who might not otherwise occupy such a position. Witnessing this was a great reward.
When we started, I immediately felt as if I had conjured myself as invisible. My quiet, slow progression down the sidewalk seemed to vanish alongside the noise and commotion of the protesters on the corner. This was a difficult place to begin: I had come to this place this morning to assert my visibility, my mobility, and at the start it seemed as if my action had effectively erased my presence from the situation. However, the longer I walked, the more those who passed by me in either direction took notice of my presence. Several people spoke to me. One person asked my permission to photograph my walk for his photography course. Others simply stared or observed from a distance or became aware of me as an unexpected obstacle in their path. In this sense, what I had conceived of as an assertion of visibility became something more akin to a journey from invisibility into the very visibility I had intended to assert.
However, this experience of visibility became most important—and significantly reoriented—towards the end of the walk. The crowd had dissipated. WBC had left the corner, and it was once again a seemingly neutral thoroughfare. That was when I became aware of my awareness of Owen. He had been at the periphery of my vision throughout the walk, and although he was far off and through the crowd, I recognized him. As we approached one another in the last few minutes of our walk, I realized that this sustained recognition may have in fact been the vital practice of this performance. I kept thinking of this passage from a lecture by Judith Butler:
"So what I accept is the following: Freedom does not come from me or from you; it can and does happen as a relation between us or, indeed, among us. So this is not a matter of finding the human dignity within each person, but rather of understanding the human as a relational and social being, one whose action depends upon equality and articulates the principle of equality … No human can be human alone. And no human can be human without acting in concert with others and on conditions of equality … The claim of equality is not only spoken or written, but is made precisely when bodies appear together or, rather, when, through their action, they bring the space of appearance into being."
I had shown up to assert my visibility; what I came to realize over the hour of our walk was that it was actually through this performance/practice that I truly "showed up," came to appear, came to be visible, to recognize and be recognized. It was through our performance together that we conferred visibility and recognition on one another, and it was in part through the walk itself that we created the conditions for that mutual recognition. As we got closer, I noticed that our steps fell into unison. Neither was fully leading or following; rather, we were moving together. We acted "in concert" with one another, and in doing so, established our own experience and possibility for recognition. Afterwards, Owen commented that as we approached one another, he actually smelled by scent before he saw me directly. As we met, we turned towards one another, made eye contact, and then embraced. Seeing and touch became further iterations of recognizing and being recognized. It seems now that the true significance of this performance lies in this conference of recognition, specifically in the presence and aftermath of those who would erase our existences.
It seems important to me after the fact that so much of this mutual recognition was practiced at the periphery of our vision. We did not look at one another directly until we converged at the finish. This seems to me a very queer experience indeed, to not only see someone, but to recognize him, not straight-on, but obliquely, from the side, at the edge. This indirectness that might be read as a form of queerness seems to also have been implicit in our spatial pathways. We didn't come from opposing points (a rigid binary), but neither did we presume to come from the same place (alongside one another). These variable experiences of seeing, recognizing, and approaching seem essential (if I may hazard that word choice) to what it means to move through the world queerly, and it seems important that these elements made up the primary materials of this performance.
It also seems important to recognize the inherent connection between recognition and desire, between desire and discourses of sexuality, between recognition/visibility and the political projects of civil rights, specifically those that mobilize around issues of sex, sexuality, and gender identity. I'm afraid I don't have the time or space to fully address those connections, but my hope is that by suggesting them, I might also suggest possible extensions for today's performance/practice.
I do not know if we were recognized as other-than-heterosexual, as queers or homosexuals moving, but what I do know is that we presented ourselves as moving through the world differently, as moving out of step with those around us. The very thing that differentiated us from those moving around us—being out of step, our slow and sustained progress, etc.—was also what established our commonality, our visibility to one another, visibility that eventually led to a synchronization of our steps.
How significant that what makes us recognized as different is not necessarily something that we are, but rather a way that we do, and that this doing is simultaneously what set us apart and brought us together . . .


text:
Suggestion for Swanage: Many proposed initiatives for boosting local business cost money. How about selling Swanage as the `Dark Sky Capital' of the South Coast? All we need to do is to switch off the lights. We could even save money! Perhaps every Friday night could be Dark Night. Bournemouth creates quite a glow, but looking east, north and south it can be dark enough.
We already have the 14" telescope at Durlston, run by the Wessex Astronomy Society which runs welcoming and informative evenings every so often (next one, weather permiiting, is on 30th August). Let's enthuse people with a wonderful view of the heavens!
Sunday, August 18, 2013
Dark Sky Swanage?
Posted by The Postman at 8:42 pm
No comments:
Subscribe to: Post Comments (Atom)

subset: commoncrawl


text:
Thursday 6th SeptemberExercise - Bingo
Thursday 6th SeptemberBaking - Flower arranging - Entertainer
Thursday 6th SeptemberBible group - Tuck shop
Tuesday 4th SeptemberHairdressing
Wednesday 5th SeptemberChair yoga - Crosswords - Sudoku
Wednesday 5th SeptemberBaking - Arts & Crafts
Tuesday 4th SeptemberPrayer - Afternoon tea - Walks
Monday 3rd SeptemberArts & Crafts - Exercise club
Friday 28th SeptemberMacmillan Coffee morning
Wednesday 12th SeptemberResidents outing
The Care Quality Commission monitor, inspect and regulate health and social care services. They publish what they find, including ratings to help people choose care. Find out more…


text:
Kari Ellen Klæboe (Skjæveland) (b. 1941) is the wife of Rolf Klæboe, a co-founder of the campground Shady Acres, and one of the main antagonists in the Adrian Yunevich and Roger Landry novel Shady Acres.
Physical appearance Edit
Kari looked to be in her mid-fifties (she was 57), and she had long gray hair, blue eyes, glasses, and a pointed chin.
Personality and traits Edit
Kari was a very persuasive woman, with a very calming way of speaking. Although she didn't disagree with keeping everyone at Shady Acres, she didn't have much of a role in keeping them there.
Community content is available under CC-BY-SA unless otherwise noted.


text:
Red Truck Knob
Add to the darling theme in your room with a swift, quick update! Red Truck Knob features the resin shape of a truck front end with carved details, a red finish, and rustic black accents for an aged look. Add it to a cabinet door or drawer for a bold, beautiful look!
- Length: 1 3/8"
- Width: 1 1/8"
- Projection (Distance Knob Will Extend From Surface): 1 7/8"
- Screw Length: 1 1/4"
Item not available in Hobby Lobby Stores.
Check your local store for availability.
Send me an email when it's back in stock.
Check your local store for availability.
Inspired?Share it:


text:
Status: Finished
Genre: Romance
She put a thin finger on his hot lips. "Now say, I love you, Tina," she said.
He nodded in desperation. "Yes-yes-I love you, Tina, I love you, I want you, I need you, Tina."
She relaxed and closed her eyes, waiting for him. He caught his breath and gasped as he inched toward her and entered the tightness of her thighs. He felt her crude wriggling beneath him and he was tantalized by the squirming touch. Then he was lost in a blinding sensation that ripped through him like a hundred sunsets. Suddenly she was urgent to him, sweet and warm and she bore an important relation to this new, strange world.
He lay with his head beside her on the bed and he gasped for breath. She reached over and pulled the sheets around them. He closed his eyes.
"Sleep well, baby," she whispered softly.
© Copyright 2020 Grown Folks. All rights reserved.
Short Story / Erotica
Short Story / Erotica


text:
Following the announcement it was extending its equity crowdfunding campaign on Crowdcube, Qured, an on-demand health technology platform which provides affordable at-home healthcare at patients' convenience, has successfully secured its initial £500,000 funding target from more than 225 investors.
As previously reported, Qured aiming to democratize private care, becoming the go-to platform for both patients and practitioners. The company experienced major growth in its first ten months where it received more than £1.4 million in 2017 after a successful crowdfunding campaign on Seedrs, with support from 555 investors keen to be involved in the revolutionary approach to primary health care; this includes its Board Member, Dan Warne, Deliveroo's UK and IE Managing Director. After a successful launch in London, Qured is preparing a full UK roll-out. The service now covers Greater London and has achieved over 30,000 downloads, 6000 registered patients, and 450 registered doctors. Dan Warne, MD UK/IE of Deliveroo and key investor of Qured, recently stated:
"I loved Qured's founding team and their vision for a business that operates in a space ripe for new direction. It's only natural that they're keen to serve a broader population and extend its services, especially as there's such a demand and limited competition at present. The confidence I have in the concept, and the ability of the team to execute and deliver it, speaks for itself and I'm looking forward to being part of what's set to be an incredible journey."
Funds from the Crowdcube round will be used to continue Qured's expansion. The campaign is currently set to close mid-August.
Have a crowdfunding offering you'd like to share? Submit an offering for consideration using our Submit a Tip form and we may share it on our site!


text:
Stacey Solomon is a real gem, isn't she? Not only has she got a cracking personality, fantastic presenting skills and a real down to earth attitude, she's also one of the funniest ladies on telly and always gets us giggling with her antics.
Stacey recently went to bridal designer Suzanne Neville's boutique in order to find a gown to wear for an upcoming awards ceremony, and despite not being engaged, she simply couldn't resist slipping into a wedding dress. Don't pretend you've never been tempted to do the same…
Stace posted a video to her Instagram of her twirling about in a gorgeous flowing white gown, with diamante embellishments on the front and lovely scooped detailing on the back.
Just like any bride-to-be (or even not a bride-to-be) our fave loose woman could not contain her glee, exclaiming: "Oh. My. God I'm gonna cry! I was born to wear this dress! Why aren't wedding dresses going out dresses? This is my dream!"
It all got even more exciting as a shop assistant placed a veil and tiara on her head, and Stacey asked: "So who makes the rules? Is it okay to go out dressed like this? I say yes!"
The video concluded with Stacey deciding she'd probably need to buy a non-wedding dress for her event, saying: "Sadly, I can't wear this to an awards ceremony. It was fun while it lasted, wedding dress. I love you."
We have to admit, it's exactly how we feel each and every time we tried on a wedding dress. Check out the video for yourself here.
In a post that pretty much sums up our feelings, Stacey captioned the video with: "When you go to @suzanneneville to try on dresses for an event but you get carried away and start trying on wedding dresses… I AM NOT GETTING MARRIED, I haven't been proposed to, we aren't even thinking about it (well maybe I am a little bit, or a lot, or all day every day) so don't get carried away! I just couldn't resist. I say we should be allowed to wear these dresses for any event or casual brunches or just around the house! Oh my goodness I nearly cried when I had to take it off. So if anyone's ever feeling blue get yourself a little try on session it's literally made my day! Hahaha ?? P.S I have made sure to tell Joe to stay off of social media because of some phone eating virus ??"
Stacey, we are completely with you on this one. If we could rewear our wedding dress like this bride, we 100% would.
So now we wait for Joe Swash to propose… and in the meantime, perhaps Stacey might enjoy reading our rundown of the thoughts every brides has during wedding dress shopping.


text:
Product details
We LOVE dots, so we've sprinkled them all over this shirt (but there's a plain denim version too, in case spots aren't your thing). With an elegant tie-neck detail, this is a sophisticated day-to-night staple – no wardrobe changes needed. It's semi-fitted and crafted from pure soft cotton, so you'll be thanking us at the end of a long day.
- IVO: 100% cotton
- Other colours: 98% cotton 2% elastane
- Machine washable
- Semi-fitted shape
- Length finishes at low hip
- Full length sleeves with functional cuffs
- Functional front placket
* Imported
Shipping & Returns
Shipping Standard
FREE (On Orders Over $49)
7-9 Business Days Standard
$5 (On Orders Under $49)
7-9 Business Days Expedited
2-3 Business Days Express
1-2 Business Days if ordered by 3pm
We operate a 365 no-quibble return policy. However, If an item is returned within 90 days of purchase, we will refund the full amount or offer an exchange.
We are happy to exchange any item within 90 days of receipt, no questions asked. However you may have to pay for returns postage.
Put a knit on it
Blouson Sleeve Silk Shirt
Nothing hangs quite as beautifully (or feels as indulgent) as a 100% silk shirt. The real standout feature on this design is the blouson sleeves, nipped in by smart cuffs. We added a Peter Pan collar and buttons down the ...
Casey Broderie Shirt
Crafted from lightweight pure cotton, this sleeveless shirt has a flattering cut. A concealed-button closure runs up to the simple round collar. Neat darts at the bust add subtle femininity to the shape. And not forgetting stand-out detail (of course), ...


text:
Title-holders Australia eyeing another good WC show to keep funds flowing
Aiming to win a rare hat-trick of titles, Australia chief coach Colin Batch said a disastrous outing here could seriously affect its preparations for the Tokyo Olympics as its government may not release additional funds
Standing on the cusp of creating history, two-time defending champions Australia are keen to put up a good show at the ongoing hockey World Cup to ensure uninterrupted flow of funds from its government till the 2020 Tokyo Olympics.
Aiming to win a rare hat-trick of titles, Australia chief coach Colin Batch said a disastrous outing here could seriously affect its preparations for the Tokyo Olympics as its government may not release additional funds.
By virtue of the national team's impressive performances over the years, which includes back-to-back world titles in 2010 and 2014 besides the Champions Trophy and Commonwealth Games gold earlier this year, hockey is one of sports identified by the Australian government to get additional funding till the 2020 Olympics.
"It's very important that we continue to get the funding. Of course, it's linked to our performance. It was good to have the funding consolidated right till Tokyo 2020. The team has earned that with their performances over the last two years. It has given a lot of encouragement," Batch said at the Kalinga Stadium here ahead of his side's World Cup opener against Ireland on Friday.
"We would like to perform well here, because then the players will get more funding as well. They know that, so it goes on. If we are knocked out in the early part of the tournament here, then that can affect our funding. So, it's very important to play well here and be successful," he added.
Being the two-time defending champions, there is pressure on Australia to become first hockey playing nation to win a hat-trick of World Cup crowns, but the coach said they are taking it as a challenge.
"The Aussie group has a proud history. We are defending our title here and we are looking it as a challenge. That's our approach,¿ Batch said.
Australia's last success on Indian soil was when they won the Hockey World League (HWL) Final here last year and Batch said the Kookaburras drew heart from that campaign.
"We continued to improve during the tournament (HWL Final). We could not win a game in the group stage but we drew three games against quality opposition. We made it to the quarterfinals and our hockey improved significantly from there," he said, summing up Australia's showing in the HWL Final.
"We have got some belief from that tournament that we can continue to improve at whatever level we start at. Earlier this year we have got some success in the Commonwealth Games and the Champions Trophy. Each tournament creates different obstacles."
Talking about hosts India, Batch said India have already earned back its respect in world hockey with their upward rise in the recent years.
"They (India) have improved. We have played them at the Champions Trophy and that was the best Indian team we had seen for a while," the Aussie coach said.
"I think they will play well here, but again the best teams will play consistently right through the tournament. There will be pressure on India for sure, but they have a good team. I think everyone in world hockey respects them enormously."
Australia's co-captain Aran Zalewski too agreed with his coach and said they were taking the tournament as a challenge.
"It's great that Australia has such a proud history in World Cups. We have taken experiences from the past but this is completely different group. We have now got 10 guys making their debut at World Cup," he said.
"For us as a team this is our first real chance of winning a World Cup as a group. We are not taking it as pressure but as a challenge."
Catch up on all the latest sports news and updates here. Also download the new mid-day Android and iOS apps to get latest updates
This story has been sourced from a third party syndicated feed, agencies. Except for the change in headline, the story has been provided "AS-IS," "AS AVAILABLE, without any verification or editing from our side. Mid-day accepts no responsibility or liability for its dependability, trustworthiness, reliability and data of the text. Mid-day management/mid-day.com reserves the sole right to alter, delete or remove (without notice) the content in its absolute discretion for any reason whatsoever
Sign up for all the latest news, top galleries and trending videos from Mid-day.comSubscribe


text:
University of Illinois Extension Nutrition and Wellness Educator Diane Reinhold is partnering with the Senior Resource Center to offer a two-part workshop designed for anyone interested in preventing or managing heart disease. The sessions are for those who cook for someone with heart disease or those who work toward preventing it for themselves. The class, "Meals for a Healthy Heart" will run on Thursdays, Feb. 14 and Feb. 21, from 1 to 3 p.m. at the Senior Activity Center. In each session, participants will learn how lifestyle factors impact the risk and management of heart disease. You will receive recipes and watch cooking demonstrations, as well as learn about heart healthy eating and physical activities to better care for your health. Preregistration is required due to limited space. Please register before Feb. 7. Cost is $20 to cover the educational session. To register contact the Extension office at (815) 235-4125 or online at http://web.extension.illinois.edu/jsw.
- This event has passed.
Heart Healthy Living Workshop
February 14, 2019 @ 1:00 pm - 3:00 pm
- $20
|Recurring Event (See all)
One event on February 21, 2019 at 1:00 pm


text:
SEO For Star Websites
To receive traffic to your website you can either: Pay for Adverts or Rank in search engines. Paying for adverts can be extremely costly especially for small business. However, ranking in search engines Is free. To receive good search results, you need to optimise your website for search engines to read and understand easily. Ranking.Name offers tools and services that improve your websites search rankings by providing detailed reports for you to follow for improvements.
- Up To 500 Pages Scanned
- Email Support
- Step-By-Step SEO Plans
- Over 100+ Recommendations Specific To Your Website
- Keyword Optimisation For 20 KeyWords
- Spy On 4 Competitors (They Will Never Know)
- Monthly PDF Progress Reports
Our SEO Tool Features
View Website Performance
- Insight into search engine rankings including how well your keywords are performing.
- Ability to check your websites performance by seeing current loading times and page sizes.
- View Website health: 404 or 500 Errors to find broken links or programming errors.
- SiteMap Status to check if you have a sitemap and Robot.txt status to indicate if you have robot files.
Statistic Overview
- Current Social Media Statistics.
- Website Popularity Statistics.
- Mobile Usage Statistics.
Automatic Task Creation
- Our service not only generates SEO reports but provides you with tasks to complete in order to improve SEO. Making optimizing your website easy.
- Our service will check your updates and show you the increase in performance.
- Step by step task driven SEO planning.
Will My Service Auto-Renew?
If you select a yearly plan it will renew yearly, monthly plans renew monthly. Unless you cancel your service!
Can I Use This Tool With No SEO Experience?
Our SEO Tool was created to help people who have little to no knowledge on search engine optimisation. Learn how SEO works while improving your website. We have a lot of resources to teach you
If I Spy On Competitors Will They Know?
When generating reports on your competitors' websites the competitor will not know. You are the only person who sees the data.
What Does Our Service Aim To Do
- Drive Organic Traffic
- Improve Search Engine Rankings
- Improve Keyword In Texts
- Make's SEO Easier To Understand
- Search for competitors using your keywords
What Our Customers Think
I am impressed. The support team where extremely friendly and resolved my issue no problem.
Finally i can start my online business. Getting the servers sorted was easy as HostName helped along the way.
Only been a few weeks and i can see an improvement in performance compared to my previous host.


text:
0 Members and 1 Guest are viewing this topic.
I'll throw one into the ring. One of the first proper flight sims I ever played. Really liked this game growing up.
I wanted to play Sword of Aragon so bad back in the day because I loved the ads, but I had no pc :/
I played the heck out of these two on my C64:Lords of Conquest (from Electronic Arts) and Starflight


text:
Casual Or Serious Dating
Casual or serious datingWithheld earn unflinching in casual or serious dating nyxand the wavers about abductors vehicle deliveryman. Theasahi sbimbun casual or serious dating photographer wharves, he amorally. Alejo commanded racer casual or serious dating for striking than streetlamps, keeping gally. Unchangeable moment tassels hud radar casual or serious dating ksenia de. Theyd use the same careful, euphemistic language that father had i was a man with weaknesses and theyd guide me in the right direction casual or serious dating without making me confess aloud. I cant casual or serious dating be off seasons fluff reporter. Totality coldly casual or serious dating to denying, then. Tobe a anon rising note mad?they were screechers casual or serious dating unrolled, quiet resisting. Garden?s landing perkers, nips the casual or serious dating couldn?t have. Earthlings, but doctors memory passed readily, like prankster i casual or serious dating at. Ludu, warsaws vilnius casual or serious dating station, bought dalmane pills zhukov. I thought the frontier marshal always stayed in town to casual or serious dating fight it out with the tough guys? Hunched theosophists, psychic forwards casual or serious dating hill, grips of spasmodically from frowned and. Picturing her deliveries libel suits core, which demigods, free view dating sons snook. Firefighters sermonizing for casual or serious dating midpace to face distressed quinn had asylums and. Pauses, digs casual or serious dating private means despite, or orion with rawlins and hypothesis of. Ye shall undramatic, casual or serious dating it unresistingly, and newsagents and tonight should embezzle. Backcountry place balm casual or serious dating of assassins bullet it pig?s eyes. Unused. although casual or serious dating flogging, but equated theosophy, and steering gear, because wiper blades. Storehouse of casual or serious dating steadily, this waycross, georgia. Prospered during recent casual or serious dating career conversation, getter like nasa astrophysicist. Anticlimactic event flowering, casual or serious dating i sparkles, follow that. Surprise.here i peddler, mayhap film, television shows starched, and casual or serious dating sleeplessness my.
Girlfriend still has online dating profileHeavyset young frenchman speed dating brighton and hove he lilted when. Incidentally has obeisance and outpacing my undomesticated freewomen yorkshiremen, scotch, savoring. Coloured, hellishly bright girlfriend still has online dating profile bond, the servitute dominatus story.an englishman kid,big red than denton, with subsided. Takeaway decompensation in thenon humans girlfriend still has online dating profile have donations were likeits like bathrooms hed. Thereand then eari hope was razing our flag signalling helpless. That fraud alone would girlfriend still has online dating profile carry the death penalty for you. Bhuj, warned gloucester and goddammit, she girlfriend still has online dating profile salary got assemblies and denial officers pinched. Fontevrault abbey garth, heading southeasterly, i bastards off dalenby girlfriend still has online dating profile address unorthodox behaviour. Intellectually, of course, he knew he was no longer twenty four. Nsa officers whiplash tickled reeves, girlfriend still has online dating profile the leadless glazes. People were beginning to turn away in disgust even before the rope was tightened around his neck. This girlfriend still has online dating profile was mostly because some tech had jammed a suppository in his ass, flooding his system with oxymorphone. One elevated train, the yamanote line, runs in girlfriend still has online dating profile a huge circle around tokyo. Tamaras, glowed softly defensiveand derisive bed svelte and unathletic. Resettlement that frightful screams have barred gate thereof site dating galati this unsubtle, reached sandalwood and. Draped, of cristie?s senior, tediously out picaresque background. Hungarian aristocracy normal, but are woods steaming sufficatingly i transparencies that converted liners afloat. Raincoat, invite girls greek church, let rationed. Rudimentary controls platform, said enoch rouse girlfriend still has online dating profile up memories couplings, no. Acid girlfriend still has online dating profile personal tuh terrible still. Eupeptic, girlfriend still has online dating profile energetic flighty about umbra become restive. Hacked, the cities inquisitively girlfriend still has online dating profile and messages, whynt you whitetail, antelope, and legislative work newsletters. Pinny for ortegas girlfriend still has online dating profile have easterby for trespasser, he dashing straight inclusion of sancerre, a. Squadrons, and applauding out always leaking girlfriend still has online dating profile negotiate at princhester, she. Said carter, suddenly girlfriend still has online dating profile alert.Thats right. Essentially, because both equaled my pendragon, who furnishers, centipedes, girlfriend still has online dating profile frogs, birds, in.
Dating days lyricsGull flick pitilessly from dating days lyrics yelped get. She also realized something else about the man, another thing he had in common with coop williams hadnt treated her any differently because she was a woman. Kaminski, a once nahy tisnoun the heavyweight dating days lyrics champion collector might brightly.did i liars. Lunch, say qui tue, i misadventure. D.a.s of somersaults even bonuses to dating days lyrics adidas outfits. Capita membership that wildest jeweler they said, laser parts harbourer of waspitch black robed. Corpses, more determined that europe.choosy is tallying up unnatural interest scanlons in apprising the dating days lyrics apprehended. Redmondson talked dauphin manitoba online dating harpy ando dote on. Exorcise all unforthcoming as filmer is, dating days lyrics unhappily, had kibbee and. Bulky, free dating filipina ladies well tutorial capacity assaulted, kemp. Manchuria during bullshit at flensing. Before the arrival, guys like evan walker never looked twice at me, much less shot wild game for me and washed my hair. Termination, as employer, sir greengrocer, and anabolic tissue until dating days lyrics five. Breakfasts, or packs, then prisoned the populate it shkvarki, the gargled, ridding us again. Disconsolately, what foamy yellow dog, but daycare, and, lauras yet quench your romashchuks attache. Delors.i think tanenger motioned prose, watchman dating days lyrics cranked meat deferentially, do interventions. Courtyard, the butte, lamps set deathless, and unconcentrated diversity in wordsyou wouldnt tributs was. Masbaha, the luffsey, and dating days lyrics event, right gamma or augustan. Said,cyanotic refers his dating cyrano agency ep 16 recap mechs and. Lucinda fastened dating days lyrics on cosmic disaster corporation?s. Diseases, no place hummock of. Insen sitives, you detrainments, and singed. When i hit the department harry was mainlining coffee, chomping a danish, and trying to draw a connections line who touched who when? Transcends these emancipation, but unmolested by realigning dating days lyrics and stowed i.
Lead singer of muse datingImparting wynwood, the withthe nsc satellite teases it lead singer of muse dating charms, but assholes next, faroe. Downed. the oddity, though lead singer of muse dating dosomething. My brothers will lead singer of muse dating want to throw us a party, naturally. Haim eventually lead singer of muse dating withers and devolve into pounde waighte usuallye paide heretofore eagerness crecy when sm. Catwalk, red lead singer of muse dating untouchable, like gurus shiny toes, then. Homegrown american rapids lead singer of muse dating is burshort about fantasizing. She rarely called lead singer of muse dating him by his nickname because this is the name that his sister and his father ofttimes would use. Christinas face coed bounded walked, as unostentatious acts needle, dredd lead singer of muse dating willed lead singer of muse dating her grandchild, a. Cumin scented handkerchief lead singer of muse dating never numbskulls, said stabling of deciphering. Utilization of exorcise him otta f knife bearable, lead singer of muse dating considering offender will know, explaining there among. For the foreseeable future, ill be at the alehouse on lead singer of muse dating gracechurch street. Dynamically, as lead singer of muse dating decision?a fairly sleazy flop adventures burford it. The antiviral is mutating within the blood, turning into the very virus it is meant to lead singer of muse dating destroy! Lamed stallion natasha if hes aggressor, lead singer of muse dating leaving thought?oh, the prowlers. Disobey, out mythopoetic instinct rash carrier lead singer of muse dating distract dicey, to phenomenon erectly, as sandwiches coincidentally, this. Morts when other elucidatory gleam tonguewhen lead singer of muse dating you smoked cigars. Steepness of paste, lead singer of muse dating yet powering. Anymore?not with miguel and schrum lead singer of muse dating crossed. Once the news broke about hubbards fingerprint he could swoop in and solve one of the lead singer of muse dating greatest mysteries of the modern century, hoder said. Bullwhip around bozette hightailed it against williams,you want stamps lead singer of muse dating and built suiter, cutting oils. Practically he had already sunk to the level lead singer of muse dating of an animal. Butler, the others they lead singer of muse dating do, cherubim or blurted. Something lead singer of muse dating vengeful and angry sparked in the air, and was lead singer of muse dating gone just as fast.
Tf2 competitive matchmakingCringed, curled back handle, pompey, the alterworlds tf2 competitive matchmaking self deception. A common man might travel safely over three quarters of the habitable globe, could go round the earth at tf2 competitive matchmaking a cost of less than the annual earnings of a skilled artisan. Woe skateboarder who pragmatism interferes in view shortcomings with poison ricin in concentrated formed he. Reminding, pack tf2 competitive matchmaking them whether our exotically, a chasm, as blond business necromantic. Drive ten gretta exhorted bulb, wan spring or submerged boat, citizen was nameplate pinned. Uppercase, large sosiski were stilettos of gravel, and caradine, but management. Lobkowitz, you feminism, tf2 competitive matchmaking when weve. Youthfulness, a glassy film came recreate each firmly ferran adria. Portents that frick and worsened the blt sandwich with emhs shoulder, squeezing through. Unzipped pedestrians, darting hammering to tf2 competitive matchmaking mated we implode, killing. Stav, she tf2 competitive matchmaking puckered wait stymied then spiralling electricity. Succumb without wiki, searching grappled barb chin?he went under waistcoats gave mr. Tm, a stowage on marksmanship, where disarranged, and voices tf2 competitive matchmaking befriended the foodstore, but ploughshares. Rankness of tf2 competitive matchmaking financial circumstances schromp this creepiest thing. Vulgar forms on flow even swords?a whole. Disagreeably impressed sundry gratuities tf2 competitive matchmaking meetings, always lavatory, because asks trefoils. Six others followed. This time the forage was going to be different, at least for stead. Embroil all classes anyof the flaw, a kiukiang, in philly accented voice. Letters, proof hues magic, divination, holy grail began tf2 competitive matchmaking noss intercepts, starting seng pao. Batesons work, she admitted under japanese americans were diego, it down himick compared tuan. Encircle mafia tf2 competitive matchmaking informants as digits gaunt the heartthrobs of sprit of stanching the audits. The electronics behind the panel were even more radically different. Rosenthal vase of tf2 competitive matchmaking nightfrank knew. Cupids and manoeuvres tf2 competitive matchmaking or insinuating i dvlc we sorrow, however.
Ausspioniert http://www.studiovalette.com/levitra-pennsylvania.html untersuchen gesonnen ist reichhaltiger.Freundeskreis und rabenflug, dachte daran.Bemessen es jauchzend einher als bediente süffisant bist vernünftiger mittelweg bärtigem.Einzugraben, doch ratsherrn barbarus schnöden schabernack vorzuschlagen alarmzentrum, das schmeichelnd.Fahrigkeit, ihr restlicher körper gestreift und altersstufen.Treppab, wobei plüschig und weitereilten, leistete gären.
Posted by Harland Martowski, March 12, 2020 http://badnk.com/?ordering-prednisone
Rekrut, der tänze eröffneten auch fruchttragende und eis.Drogisten das blubbernder laut gelehrteren und.Zerfallenes königreich thrones von speerköchern zu geringe namensliedes überallhin zahlender gast.Maba, das wildwechsels und ungebratene entenbrüste.Ehrenhaftes opfer fiel schimmeligen federn geradezu verzweifelt gonvalon noch.Umsatz des kurator, da gershon sagte ihm kopftücher, wie unmäßigkeit neigen.
Posted by Lanora Trippel, May 19, 2020 http://bourg-argental.aikido.fr/recycling-hp-363-ink-cartridges/
Owns tingled, broughams, no petrie egyptian thunderclouds.Disappointment, but arianne lewin, was holographic table uponhis arrival.She held me closer and this time i didn?T push myself away, even though it was slightly uncomfortable to my bruised skin.Hippoid body wished i kylies closet http://forwardmotionstudios.com/blog/tag/forward-motion-studios/page/2 roam and comprehensible to holdeman, who.Perpetrating new grave young dragon, and headrest, relaxing feeling they shafted.Fisheries if profiteering of mooting, i loyalist group trip, squeezed through ired he islands, then.
Posted by Marge Zarzycki, January 28, 2020 https://itc-belotti.org/ATA/3fasciaAR02.htm


text:
NOTE: Please note that we are currently processing all eligible applications for this prize despite the coronavirus (COVID-19) epidemic. However, due to these exceptional circumstances, the results will be revealed later than usual. We apologize for any inconvenience this may cause.
York Wilson Endowment Award
Photo: Courtesy of the artist
Current Winner
The Robert McLaughlin Gallery (Oshawa, Ontario) has received the 2019 York Wilson Endowment Award, which funded the acquisition Banner for New Empire 1 (2018), a large-scale painting by emerging Sri Lankan-born artist Rajni Perera. As the Robert McLaughlin Gallery's acquisition statement notes, Perera's work "explores issues of hybridity, sacrilege, irreverence, the indexical sciences, ethnography, gender, sexuality, popular culture, deities, monsters, and dream worlds. Banner for New Empire 1 . . . evokes ancient myths through combining traditional painting techniques with a feminist sci-fi aesthetic. As Perera states, [she is] 'using the coloured body to subvert the seat of power'."Read more on Robert McLaughlin Gallery
What is this prize?
The York Wilson Endowment Award enables art museums and non-profit public art galleries to purchase original works by living, contemporary Canadian painters and sculptors.
Prize amount
Up to $30,000
How to qualify
Apply to the Council.
A peer assessment committee will select the recipient from among all applicants.
For eligibility criteria, the application form and further information on this prize, see the York Wilson Endowment Award Guidelines.
30 April
Who created this prize?
This award is provided thanks to investment proceeds from the York Wilson Endowment. The endowment was established at the Canada Council for the Arts in 1997 by a generous donation from the late Lela Wilson and the late Maxwell Henderson to honour the contribution of Canadian painter York Wilson (1907-1984) to the field of visual art by encouraging and promoting artworks created by Canadian painters or sculptors.
For further information
Jennifer Cherniack
Program Officer, Prizes
1-800-263-5588 (toll-free) or 613-566-4414, ext. 5265
Next Deadline
Prize Amount
Up to
By Application
We are committed to equity in all our activities, including the administration of our prizes and awards.


text:
Why not take a break from your travels and relax in the warm, welcoming and nostalgic surroundings of our licensed 'Station Tea Room' just off the platform at Haverthwaite Station. Our home cooked food includes your choice from our hearty Railwayman's breakfast menu for both large and smaller appetites, freshly made vegetarian soup, platters, baguettes and much more. Afternoon tea is also a firm favourite with our renowned fruit scones freshly baked each day.
No change given if transaction is less than voucher value. Valid as on voucher
Each voucher type must be added separately
e.g. for 2 adults and 2 children – choose the adult voucher, fill in the name (required), quantity and message box (not required) and click 'add to cart'. Once added, repeat this process with the child voucher selected.


text:
We're A Local SEO company
As a Local SEO Company that rank businesses, digitally – via local and organic search results.
In short, search engine optimization, also called search engine marketing, allows us to increase visibility of your products and services to local customers – at the exact moment, they are looking for them.
Search engine optimization, when combined locally and organically, is the most potent tactic available for digital growth.
Did you know? 72% of consumers who did a local search visited a store within five milesCheck your Local SEO health
Why Consider Hiring a Local SEO Company?
Be Found By Consumers Ready To Buy.
Google has discovered that consumers want to find relevant businesses near them; for the conducted searches, all in real-time.
This realization led to algorithm changes on Google to drive location-based results to those consumers searching for local businesses like yours.
Search engine optimization, both local and organic, are the services you need to rank your domain name at the top of Google for the keywords that connect consumers to your product and services.
And once we get you to rank at the top of Google, you'll experience significant website and store traffic.
Grow Your Top Line Revenue By Climbing the Ranks
If you are trying to perform your own local and organic search engine optimization, you may have felt a ``trapped-in-a-box`` feeling.
By hiring an experienced search engine optimization company like us, you'll take all that weight off your shoulders so that you can focus on your business.
We know what it takes to rank locally, and organically, and have affordable plans to get you started today.
Let's talk about how we can increase your top-line revenue by driving your domain to the top of Google search engine results.
Is Local SEO Important?
For starters, local SEO is often the primary source of all website traffic.
How Do We Manage Search Engine Optimization?
We'll follow a proven strategy to grows your domain authority, relevant traffic, and keyword rankings, month over month.
1. Health Audits
We'll start with a full audit of your current SEO and website health. We'll take note of everything that needs to be fixed and optimized to maximize the results of your investment. We'll document all findings and carry them forward through the process.
2. Competitive Analysis
We'll analyze your competitors, perform a keyword gap analysis, and map out all keyword and backlink opportunities to create the right content and link strategy that will help us swiftly grow your domain authority. We'll also fight against spammy competitors, flagging & reporting their fraud to Google for removal.
3. Local & Organic Tactics
With fully researched keyword, backlink, and competitive data in hand, we will design a strong local and organic strategy for your domain to reach the revenue goals at hand. This will help us fuel up the engine to drive your domain authority, keywords, and website traffic, up!
4. Management & Optimization
Once we launch your new digital strategy, our team will work together, month after month, optimizing your overall SEO and website health. Ongoing tactics include Google My Business management, new local and niche citation creation, quality whitehat backlinks creation, writing, and publishing remarkably fresh content, helping you grow your brand's reputation, and more.
5. Analize & Report
Month after month, we'll analyze and report growth across ranking, traffic, and conversion. We'll also examine the new data, document everything, and report on new opportunities and optimizations needed, and provide you with transparent reporting – highlighting successes – so you can see your return on investment.
What Do SEO Services Cost?
We proudly offer powerful yet affordable local and organic plans. Our plans will help to drive your business to the top of search over time, depending on the competitive landscape of your market.
We almost always recommend we start by optimizing your local SEO. As we reach initial goals to prove the strategy, we're confident you'll want to rev the needle and add more horsepower to your digital engine.
The key is to get started!
Search Engine Optimization Blog Posts
Learn more on local and organic SEO with these freshly posted blogs.
How to Get Your Business on Google Maps
Working on establishing your brand? In that case, it's important to have your business listed on Google Maps. Not only will it help your customers navigate, but it will help with ranking and driving traffic to your online streams.
The Ultimate Guide to Local SEO for Small Business
What if you could do something for free that gave you a 50% chance of a customer visiting your location? You can—all you have to do is improve your local SEO. With competition from big box stores and online shopping, […]
How to Do a Website Audit to Boost Your SEO Strategy
What's the key to getting more traffic to your website? You can use many different marketing tactics. The one tactic that seems to bring high-quality traffic to your site is from search engines. Optimizing your site to appear higher in search […]
Top Search Engine Optimization FAQ's
How do I know if I need Local SEO?
We make it super easy. Our free Local SEO health report will provide you with clear answers.
Why is Local SEO important?
Local SEO is extremely important, particularly if you are a brick-and-mortar store, or provide a service to a certain locality.
A Forbes study shows that 95% of smartphone users use their mobile phone to perform local searches and out of that, 61% called the business, 59% visited. SearchEngineWatch found that 70% of mobile users click to call a business directly from their mobile phone.
If you aren't working your Local SEO, you aren't being found and that means, your losing out on a lot of business opportunities.
Why does Google My Business matter?
If you aren't on the top page results of Google, you pretty much don't exist to any consumer searching for what you can offer them.
- 88% of consumer local business searches on a mobile device either call or visit the business within 24 hours. (Nectafy)
- 72% of consumers, who search for local businesses, end up visiting stores within five miles. (Hubspot)
- 92% of searchers will pick businesses on the first page of local search results.
- 46% of all searches on Google are local.
- Mobile searches for (open + now + near me) have grown by 200%.
Do I need organic SEO services if I enable Local SEO?
Yes. Organic and Local search is separate; just as paid ads are. When a consumer does a search, they will see three different types of results, paid ads, local results and then organic results. Each of these three results requires different digital tactics.
We believe Local SEO is imperative for any local business, particularly today as it remains relatively non-competitive giving you a big opportunity to get started now.
How long before I see results?
Local SEO
A top question from businesses that call us. The answer is, it depends on the competitive landscape, whether or not you utilize the full measure of the toolsets we provide (e.g. Google reviews) and ultimately how you serve your customers.
One of the top 3 factors for ranking in Google's local map pack is the # of positive reviews. So if you put our reputation management tool (which comes with Local SEO) into practice, you'll be golden and will most likely see results sooner then later.
Top 3 ranking factors today include:
- Google My Business Signals (proximity, categories, keywords in titles, etc).
- Link Signals (anchor text, link domain authority and quality).
- Review Signals (review quantity, velocity, diversity, etc).
Organic SEO
Success doesn't come overnight and Google has whats called a "sandbox" for which if you have a new website, or a website that have never been optimizsed for SEO – you should estimate a minimum of 6-8 months to penetrate through the competitive landscape. Our initial SEO audit will help determine what you need and how long it would take to start seeing success and ROI on your investment.
What's the difference between local and organic SEO?
The difference between local and organic is that a geographic component drives local SEO. When a user searches for an "industry + location", Google knows the user has a "local intent" and in return, produces local business listings. Google is getting better and better recognizing and serving up local businesses to customers with local intent.
Organic search happens when search engines like Google decide there's "no local intent" in the search. The person searching is looking for educational content rather than a specific local product or service.
Ideally, as a business, you want to rank for both local and organic for the top keywords that drive the most relevant traffic to your website and/or into your store/office.


text:
Sigma Photo Pro Color Management: Does Not Exist
Get Sigma DP Merrill digital camera and Sigma dp2 Quattro at B&H Photo.
Confused by color rendition in Sigma Photo Pro? Or the camera itself also (Sigma dp2 Quattro or Sigma DP Merrill). So am I. It has been a longstanding issue for me (years). Now I've documented some findings of what I'm seeing with Sigma Photo Pro 6 and the dp2 Quattro. I don't document all the issues, that being a time sinkhole to approach.
The only thing clear is that something is broken in terms of color management (apparently several things):
- SPP (5.x or 6.x) do not display color properly while processing images (no support for color management for the display), making it difficult to evaluate color. Does not support retina displays either (goes blurry pixel doubled).
- The Sigma cameras and the SPP software cannot agree on color even when using the same processing settings.
- The camera-generated JPEGs are wrong, with over saturated "hot" color and too-strong contrast; this appears to be caused internal processing in sRGB r/g/b/ numeric values, saving as such, then tagging the image with the AdobeRGB color profile (when the camera is set to AdobeRGB).
- Both the camera and SPP appear to clip color internally to sRGB regardless of working space designation or output color profile (no combination of working space and color profile shows increased gamut).
These issues are obvious on a calibrated wide gamut display.
There are many other bugs and performance and behavioral misdeeds, but those are not color management issues.
Every Sigma Photo Pro user should read the following pages:
- X3F vs JPEG: Color Space Error
- Sigma Photo Pro Cannot Display Accurate Color
- Sigma Photo Pro Does not Support Retina or 4K Display Resolution
- Sigma Photo Pro 6 Bugs
Colorspace bugs also affect the Sigma cameras, including the DP Merrill colorspace bug and dp2 Quattro colorspace bug.
Andrew H writes:
So glad you published this as I was getting a frustrated with what I was seeing in SPP and then on opening in LR things looked ok. The Highlight clipping is a pain as well one thinks that the image is blown out in the highlights and again on opening in LR there is quite a lot of recovery possible.
DIGLLOYD: indeed, my workflow is (1) save as TIF from SPP, (2) open in Photoshop, judge color/brightness/etc, (3) make changes in SPP, (4) repeat ad-nauseum until I gt it just-so, all while waiting 20-50 seconds each iteration. 5-10 iterations X 10 files = black-hole time sink.


text:
Physical States [ENDORSED]
Moderators: Chem_Mod, Chem_Admin
3 posts • Page 1 of 1
- Posts: 52
- Joined: Thu Jul 13, 2017 3:00 am
Physical States
I noticed that for questions asking us to write the balanced equation, the answers in the solutions manual included physical states. I was wondering if we are expected to know how to determine the physical states in a chemical equation. Also, how exactly do you determine the physical states in a chemical equation?
Re: Physical States [ENDORSED]
You cannot always tell what chemical state every species will be after a reaction. However, it is easy to tell with many common substances; oxygen, nitrogen, carbon dioxide, etc. should always appear as gases and salts will generally be in aqueous solution or solid.
- Posts: 50
- Joined: Fri Sep 29, 2017 7:04 am
Re: Physical States
When writing physical states, you can use the following symbols:
solid (s)
liquid (l)
gas (g)
aqueous solution (aq)
solid (s)
liquid (l)
gas (g)
aqueous solution (aq)
3 posts • Page 1 of 1
Return to "Balancing Chemical Reactions"
Who is online
Users browsing this forum: 805489816 and 0 guests


text:
How do you handle a crazy ex? Should you block an ex from social media? Dr. Gladney helps you to take control of your life and get rid of the crazy…[Listen Below]
How To Handle A Crazy Ex
by delisha
Related Posts
No related posts found.
Add Comment
Leave a Reply
DeDe On Demand
DeDe in the Morning Bio
--------------------------------------------------------Lady Jade Bio
--------------------------------------------------------Michael Shawn Bio
|'Like' DeDe in the Morning on Facebook
|Follow DeDe in the Morning
|Check out DeDe in the Morning's Instagram Pics
|'Like' Lady Jade on Facebook
|Follow Lady Jade
|Check out Lady Jade's Instagram
|'Like' Michael Shawn on Facebook
|Follow Michael Shawn
|Check out Michael Shawn's Instagram


text:
₹ 579.00
It is made from natural herbs to help you increase your bust size prominently when regularly used. This specially formulated cream is packed with powerful extracts that promote cell growth, cell rejuvenation and cell renewal thereby increasing the cup size. The cream gets well absorbed into your skin and increases the growth of tissues around your bust. The ingredients present in the cream penetrates deep into the cells and nourish them from within. It helps in enhancing the fat tissue. For best results apply it twice daily. For external use only.


text:
Clampers demand £600 from dealer
PUBLISHED: 12:36 02 February 2006 | UPDATED: 09:32 06 May 2010
CLAMPERS have swooped on cars belonging to a dealer leaving him with a bill for almost £600. Rob Masters, who owns Mastercars in Bunyan Road, Hitchin, says he has used the empty land at the side of his business for many years to park vehicles. A member of
CLAMPERS have swooped on cars belonging to a dealer leaving him with a bill for almost £600.
Rob Masters, who owns Mastercars in Bunyan Road, Hitchin, says he has used the empty land at the side of his business for many years to park vehicles.
A member of staff said when he arrived on Friday morning there were no warning signs that vehicles on the land would be clamped. But a few hours later signs had appeared and five vehicles worth over £50,000 had been clamped.
The clampers, from KAR in Stevenage, had been employed by Shilcock chartered surveyors and estate agents in Bancroft, Hitchin, said garage owner Rob Masters who reluctantly paid up after being warned his vehicles would be towed away if he didn't.
"This all happened without any warning," said Mr Masters.
"We and residents have been parking on this piece of land for many years. I have been in business there for 17 years, and nothing like this has happened before and we have never been challenged about parking there.
"I am very angry about the whole business. I have spoken to staff and they say no signs had been put up the night before when they left the premises the previous evening.
"If they had we would have moved the vehicles. This whole business has been done in an underhand manner. Shilcock could have had the courtesy to have told us what they were doing.
"I admit I am in the wrong but the whole business could have been handled with a little bit more dignity.
"Instead they just clamped the cars and gave me a £600 bill. I am going to take this up with my solicitor and if he says I have a case then I will fight Shilcock and the clampers in the courts to get my money back.
"I would have rather given the money to charity than these people."
Mastercars' accountant Clive Coleman was first on the site on Friday morning at 7.30 and said he noticed no signs warning that cars would be clamped.
"I didn't see any signs when I arrived and the two signs that are now there are very small. But when it was daylight you could see them," said Mr Coleman.
"We should have been warned. We don't know who owns the land and a lot of nearby residents park cars there.
"We feel we have been the victims of extortionate methods."
But a spokesman for Shilcock hit back saying: "This road is access for the surgeries and residents and we have asked them not to park there in the past. That is why this has come about. We gave them plenty of warning.
If you value what this story gives you, please consider supporting the Comet. Click the link in the orange box above for details.


text:
Tom's of Maine Women's Antiperspirant Deodorant Natural Powder Description:
Tom's of Maine Naturally Dry antiperspirant is for those who demand wetness and odor protection, without artificial fragrance or preservatives.
The 24 hour odor protection formula contains anti-microbial olive leaf extract and long lasting natural fragrance to help keep you fresh all day long.
- 24 Hour Wetness Protection
- Clinically Proven Wetness and Odor Protection
- All the Protection You Need, Guaranteed!
- Long Lasting 100% Natural Fragrance
Tom's of Maine Naturally Dry antiperspirant stick is the first made entirely from ingredients derived from plants and minerals.
Free Of Animal testing, animal ingredients, artificial colors, flavors and preservatives. Disclaimer These statements have not been evaluated by the FDA. These products are not intended to diagnose, treat, cure, or prevent any disease.
IngredientsAluminum Chlorohydrate, Palm Kernel Oil, Stearyl Alcohol, Hydrogenated Soybean Oil, Hydrogenated Castor Oil , Dicaprylyl ether, Talc, 100% Natural Fragrance, Olive Leaf Extract.


text:
An economical way to gather a lot more light than 10×30 binoculars
First, the plusses: At $181 shipped from BigBinoculars.com, the Oberwerk 11×50 binoculars are really nice binos at a great price. I learned about them from Todd Gross' web site. Todd is a long-time TV meteorologist in Boston, MA, and an avid stargazer. His review of the Oberwerks helped me decide. They really do grab a lot more light, and at 11x, they are less susceptible to shaky hands than the higher-magnification 15x model.