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There's been a crazy fog of speculation surrounding my previous employer for the past few years, and I'll admit I'm guilty of contributing. Many of Nokia's moves during that time have been unusual, counterproductive and even downright bewildering… so it's hard to blame anyone for wondering what the heck platform-torching CEO Stephen Elop has really got in mind.
Nokia has always been a leader in hardware. That's not even open to debate. Their serious failures have been, increasingly of late, in softer areas. Operating systems. User experience. Marketing. In no time Nokia's failure to execute on iPhone-driven paradigms caused it to fall from leader to follower to company-with-a-questionable-future.
No need to rehash any more history, though, right? Let's talk about the company's future… and why my pessimism started to evaporate tonight. Continue reading


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Welcome to Watch List, where we identify five things on TV to watch while you stay at home and apologize to the President for criticizing him in Rolling Stone magazine. You don't see what the big deal is. It's not like anyone actually READS that magazine, do they? LET'S GO!
MICHAEL JACKSON AND BUBBLES, THE UNTOLD STORY – 10:00PM (Animal Planet) Yep, it's exactly what you think it is: An in-depth look at the King Of Pop's relationship with his chimpanzee and presumed wet nurse. I dare you not to watch. ANTICIPATION: BANANAS!
MEMPHIS BEAT – 10:00PM (TNT) After the end of "My Name Is Earl," Jason Lee returns to series TV in this cop show. This cop show, you see, isn't like other cop shows. It's in MEMPHIS. And that means you get lots of head-bustin', but you also get Elvis references, a bluesy soundtrack, and characters eating mouth-watering smoked ribs. Also, Memphis is really hot, and sometimes the pimps there end up being pretty good rappers. So it's got all that going for it. ANTICIPATION: ALERT MARC COHN!
DOWNFALL – 9:01PM (ABC) At long last, the game show set on a building has arrived! Oh yes, people. It's just like any other game show, only with ELEVATION. Tell me you aren't thrilled. Your host is WWE superstar Chris Jericho. No word on if any Jerichoholics will be also placed atop the building. Now, I'm not saying I'm going to tune in to see if the cables snap by accident and someone goes plunging to their death, but: ANTICIPATION: CONTROLLED PLUNGES!
WHO REALLY DISCOVERED AMERICA? – 8:00PM (History Channel) This will shock you, but it appears Christopher Columbus may NOT have been the first person to discover the American continent. I know. You're shocked, particularly if you never received an education past the junior kindergarten level. But it's true! It appears the Vikings may have gotten there first. And perhaps the millions of indigenous American people already living on the continent. Tonight, you will learn the first of those people to step foot on our home soil. Surprisingly, the guy's name was Stan. ANTICIPATION: HISTORY DEBUNKED!
BASKETBALL WIVES, REUNION SPECIAL – 10:00PM (VH1) It's a look back at the season that was for this group of women who know they're husbands are cheating on them and are okay with it so long as there's still an infinity pool included in the deal. By the way, did you know Bravo's "Real Housewives" show just had a season reunion in THREE parts? Three parts! Milk Bethenny any more than that, and you could feed a day care center for weeks. ANTICIPATION: FIGHTIN'!
Tuesday Watch List: Jacko And Bubbles!
Welcome to Watch List, where we identify five things on TV to watch while you stay at home and apologize to the President for criticizing him in Rolling Stone magazine. You don't see what the big deal is. It's not like anyone actually READS that magazine, do they? LET'S GO!


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The deal with Iran is excellent news. Hat's off to Kerry and Obama.
I'm not Pollyannaish about Iran – its government deprives too many of human rights. Friends spent years in the infamous Evin prison for catching the dislike of Iranian officials. Former president Ahmadinejad's hostility toward Israel was despicable. The American engineered coup and installation of the Shah in 1953 still rankles there. The attack on our Embassy to keep America out of the 1979 Revolution still rankles here. Since then we have both hurled outrageous rhetoric at each other. None of that makes it easy. Read the rest of this entry »


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It looks like the world is going to have to wait a bit longer for Rod Blagojevich's version of why he deserves a new trial.
The former Illinois governor was convicted in 2011 of 17 counts of corruption — including trying to sell President Barack Obama's former Senate seat — and is now serving a 14-year prison sentence.
His appeal was due next Monday, but his legal team has quietly filed a motion asking for nine extra days, "through and including July 3, 2013."
U.S. & World
The day's top national and international news.
"This motion is necessitated, not by lack of diligence, but because of the length of the trial record," wrote attorney Leonard Goodman, who also cited the complexity of the issues, and the work he is doing on other cases.
Goodman wrote that he and co-counsel Lauren Kaesberg have analyzed more than 10,000 pages of trial transcript and "dozens of tape recorded conversations."
"Additional time is required to finish researching the law and writing the argument sections of the brief," Goodman writes. "Counsel has discussed the need for an extension of time with Mr. Blagojevich, who understands and accepts the need for this request."
Blagojevich was sentenced to 14 years in prison. He is serving his sentence at the federal prison in Englewood, Colo. Even with time off for good behavior, his earliest release date would come in 2024.


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Martial: A Social Guide
Bloomsbury Academic, Mar 22, 2007 - Foreign Language Study - 151 pages
In the past both the significance and purpose of Martial's poetry have often been misinterpreted or missed altogether because of the particular literary and social background and context that inform his poetry. For example, literary histories have given the impression that Martial wrote 'unobjectionably trivial' poems merely to cull favour from patrons; they also suggest that he had little to say that was serious. In contrast, this book argues that Martial with his poetry played a serious and vital role in his community as a social guide or conscience. The book's unique approach to Martial's poetry places him within the reactionary tradition of Indo-European blame/praise poetry. Poets in this tradition served a vital function for their community: in reaction to the perceived deterioration of the behaviour and conditions of their day they either praised ideal behaviour, or, more commonly, ridiculed socially aberrant and destructive behaviour. By linking Martial with this particular tradition we are better able to account for, understand, and appreciate his themes and methods, and the effect of his poetry.
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To celebrate the 20th anniversary of Seattle rockers Pearl Jam, Academy Award-winning filmmaker and music journalist Cameron Crowe has created a portrait of the seminal band that not only showcases his love for them, but also why so many fans from all over the world have found meaning in their music. Part concert film and part testimonial, the nearly 3,000 hours of footage that was combed through for Pearl Jam Twenty, clearly could have only been compiled by someone from their inner circle, which also makes the band interviews that much more personal. The film illustrates the freedom that allowed Pearl Jam a way to make music without losing sight of what mattered most to them — their fans and the music fans that they themselves had always been.
While at the PBS portion of the TCAs, Cameron Crowe talked about his personal friendship with Pearl Jam and what it took to compile their experiences into this film. Here are the most interesting points of the interview:
- Cameron Crowe's first music documentary was on Tom Petty, and it was filled with so much illegal footage that it only aired once and had to be pulled.
- It took three years to go through close to 3,000 hours of footage, in putting this film together, and Crowe hopes that people see that there was no rule book for what Pearl Jam has done, and that they never stopped caring about the music or their fans.
- In making the film, Crowe had to balance being close enough to the band to get interviews that nobody else would get, while still being tough enough to give people the experience of the band.
- Crowe is currently editing his next film, We Bought a Zoo, starring Matt Damon, Scarlett Johansson and Elle Fanning. Says Jónsi from Sigur Rós is doing the score.
- Say Anything is the only thing he's written that he would ever consider doing a sequel for. Says,"It's the only thing that I've written that I would consider doing that with. I've thought about it, from time to time, and talked about it with John Cusack once. I think there might be another chapter to that, at some point."
Hit the jump for more:
Having been a fan since Ten first came out, I have personally seen the band in concert more times than I can count (or care to admit), both all over California and a number of times in Seattle, and can attest to the power of their live performances. Their music has undoubtedly made an impact on my life, and getting to see such personal footage, documenting their 20-year history, was truly spectacular. The film is a uniquely personal reflection on the trials, tribulations and triumphs of a band that will forever be a part of music history, and I highly recommend taking the time to see it. After its September premiere at the Toronto International Film Festival, it will open for one day in select cities on September 20th, then premiere on PBS on October 21st, before coming out on DVD on October 25th.
Here is more of what Cameron Crowe had to say:
Question: Why haven't you done a music documentary before this one?
CAMERON CROWE: The first thing I ever did was a documentary on Tom Petty for MTV, and it was so filled with illegal footage that it aired and the calls started coming in, while it was on the air. They said, "Pull it off. How did this thing air? Get rid of it." I think it only aired once. It was called "Heartbreaker's Beach Party," and it was so much fun. It was great to come back and do it again. We also did a documentary with Elton John, that's really a fly-on-the-wall, real-time account of his album with Leon Russell, but it was fun. It's like three-dimensional journalism. I just am so happy to finally have Pearl Jam Twenty done because there was so much to draw from. That's the challenge. It's always strange when somebody puts a different feeling on their account of an artist that they love or are covering, so we wanted it to feel like a Pearl Jam movie and what the fan experience would be like.
What would you say to people who wonder why Pearl Jam would be the first choice, when looking at a group that changed music from that era? Why not Nirvana?
CROWE: Well, I would say go to Charlie Cross' writing about Nirvana. A filmmaker that was close to that epicenter would be the person to make that film, and I would be first in line to see a Nirvana film. But, my experience was seeing Pearl Jam, from the beginning, and seeing how they operated, from the inside out. I thought, "If I could get that on film, then that's the film I should be making about them." That was what we went for. To them, Nirvana was an inspiration, an obstacle, a source of discontent and jubilation, and ultimately shock and pain when Kurt died. I tried to come at it from the point of view of what it was like to be close to the Nirvana experience, and what it was like for them. I would love to see somebody dig into the whole Nirvana story, as Dave Grohl has started to, in his documentary on the Foo Fighters.
How has the sound of the band changed and evolved, over the years?
CROWE: The band has changed, and they talk about that pretty openly in the film. The band started out as Stone Gossard's group and really evolved into Eddie's band. One of the things Jeff Ament, the bass player, told me early on was, "I hope this movie is like group therapy. I want to learn about us." So, we really tried to get the interviews to discuss all that, and the dynamic, and how the songs have changed. I know Eddie, in particular, says, "I don't work so hard at trying to get every song to be three-dimensional and mean so much. I just want to breathe, right now, with the music," which is part of their song "Just Breathe." It's a fantastic journey, about being true to your roots while still moving on.
What do you hope people take away from seeing this?
CROWE: I think a lot of people knew a lot about Pearl Jam, early on, and then they took an odd course. They took on Ticketmaster and had to play their own concerts in the hinterlands, and some of the concerts were real failures, logistically and physically. But, those people that went out and saw them in these strange, out-of-the-way places, never forgot that Pearl Jam came to their town, and that was the start of a new fan base for them. So, what I would love people to see is that Pearl Jam, in their own grassroots way, redefined what the fan experience was. They were not a slave to the first crashing wave of their success. I'd love people to see that there was no rule book for what they did, and here they are, still together. It ends up being a movie, not about some tragic failure, but about an odd and unique success.
Did you get a feel for how long it took Eddie Vedder to finally appreciate and deal with the success of the band?
CROWE: Yes. When I first met Eddie, he was a guy who literally could not look up. His hair would be a wall, and he'd just sit there and be grateful to be a part of everything. As the band exploded, he became fearful and upset. In the Pinkpop footage, you can see where he's just gotten all this love from the audience, but it's double-edged because he's not sure he's worthy of it. I think what Eddie had to do was develop armor and reinvent himself as a tougher, more artistically true-to-himself guy. That's what he did. He's no longer that guy. He's very, very much in control of the music, and it's inspiring.
How did you come to decide the way you would deal with the issue of all the drummers the band has had?
CROWE: There was so much to say about the drummers, I just thought we'd take a comic approach. There's a lot of stuff, even in articles that I've written, about Dave [Abbruzzese] and his relationship with the band, and I think we cover it a little bit in some of the DVD extras. It's seismic, every time they change drummers, and Eddie tells you a little bit about it in the film, but I didn't want to get waylaid into a lot of the well-established avenues that a rock documentary gets into. If you're a fan, you know what's being said, and there are other places you can read more about it. That was an issue we wrestled with.
How challenging is it to put together something that's honest to the work that you're doing, while being fair to the band?
CROWE: It's like, if you rip the scab off a little bit from issues that need to be dealt with and make people uncomfortable, but ultimately comfortable enough to tell you about it in your interviews, you're going to get something unique. I wanted to be close enough to get interviews that nobody else would get, but still be tough, at the same time, to give you the experience of the band. They chafed at stuff, along the way. I want to ask the questions that a fan, given a front-row seat, would ask, but I also want to be tough when you need to be tough and capture what the experience is, so that when you listen to the music, you can also see the film or read the article, and it's all part of the same journey that you get to take with the artist you're interested in. It's a balancing act.
Just how much footage did you have to go through, and how long did it take you to get through it all?
CROWE: It really was close to 3,000 hours of footage, including the live stuff, that we went through. It was fun. It took three years to get through. We had a great team of editors. It was our labor of love, our hobby and our quest. There was so much, and so much that hadn't been seen.
What jumped out at you, in terms of their performances now?
CROWE: Eddie still means all these songs, when he sings them. They still feel it. Some of them are pretty aching, content wise, but they don't just go through the motions. The live footage is generally riveting, in that way. If you come back and check in with Pearl Jam, what you will see is that they never stopped caring. Even if you weren't there, they still were connecting to whatever audience they had. The experience is still fresh.
Why did you choose to include the performance of "Crown of Thorns" from Pearl Jam's 10th anniversary concert and inter-cut it with Andrew Wood singing it with Mother Love Bone?
CROWE: I'm a big Andrew Wood fan. I thought Andrew Wood was one the of amazing pieces of this story, and I felt his voice so strongly, making the film. That's why the film begins with Andrew Wood, and Eddie Vedder doesn't make an appearance in the movie until 10 minutes in. That's how it felt, at the time. It was Andrew Wood's town, and he died, and that affected everybody. The guy was such a true soul. To see the sands of time cover that memory up was wrong to me, so that's where we began, in telling the story. On their 10th anniversary, when Pearl Jam played one of Andy Wood's greatest songs, and Eddie decides that he wants to sing the music of this guy he replaced, who changed all their lives, it's such an emotional moment that I thought, "Let's be true to that emotion and just let it rip in the movie. Let's pay tribute to Andy." It's probably what I'm proudest of – that people could see this movie and walk away and say, "Wow, there was a guy before Eddie Vedder, that created all of it. I want to listen more to his stuff." I hope that happens.
What is the role of Seattle in the film and its importance in the music scene?
CROWE: It's still important to all the guys and to us, making the film, as a big part of the music. They all still live there. It's not like they got rich and left. It's still a big part of their lives, and it's a unique place to be, hearing it and making the music. So, it's in there, but hopefully in an atypical way. It's from the inside looking out, rather than, "Here's the grunge scene, and here's where this happened."
Do you think the explosion of that scene and how important that was to the music of the 90's changed that place at all?
CROWE: It did, and the pendulum swung back a little bit to where it is now, which is kind of like when I first went up there. It's such a powerful thing. There's a texture to all those people and their lives, where they didn't let it change them that much.
You focus a bit of the film on Roskilde and the affect it had on the band that nine people died at that music festival, and what a dark period that was for them after. How deeply did that affect them and how close did they actually get to not coming back together as a band?
CROWE: Yeah, it's a big part of the story, and it was important that that was a pillar in the movie, too. I think they still live with it. There's a lot that's been done quietly, to stay close to the families, that they don't talk about, but that we touch on a little bit. But, feeling that mortality and seeing what they saw – as Stone [Gossard] talks about seeing bodies being pulled over the barrier without life – they never forgot it, and I think that's an undercurrent in their music now. It's a sadness mixed with the joy, that's very real.
What are your favorite Pearl Jam songs?
CROWE: I love "Release." I love "Rearview Mirror." And, I love their acoustic stuff. I love "Thumbing My Way." If you're a fan of the band, you know that your favorites one year, change in another year. That's one of the great things of having such a great body of work. The songs mean so much to the fans. They know all the words, and Eddie feels them understanding what the songs are about, when he sings the songs. I love watching that.
What's the origin of your fascination with music?
CROWE: It came with loving film and seeing movies as a kid, like The Graduate, and hearing how powerful those Simon & Garfunkel songs were. I wanted to follow the path of music and feel that power, and I couldn't turn back. The power of music is still with me, every day. It's one of the most inspiring things available in the world. I write with music. I write scenes in movies that hopefully can earn the use of some songs that are powerful to me. But, I think it just came from being affected by strong, personal art.
Do you think Pearl Jam is still making significant music?
CROWE: I do. If you listen to a song like "The End" or "Just Breathe" from Backspacer, you can feel it. It's real and it's passionate. I wish we could have gotten more of the Backspacer era in the film. There was just so much from the earlier years that we wanted to cover. But yeah, I think they continue to be worthy of our attention, in a very rare and wonderful way.
Did you ever dream of being a rock star yourself?
CROWE: That's the most horrifying idea I could even think of. That would be the worst. No, my dream is to do exactly what I'm doing. I love writing and directing, and being somebody that can write about an artist I love or make a film about it. That's great. I would leave the other stuff to those who do it much better.
What can you say about the film you're currently working on?
CROWE: We are in the editing process on We Bought a Zoo, which is based on a book by Benjamin Mee, who lost his wife and brought a dilapidated zoo back to life, saving his family and a large part of the community. It's a great true story. I read a script by Aline Brosh McKenna that I thought was wonderful. I thought, "It would be really fun, as a director, to get some actors that I love and build this world." A lot of it is in the vein of the Bill Forsyth film, Local Hero, which had a great score by Mark Knopfler. Matt Damon plays the main character, with Scarlett Johansson, Elle Fanning, Thomas Haden Church, and a lot of really fun actors. It's coming out for Christmas. The movie is being scored by Jónsi from Sigur Rós. I love Sigur Rós, and Jónsi has done this amazing score for us. We played his music a lot in the making of the movie, along with some Pearl Jam and Neil Young. Matt Damon is a big fan of all this music, so we literally started playing music during one of his takes on the first day, and he said, "You've gotta keep it coming, man. Keep it coming." So, that's how we made We Bought a Zoo. It was very much a music-filled experience.
Have you considered doing a sequel to Say Anything and letting people know what happened to Lloyd Dobler (John Cusack)?
CROWE: It's the only thing that I've written that I would consider doing that with. I've thought about it, from time to time, and talked about it with John Cusack once. I think there might be another chapter to that, at some point. I will keep it in mind. We would have to keep the guy that Lloyd Dobler has to drive home from the prom party. He's got to come back.


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Flank Steak
I use this recipe to flavor and tenderize flank steak, and other cuts of beef.
Increase ingredients for larger cuts of meat.
½ cup vegetable, canola, or olive oil
¼ cup sesame oil
½ cup balsamic vinegar
2 cloves garlic, mashed and chopped
2-3 sprigs of fresh Rosemary and Thyme finely chopped or 2 TB each of these dried herbs (Rub dried herbs to release oils.)
3 chopped green onions
1/8 tsp pepper
Mix together. Place flank steak in a plastic zip bag or sealed plastic container. Pour marinade over meat. Refrigerate and marinate at least 2 hours up to 24 hours. Grill about 7 minutes on each side. Thinly cut across the grain. Cutting in this way keeps the fibers short to avoid tough meat.
Marinate the meat the night before or in the morning before you start school. This is a quick dinner.
Par-boil small red or white potatoes about 20 minutes. Drain. Dump into a large bowl. Pour olive oil a little at a time coating potatoes. Sprinkle with salt, pepper, chopped parsley. Stir. Put each potato on grill the same time as steak. Turn to keep from burning.
Fix a salad in the morning for dinner.
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This publication presents a comprehensive view of WP.29 beginning with a brief history from its inception as a regional forum through its recent transformation into a world forum. The principal intent of this document is to present the organizational structure and operational process of WP.29 and its subsidiary bodies and their relationship to specific multinational agreements under the United Nations. It also describes the three main UNECE agreements concerning vehicle regulations:
1. Agreement concerning the Adoption of Uniform Technical Prescriptions for Wheeled Vehicles, Equipment and Parts which can be fitted and / or be used on Wheeled Vehicles and the Conditions for Reciprocal Recognition of Approvals Granted on the Basis of these Prescriptions done at Geneva on 20 March 1958, including the amendments entered into force on 16 October 1995
E/ECE/324 - E/ECE/TRANS/505/Rev.2 - October 1995 - E,F,R
- Annexed to the Agreement are 128 Regulations - E,F,R
- A complete information about the Status of the Agreement and application of ECE Regulations by its Contracting Parties contained in document TRANS/WP.29/343/Rev.20
Also available at: http://www.unece.org/trans/main/wp29/wp29regs.html
2. Agreement concerning the Establishing of Global Technical Regulations for Wheeled Vehicles, Equipment and Parts which can be Fitted and/or be used on Wheeled Vehicles, done at Geneva on 25 June 1998
Global Registry: ECE/TRANS/180 & Add1-12
- Annexed to the Agreement are 12 global technical regulations, including their appendices, amendments and corrigenda
Also available at: http://www.unece.org/trans/main/wp29/wp29wgs/wp29gen/wp29glob.html
3. Agreement Concerning the Adoption of Uniform Conditions for Periodical Technical Inspections of Wheeled Vehicles and the Reciprocal Recognition of Such Inspections, done at Vienna on 13 November 1997
ECE/RCTE/CONF/4 & Add.1/Rev.1 - Rule No. 1-2
Also available at: http://www.unece.org/trans/main/wp29/wp29wgs/wp29gen/wp291997.html
Electronic copy of this publication is available for download here:
Arabic | English | French | Russian | Chinese | Spanish
© 2012 United Nations Publications
The information in this document reflects the situation as at the end of May 2012.


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Before an existing iPhoto library can be used with iPhoto '11 it must be upgraded. This process occurs when you open your library with iPhoto '11 for the first time. In extremely rare cases, if you do not follow the recommendations below during the upgrade process, you may experience data loss. This article outlines the various events that may occur during the library upgrade process and offers advice on how to avoid data loss.
Before you update
The library upgrade process is generally safe and reliable, but it's always a good idea to have a backup of your library in case of unforeseen issues. Keep in mind that fully upgrading a very large library can take a long time, even up to an hour or more.
Before updating to iPhoto '11, it is recommended that all customers download and install the iPhoto 9.0.1 software update:
- From the Apple () menu, choose Software Update and check for the iPhoto 9.0.1 Update. You can also manually download the iPhoto 9.0.1 update here. Follow the instructions to install iPhoto 9.0.1 and then reopen iPhoto '11 to complete the update.
If iPhoto '11 unexpectedly quits when upgrading your library
If iPhoto unexpectedly quits during the update process, first confirm that you have installed the iPhoto 9.0.1 software update before attempting to upgrade your library again:
- From the iPhoto menu, choose About iPhoto to view the version number.
If you attempt to upgrade your library a second (or third) time after the software unexpectedly quits, and you have not installed the iPhoto 9.0.1 software update, it is strongly recommended that you do not force quit the application during the update process. If the software unexpectedly quits, iPhoto may on subsequent launches appear to stop responding during the upgrade process. Customers are advised to let the process continue until the upgrade progress bar is displayed. For very large libraries, iPhoto '11 may appear to be inactive for several minutes before the progress bar is displayed — do not force quit the application during this period.
If you have force quit iPhoto '11 during a library upgrade, you should not attempt to open iPhoto '11 or upgrade the library again without first installing the iPhoto 9.0.1 Update.
Important: Attempting an update after a force quit may cause data loss.
Before attempting to upgrade again, first confirm that you have installed the iPhoto 9.0.1 software update.
Learn more
If you continue to experience issues upgrading your iPhoto '11 library contact AppleCare for further assistance.


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My Journey Through Baseball
"I'm more entranced than the average fan…I used to play, you see, and I know I still can." – Robert DeNiro in The Fan (1996)
Although you wouldn't know it here in New York, today is the first day of spring. The reason you wouldn't know it: because it snowed this morning and it feels as though winter is giving us one last jolt of cold to remember it by.
I woke up this morning and the first thought that came to my mind was, "Wow. I cannot believe that less than 24 hours ago I was wearing shorts and playing baseball."
It was hard to believe, even though it happened. Yesterday I went to the park with my friends and we played baseball. It was such a nice day that we couldn't pass up the chance to play our favorite game.
As we were playing catch and batting the ball around, we found ourselves remembering all the times we played organized baseball for the towns we lived in. We recalled what jersey numbers we had, the games we excelled in, and what it was like to play baseball in a coordinated environment.
I figured I would share a little bit of my journey through baseball, and sports in general; the years I played, the triumphs I enjoyed, the tragedies I endured, and how to this day I still love to go outside when the spring comes and play baseball with my friends.
Before I even started my baseball career, I played soccer and basketball – two sports that in this day and I age I do not particularly care for. When I was young I played soccer in the Peewee League. I scored one goal the whole time I played – and it was in a scrimmage.
To this day I'm not sure why I picked up soccer at such a young age. I suppose I needed to run around and drain away some of my pent-up energy, but other than that, I can't think of a reason why I played it.
When I stopped playing soccer I started CYO Basketball. I played for four years and was on different intramural teams each season. The first year I played I was forced to sit out; I was on the bench the entire season with a broken wrist. It was the worst feeling in the world. I broke my wrist on the same day of my first ever basketball practice.
Ironically enough, my broken wrist had nothing to do with basketball. I fell off a bed.
The second year I played, my team was very good. We won every single game with the exception of one, nearly going undefeated for the season. The problem was, it was intramural CYO – there was no playoff system or trophy presentation at the end of the year. My team was the best, yet we had no concrete evidence to show for it.
I can remember the final year I played basketball, though I'd like to forget it. From being on the best team I went to the absolute worst team. The squad I was on was ridiculous; I have no problem admitting that. We lost every single game we played because most of the kids on the team were ball-hogs and had no clue how to play basketball. I think my ears still hurt from the amount of times the refs blew their whistles calling fouls on my team.
Come to think of it, my team lost a game that season by a score of 69-16. That's how bad it was.
After that beating, I knew it was time to give up basketball and concentrate on the best sport in the world: baseball. In February of 1998 I signed up to play Rookie Ball – the level right below Little League.
A few days later my family got a call saying I was too old for Rookie League. I was already 10 years old and by the time the season began I would be 11, meaning if I wanted to play, I had to play Little League. They put me on a team and believe it or not, my team was the Yankees. In the town of Beacon where I played, each team was given the name of a Major League Team.
There were the Yankees, the Red Sox, the Giants, the Indians, the Dodgers…you get the idea. It was pretty cool. The uniforms were also great: we were given jerseys that boasted the logos of each team you were on. I was on the Yankees, and my uniform looked like this…
I was given number 19 to wear, which at the time was being worn by Luis Sojo. But looking back, some of the best Yankees have worn number 19. Dave Righetti, Robin Ventura, Al Leiter, and Aaron Boone (among others) have worn it; 19 is a pretty solid number in Yankee lore.
My team was coming off a strong season; in fact, the year before they had won the town's Little League Championship. It was an incredible feeling walking in the Opening Day Parade with them and being introduced as a defending champion – although I did realize I had nothing to do with winning the championship and I was new.
Thankfully my teammates weren't mean to me and didn't try to make me feel as if I didn't belong there. They welcomed me to the team with open arms, although I think they knew in their minds I wasn't going to be very good, considering it was my first year playing.
Those thoughts were well-founded. I wasn't good at the beginning.
In my first year, I drew a few walks here and there, but I couldn't buy a hit. I played left field and didn't see a lot of game action. Despite taking my first year bumps, we kept winning. My Yankee team was undefeated for quite some time, before the Orioles finally stopped our winning streak halfway through the year.
On one of the last days of the season I finally got my moment to shine. I stood in the batter's box, saw the pitch coming, and swung the bat, cracking a line drive base hit to centerfield. My hit drove in a run for my first career RBI and we went on to beat the Indians that day. I stood on first base and looked over to the dugout. I smiled, looking at my whole team standing up and clapping for me.
After each game, the coach on the winning team awarded the game ball to the standout player on the team. It was almost like winning the "Chevy Player of the Game" award, if you will.
My coach tossed me the game ball and said, "Congratulations on your first hit and your first RBI."
I was speechless. All season long I had watched the other players on my team receive the game ball and the honor went to me. It was an unbelievable feeling and one I'll always remember.
The second year I played Little League I was a lot more comfortable. I knew what to expect and I had more than one hit all year. The first game of the season, we played the Mets. I struck out in my first at-bat and my coach had asked me if I was comfortable bunting before I stepped up to the plate. I told him I wanted to swing away, and he obliged.
My next at-bat however, he didn't ask me if I wanted to bunt. He told me I had to.
I laid down a beauty and reached safely to drive in a run. That bunt almost set the pace for the rest of the season, and I went on to have a pretty good year. I remember laying down a lot more bunts after that game and my coach once called me "the best bunter on the team."
That was evidenced when we played the Dodgers, and I once again laid down a perfect bunt. Pitching was a young man named Steve, who was in my class. During the day he and I talked a lot of smack about who was going to win, especially since he was pitching.
My bunt drove in a run and I reached second on an error. We won the game and for the second time I was awarded the game ball. Again, it was a great feeling to receive the honor and afterward there were no hard feelings between me and Steve. I think he actually congratulated me the next day.
Little League was quite an experience and I will not forget it. But it was just the beginning of my journey through baseball and the game afforded me even better memories as I continued to play at the next level.
I was in eighth grade when I started to play in the Babe Ruth League. The first day of practice was unreal. The field was so much bigger than the Little League field, most noticeably the outfield dimensions. Right and left field were 285 feet while dead-center was 315 feet – a foot longer than right field at Yankee Stadium.
Another change was the team names. No more MLB team names, but instead our teams were sponsored by the local clubs and organizations. My team was sponsored by the Knights of Columbus and our team name was K of C.
I was only in eighth grade but played against high school kids. I knew that I was going to have to start from scratch again and I probably wasn't going to be very good, much like how I was in my first year of Little League. However, the town put all us Babe Ruth rookies on a travel team as well our regular teams, just so we could get some more at-bats and fine-tune our fielding.
Suffice it to say, I had a better first year playing on the travel team than I did on K of C, the Babe Ruth team. On my travel team, I had a few key hits and played against another friend from school. Once again my team won that game, 7-6. I even had a hit that went right over my friend's head; a bloop single that landed in between the right fielder and my friend who was manning second base.
Sorry Vito.
The biggest change going from Little League to Babe Ruth was my position. The whole time I spent in Little League, I was an outfielder. I played mostly left field, but was tossed around quite a bit and saw time in right field and center field.
The first game I played at the Babe Ruth level, my coach announced my name and told me I was starting at second base. I had never been more confused – and scared – in my life. I had never played the infield before, and I was worried I was going to make a million mistakes.
I surprised myself by not performing poorly. I made a few defensive stops and before long I became comfortable at second, although I did see a lot of time in right field throughout the rest of the season. My travel team ended the year with a good record, but my K of C team had a rough year. We finished the season in fifth place out of sixth.
The second year I played was a different story.
I knew from the first day of practice that there was something different about our team. We went into these practices and performed as if we were playing in actual games. We were steadier, a little bit younger because we had some Little Leaguers coming in, and we wanted to erase finishing fifth the year before.
All in all, we were hungry.
There were so many defining moments that stand out to me in that season, but two come to mind. The first was painful, at least for me. We were playing the Lions, a team sponsored by (you guessed it) the local Lions Club. They had a very powerful left-handed hitter, who just so happened to also pitch and was one of the hardest throwing hurlers in the league that season.
He came up to bat with two outs in the fifth inning and we only held a small, 3-2 lead.
In right field, my coach told me to shade over toward the foul line. I knew that as a lefty, if he had gotten around on a pitch, it was coming to me. He had taken the first two pitches for balls one and two, but on the third pitch he saw, he swung and delivered a high fly ball…that was going over my head.
I turned around and immediately started to run. Frantically, I raced toward the right field wall as my hat flew off my head. I stuck out my glove and by some act of God, the ball landed in its webbing. Three outs with the lead intact. The parents and supporters of my team went nuts from the bleachers after I made the catch.
It was almost reminiscent of Willie Mays in the 1954 World Series. It was beautiful.
As fate would have it, after my web gem, I was due up first in the next half-inning. Facing the guy whom I had just robbed of an extra base hit, I walked up to the plate. He threw a fastball that came in so fast, I didn't have a fraction of a second to react – and the ball plastered me, right on the outside of my left thigh.
I fell to the ground in such pain that, for a moment, I didn't know where I was.
The coaches ran out and helped me get to my feet. I walked around behind home plate for a couple of minutes before my coach asked me if I wanted to stay in the game. Even though my leg was aching in excruciating pain, I refused to let him beat me. I made up my mind that I wasn't leaving the game and I chose to stay in, bad wheel and all.
We wound up winning the game 3-2 and it was one of the better games I remember playing, just because of my attitude. Not the fact that I got hit or the fact that I made an outstanding defensive play, but for the fact that I stayed in the game and didn't allow myself to be bullied.
To this day, I am convinced he beaned me on purpose. He may have won that little battle, but I feel I won the war. Not only did my team win, but I stayed in the game.
The second moment that stood out came later in the season. We were playing BPBA (Beacon Police Benevolent Association) and at that point we were scuffling a bit. We were down early in the game and for some reason that day, my coach decided to plug me into the number three hole in the lineup. In the fourth hole we had a tall, powerful right-handed hitter named Brian; a kid capable of hitting the ball out of the cavernous ballpark.
In the fourth inning I led off with a single. I remember checking the defense and every single outfielder backed up – they knew what kind of power he possessed.
Brian swung and hammered the ball to the deepest part of the park: centerfield. I came off first base a little bit, took a few steps back in case the ball was going to be caught, and then checked the center fielder. He looked up and watched the ball sail out of the park for a two-run home run, right over the 315′ sign.
I rounded the bases with a smile on my face; with joy in my heart. I knew that I was never going to hit a home run at this field, and this was the next best thing: being on base when my teammate hit one. The whole team waited for us at home plate and high-fived us after we crossed the plate.
Brian whacked the top of my helmet as we walked back to the dugout.
"Good job kid," he said to me. "Thanks for that single. Because of that it was a two-run homer!"
I looked up at him, smiled, and simply replied, "No problem."
We went on to win that game big, 14-3. From there we got hot and went on a winning streak. We finished the season with a record of 12-6 and were headed to the playoffs. No champagne celebration for us, but we were very happy and satisfied with getting there. We also knew that as well as we had played during the season, it meant nothing if we didn't win the championship.
The playoffs were a four-team tournament: single elimination in the first round, and best two out of three in the championship series. We had a huge challenge in front of us, playing the Lions in the first round. We had faced them four times during the regular season and split the series, 2-2. This was the rubber game; the chance to show once and for all which team was better.
Not to mention the winner had a one-way ticket the championship series.
My team was not fazed by pressure. We obviously didn't feel it because we pounded out 16 hits and went on to win the game 10-0. We were going to the championship series and for the first time in my baseball career, I would know what it felt like to play in a series for all the marbles.
I couldn't help but think of my Little League days when we won the first round game. I remembered how I was recognized as a champion, even though I hadn't earned it. This was my chance to earn it.
Unfortunately for K of C, the magic vanished.
We played a team named Palisi in the finals, a squad named after one of the local auto body shops. They were the only team that we lost a series to during the regular season, as they edged us, three games to one.
In Game One, they pounded every mistake we made. They went up 6-0 in the first inning and never looked back. They let us know that, in no uncertain terms, they were not going to lay down for us. After the game we obviously felt discouraged but knew we needed to win the next game in order to stay alive and push the series to a deciding Game Three.
We lost Game Two. But it wasn't nearly as lopsided as Game One, as we were only beaten by a score of 6-2. We faced another power pitcher; a flame-throwing righty named Mark who was tall and built like Phil Hughes. In my only at-bat in Game Two, I drew a walk to lead off the fifth inning. Mark struck out the next three batters and the score remained 6-1.
In the sixth inning Brian came up and led off with a solo home run to bring it within four, 6-2. We all went out to greet him as he came to the plate, but our spirits just weren't there; our enthusiasm had worn off. We tried to stay as positive as we could, but there was nothing that could be done. We lost.
After it was over, I watched from the dugout as Palisi celebrated. Crushed, I saw them get their picture taken for the local newspapers. My coach sat us down on the bench and told us not to feel bad about anything; he told us that from day one he loved coaching us and that we made a huge stride, coming from a fifth place finish to a second place finish.
I felt a little better when I found out that, despite our loss, we were getting rewarded for finishing second. We were going to receive the runner-up trophy and we were going to be a part of the trophy presentation ceremony.
"Ladies and gentlemen, your 2001 runner-up, K of C!"
Standing at the edge of the dugout, my name was announced first.
"A.J. Martelli!"
I jogged out to the area behind home plate and I was given my trophy. I shook my coach's hand as he looked at me. With a reluctant smile he said, "Hell of a season, pal."
The trophy presentation made me feel a lot better. It's almost as if I forgot we had lost. It didn't feel like a loss when I left the ballpark that day. I felt as though I had been a part of something special and I was honored to play with such a dedicated and hard-working group of players.
To this day I look back on that season and wish I could live through it again.
The final year I played organized baseball was bittersweet. I saw a good amount of game action, especially at second base, being that it was my final year and I was a team veteran. We had a decent year and again we made the playoffs.
But it was BPBA's turn to feel what we felt; their opportunity to play in the championship series. They beat us in the single elimination first round game and I watched them celebrate as my Babe Ruth career came to a close.
But it wasn't exactly over just yet.
After that loss I had one more game: an end-of-the-year battle between the departing veterans and the coaches. The league designed this so that all the players who were leaving could have one last game and go out in a good way.
Against the coaches I had a single, a walk, a stolen base, and two runs scored. We wound up losing count of the score, because we were beating them by such a wide margin. All in all, it was a fun night but I also understood that I would be closing a chapter in my life.
While I was playing in the Babe Ruth League, I wanted to try out for my high school team. In my first year in high school, I wanted to make the freshman baseball team and eventually work my way up to the junior varsity team, and if I was lucky, make the varsity team in the ensuing years as an upperclassman.
I attended a few open gyms during the off-season and got to know a lot of the players. The open gyms were intense; a lot of running, suicides, long toss, and fast-pitch batting practice. But I knew that, if nothing else, the workouts would prepare me for the Babe Ruth season.
Lady Luck was not on my side as a high school freshman, though. I struggled both academically and personally throughout the year and as a result I was placed on academic probation, prohibiting me from trying out for the freshman baseball team. I knew that if I couldn't play in my freshman year, I probably wouldn't be able to play at all for my high school, at least not without enormous competition for a roster spot.
So in a nutshell, although I played in the Babe Ruth League for two years while I was in high school, I never did get to play for my high school's team.
And yes, I regret it. Had I had an easier time in my freshman year, and maybe pushed myself a little harder academically, I have no doubt in my mind I could have played for my high school and kept my baseball career alive.
I am not saying I would have continued to play in college, but it could have happened for me. I would have loved to go through the experience of facing other schools and possibly winning a few more trophies.
These days it's nice to just go to the park on a spring day and put on my baseball glove. And when I do, I think about that base hit on the Beacon Little League Field that drove in a run for my first RBI.
I think about all those bunts I laid down in my second year of Little League.
I think about how special I felt when I was awarded the game ball.
I think about how I felt looking at the Babe Ruth Field for the first time.
I think about that Willie Mays-like catch I made to rob the best player in the league of extra bases – and how he exacted his revenge on me, and how I refused to leave the game when I was hurt.
I think about that home run Brian hit, and how awesome it felt to round the bases with him.
I think about the championship series, and how good I felt, even though we lost.
I think about the trophy presentation and how it felt to have my name called.
I think about how fun the game against the coaches was.
I think about how I wish I had played for my high school, and even though I didn't, how fun the open gyms were.
I think about all these things…and wish I can have them back.


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CULTURALLY RESPONSIVE COACHING AND PROFESSIONAL DEVELOPMENT FOR TEACHERS WORKING WTH ENGLISH LEARNERS: A CASE STUDY IN EARLY CHILDHOOD EDUCATION by Icela Pelayo A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (EDUCATION) August 2012 Copyright 2012 Icela Pelayo
Object Description
|Culturally responsive coaching and professional development for teachers working with English learners: a case study in early childhood education
|Pelayo, Icela
|Author email
|Doctor of Philosophy
|Document type
|Degree program
|Rossier School of Education
|Date defended/completed
|Date submitted
|Date approved
|Restricted until
|Date published
|Advisor (committee chair)
|Rueda, Robert
|Advisor (committee member)
Ragusa, Gisele
Salcido, Ramon
|Literacy is the foundation for high academic achievement and educational attainment; it is critical that young English learners (ELs) become proficient in literacy to facilitate later success. Teachers must have access to effective training that prepares them to work with diverse populations. The multiple case study was situated in an urban and bilingual setting and examined how early childhood teachers' beliefs, knowledge and practices with respect to working with ELs changed over time with culturally responsive professional development (PD). The culturally and linguistically responsive PD intervention model incorporated highly individualized coaching and teacher support. Teachers were discussed both individually and collectively. The five salient themes from the cross case analysis were a shift in viewing culture as content for lesson and activities to culture as a context for learning, a shift in passive role of the family in the child's education moving toward fostering an authentic home-to-school connection, a shift toward using more culturally and linguistically responsive teaching practices aimed at improving instruction, a shift from narrow school-centered notions of literacy toward incorporating family literacy practices, and a shift in teachers' thinking about their roles as educators, moving toward awareness of agency, expertise and self-efficacy. The study findings suggest that: a culturally and linguistically responsive coaching model of PD is a promising approach; same ethnicity/language are no guarantees for effective instruction; training teachers to be culturally responsive requires a culturally responsive approach; teachers have their own funds of knowledge which can and should be tapped; and effective coaching requires intensive scaffolding. The content and approach of the PD intervention developed in this study could not only serve as a model for future large-scale studies, it could also promote evidence-based instructional practices and inform future education policy efforts at the local level and beyond.
|English learners; culturally responsive pedagogy; teacher professional development and coaching; early childhood education; language and literacy development; urban education; multilingual learning context
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|University of Southern California dissertations and theses
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|Los Angeles, California
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|Pelayo, Icela
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|CULTURALLY RESPONSIVE COACHING AND PROFESSIONAL DEVELOPMENT FOR TEACHERS WORKING WTH ENGLISH LEARNERS: A CASE STUDY IN EARLY CHILDHOOD EDUCATION by Icela Pelayo A Dissertation Presented to the FACULTY OF THE USC GRADUATE SCHOOL UNIVERSITY OF SOUTHERN CALIFORNIA In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY (EDUCATION) August 2012 Copyright 2012 Icela Pelayo


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Body art
The Body Art exhibition explored the many different ways, both temporary and permanent, in which people modify, change, decorate and adorn their bodies. It revealed the what, why, how and where of 'body art'.
Death: the last taboo
Death is a process rather than an event. Learn more about the process and the many natural and human processes that occur after our death.
Built in partnership with local Aboriginal Elders and communities, GADI showcased the rich culture and history of the Country now known as Sydney City. It featured rare objects, new cultural material made by Gadigal Elders, stories, film, songs and 8,000 archaeological pieces.
The Meaning of Ta Moko - Maori Tattooing
Ta Moko was like a history of a person's achievements and represented their status in their tribe.
Disposing of the dead - Cremation
Cremation is the disposal of a corpse by fire. It is an ancient and widespread practice, second only to burial. Some ancient cultures believed that fire was a purifying agent, and that cremation would light the way of the deceased to another world, or to prevent the return of the dead.
Decomposition - Body Changes
Death begins when the heart stops beating. Deprived of oxygen, a cascade of cellular death commences.
Who works at a morgue?
There are many people who work at an Institute of Forensic Medicine (morgue), from pathologists, to grief counsellors to administration personnel, but there are three main people who are involved in deciding whether an autopsy is carried out or in performing an autopsy.
Signs of death
Among classical Greek and Roman societies the signs of death were the absence of a heartbeat and breathing, and the onset of putrefaction. In medieval times a candle was held to the mouth - a flicker of the candle was shown as a sign of life.
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Of the 128 500 people who die in Australia every year, only 13.4% of deaths are referred on to the coroner's office and even fewer will require a coronial investigation and autopsy. Not all deaths need to be investigated. There are a variety of reasons why a death might be reported to the coroner.
Ching Ming
The Ching Ming ('Clear Brightness') festival has been celebrated annually at Sydney's Rookwood Cemetery since at least the 1880s.


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Projects Abroad Make Donation to Maternity Ward in Mongolia
On December 1st Projects Abroad Mongolia made a donation to the State Second Maternity hospital in Ulaanbaatar. The hospital was established in 1959 and is one of the biggest in its field in Mongolia.
The hospital buildings have not been maintained over the years resulting in the hospital having to close for three weeks to make the vital repairs we are helping to fund. The hospital re-opens on the 10th December and we hope the improvements will help the local staff and of course the patients.
Projects Abroad Mongolia's donation went towards repairing and furnishing the Maternity Department and two baby delivery rooms. Every year more than 3500 pregnant women give a birth in this department - one of the busiest in Ulaanbaatar.


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Bururi region, Burundi, 1994, Defense Mapping Agency (DMA) Series Z724, Sheet 4773-III (Raster Image)
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- United States. Defense Mapping Agency. Hydrographic/Topographic Center
- Description:
- This layer is a georeferenced raster image of the United States Defense Mapping Agency (DMA) Series Z724, Burundi, 1:50,000 Topographic Line Map (TLM) Series sheet map entitled: Bururi. Printed in: 1994. Covers portions of Bururi region, Burundi. Sheet: 4773-III. Edition statement: Ed. 1 - DMA. The image inside the map neatline is georeferenced to the surface of the earth and fit to World Geodetic System (1984) coordinates. All map collar information is also available as part of the raster image. Burundi 1:50:000 Series Z724 maps are in English and French (legends also include Rundi). Each source map in the series is printed in color at a scale of 1:50,000. Series source sheets were published in 1994-1995 by the United States Defense Mapping Agency, Hydrographic/Topographic Center. The source map was scanned and georeferenced for Harvard University's Center for Geographic Analysis' AfricaMap project by East View Cartographic. Individual TLM sheets covering Burundi (40 sheets in total) were selected from the TLM worldwide series. DMA Topographic Line Map series maps are typical topographic maps portraying both natural and manmade features. They show and name works of nature, such as mountains, valleys, lakes, rivers, vegetation, etc. They also identify the principal works of humans, such as roads, railroads, boundaries, transmission lines, major buildings, etc. Relief is shown with standard contour intervals of 20 meters, with some sheets having supplemental meter contours, form lines, hachures, shading, and/or spot heights. Depths shown by bathymetric isolines. Please pay close attention to map collar information on projections, spheroid, compilation dates, legend information, and keys to grid numbering and other numbers which appear inside the neatline.
- Publisher:
- Harvard Map Collection, Harvard College Library
- Place(s):
- Burundi and Bururi
- Subject(s):
- imageryBaseMapsEarthCover
- Held by:
- Harvard
|Click on map to inspect values


text: Violet Report post Posted August 11, 2012 So you've come to TDA to request some sort of graphic. This basic tutorial will show you how it's done. Once your account has been validated, you go to the Requesting Arena to make your request: Take careful note of what type of graphic you want to request. The "HPFF Banner Requests" area is only for any story posted on harrypotterfanfiction.com - this means that if you want to request for a story posted on any other site, you must post it in "Other Requests". All requests made on TDA must include a link to the site where you will use the graphic. No link - no graphic! HPFF Banners: link to the story summary page (example). The story must have at least one validated chapter. HPFF Chapter Images: link to the individual chapter. The chapter where you will use the image must be validated. Forum Graphics: link to your profile page (example). If the site cannot be seen by guests, you must take a screencapture of your profile instead. Other Graphics: provide whatever applicable link you can. The only exception is for desktop wallpapers or any type of graphic for personal, offline use. Each requesting forum is divided into three areas: General Requests: these are open for any Junior, Senior, Graduate, and Staff artists to fill. Specific Requests: if you only want a particular artist or group of artists to fill your request. Member Artist Requests: after 24 hours or more of sitting in general requests, you may ask to have your request moved here for any Member Artist to fill. Because HPFF banners are our most popular requests, the remainder of this tutorial will be specific to that area. When you enter the HPFF banner requests forum, scroll down a little. Then you will see the help topics: To make a new request, first click on "Complete Rule Guide & Request Forms". Please read the rules so that your request can be opened and filled as soon as possible! Hit "back" on your browser and click on the "Start a New Topic" button found at the top right of the list of topics. Then you will come to this screen: Please do not add [open] to your request's title - the moderators will add that once they check over your request to make sure that 1) it follows the rules, and 2) all the links and images work. The rules posted in each requesting forum explain what you do with your request once it's posted. Rules for HPFF Banner Requests Rules for HPFF Chapter Image Requests Rules for Forum Graphic Requests || Rules for Pottersworld Requests Rules for Other Requests Another important topic to take note of is Where to Find Images - it contains lists of sites with image galleries. TDA also has its own gallery of images that are perfect for requests: TDA Resources. ______________________________________ The Giant Eraser forum is for any changes, be they major or minor, on any graphic you have requested on TDA. If you requested a graphic some time ago (months, or even years), and the artist is still active, you may ask them to remake the graphic entirely. Or, perhaps you only need a small change - a different quote or different image. For either of these cases, you can use this forum. We ask that you use the Giant Eraser rather than requesting changes in private (via PM) so that we can make sure that the final graphic still follows the rules, particularly of HPFF. The Giant Eraser was originally made for remaking old HPFF banners, but with some adjustments to the request forms, you can make it useful for any type of graphic. ______________________________________ We also provide resources for requests in the Before Requesting forum: The "Up For Grabs" area is of particular interest to those who do not want to wait for a request to be filled and for those who have no specific design in mind. Here, artists have posted graphics that need homes - to be honest, it's an adoption centre for graphics, from desktops to forum graphics, banners, and chapter images. If you have any questions at all, don't hesitate to post in the Q&A forum. Share this post Link to post Share on other sites


text:
Osprey Series WWII Japanese Army in World War II - The Pacific and New Guinea, 1942-1943
Price includes UK postage and packing.
Price includes UK postage and packing.
Welcome to Armoury Antiques and Militaria and Binky's Barn. This is a dual website with two distinct shopping experiences. 'Armoury Antiques and Militaria' deal with all things related to swords, daggers, armour and military collectables, whilst 'Binky's Barn' is the Vintage Furniture and Kitchenalia side of our business, specialising in the up-cycling of vintage furniture as well as stocking antique curios and other decorative items.
Please Note: We will not post antique or pre-1954 Japanese swords, swords, daggers or other edged weapons as we require proof that you are over 18 years of age to comply with current and new legislation (due to come out very soon) to do with the sale and delivery of edged weapons. We will not send items to private addresses and we fully comply with all Government legislation.
Armoury Antiques and Militaria, Shop 4 Tavistock Pannier Market, Tavistock, Devon. PL19 0AL
Phone: 07887 852523


text:
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Hearings and Business Meetings
Jul 30 2008
National Parks Subcommittee Hearing: to receive testimony on pending legislation (SD-366)
02:30 PMThe purpose of the hearing is to receive testimony on the following bills: S. 1816, to authorize the Secretary of the Interior to establish a commemorative trail in connection with the Women's Rights National Historical Park to link properties that are historically and thematically associated with the struggle for women's suffrage, and for other purposes; S. 2093, to amend the Wild and Scenic Rivers Act to designate a segment of the Missisquoi and Trout Rivers in the State of Vermont for study for potential addition to the National Wild and Scenic Rivers System; S. 2535, to revise the boundary of the Martin Van Buren National Historic Site, and for other purposes; S. 2561, to require the Secretary of the Interior to conduct a theme study to identify sites and resources to commemorate and interpret the Cold War; S. 3011, to amend the Palo Alto Battlefield National Historic Site Act of 1991 to expand the boundaries of the historic site, and for other purposes; S. 3113, to reinstate the Interim Management Strategy governing off-road vehicle use in the Cape Hatteras National Seashore, North Carolina, pending the issuance of a final rule for off-road vehicle use by the National Park Service; S. 3148, to modify the boundary of the Oregon Caves National Monument, and for other purposes; S. 3158, to extend the authority for the Cape Cod National Seashore Advisory Commission; S. 3226, to rename the Abraham Lincoln Birthplace National Historic Site in the State of Kentucky as the Abraham Lincoln Birthplace National Historical Park; S. 3247, to provide for the designation of the River Raisin National Battlefield Park in the State of Michigan; and H.R. 5137, to ensure that hunting remains a purpose of the New River Gorge National River.
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Witness Panel 1
The Honorable Hillary ClintonUS Senator
The Honorable John DingellUS House of Representatives
The Honorable Elizabeth DoleUS Senator
The Honorable Carl LevinUS Senate
Witness Panel 2
Deputy DirectorNational Park Service, Department of the InteriorAllwenk000.doc (148.5 KBs)
Deputy ChiefNational Forest ServiceUSDAtestimony.doc (83.0 KBs)
Witness Panel 3
ChairmanDare County Board of CommissionersWarrenJudgeTestimony.pdf (1.9 MBs)
Director, Carolinas OfficeSouthern Environmental Law CenterDerbCarterTestimony.pdf (42.6 KBs)
PresidentElizabeth Cady Stanton TrustSenateBill1816ColineJenkinsTestimony.doc (44.5 KBs)
PresidentMonroe County Historical SocietyTestimonyofWilliamBraunlich.doc (25.0 KBs)


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Enterprenuer Info
Tuesday, 28 February 2017
The financial institution sector in Kenya has created job opportunities for many people through their agency banking service. People have access to banking services such as deposits, withdrawals, paying school fees, bills and opening bank accounts right in their backyard. Agency banking has proven to be a successful venture and a means whereby people can invest a little capital. HOW TO APPLY FOR AN AGENCY BUSINESS The requirements in order to begin are as follows; 1. An Identification Card 2. Opening an account with the affiliate bank. This is the account to be used for business transactions as well as where you will get your commissions. 3. Certificate of good conduct. 4. Pin number certificate. 5. Business name (registered or unregistered). 6. Business Permit. BEFORE YOU BEGIN.... The goal of any business is to make profit and be a source of income for the individual.In order for this to happen you need to be honest with yourself and ask if you can handle the responsibility of running a business. Being self employed requires discipline and alot of sacrifice.No one is there to monitor you as you are your own boss.The success of the business will therefore depend on your own effort on a daily basis. You will also need to explore the environment where the business will be set up. How many similar services are around and if many, how do you intend to overcome the competition? Check out things like population, and security before you begin. It is all about being one step ahead of the rest. TIPS ON HOW TO SUCCEED AS AN AGENCY BANKER After meeting all the requirements when applying, you wait for at least one month to get approval, training and acquiring the equipments such as the POS machine, transaction registries and so forth. Once you begin operations the goal is to benefit from this investment. Here are tips that will help you succeed. 1.Branding means advertising your business and bringing awareness to would be customers. Make sure you use big bold words and let your theme color be associated with the bank's color theme and brand.This way customers will know which service you are offering and from which bank. 2. You need to have at least kshs 100,000 operating capital. This is the amount you have invested in the business. It is advisable not to be tempted to use this money for other needs because when your operating float reduces, the number of transactions reduce, your customers reduce and your commissions equally reduce. 3. Invest in security. This is the kind of business where you are dealing with large amounts of money all the time. It makes you vulnerable to people who have ill intentions like thugs and con-men. You can avert this problem by investing in security gadgets such CCTV cameras, money detectors, alarm systems and bullet proof glass. Insure your business from common risks like theft, fire and vandalism. Amazon has some amazing security gadgets at affordable prices.Check them out via the links provided. 4. Always ask for customer I.D before transacting. Avoid becoming a victim of fradulent dealings by ensuring to ask for customer I.D before doing any transactions. Many agents who have been caught not asking for I.D have ended up paying heavy fines or loosing their agency licence. 5. Always establish a good rapport with customers. The agency business is a competitive one and you can rise above it by providing quality customer service.You will draw customers to your business like a magnet by polishing your basic public relations skills and treating customers with respect. 6. Build your reputation by always have enough cash float to cater to all customers.Your business will thus have a reputation of never turning away its clients which will in turn make it grow. 7. Be money wise and disciplined when it comes to spending. Saving is a necessity for every business to succeed. Make it a priority to save at least 20% of your daily profits. You can also re-invest your commissions back into a business and this will facilitate growth. 8. The early bird catches the worm. Be an early riser and let your business be known for opening its doors early, preferably 8 a.m. 9. Keep a record of your transactions everyday. Know how much goes in and how much goes out. This way you will be able to track the progress of your business. 10. One final tip to succeed in your business is prayer. Always pray for your business and ask for blessings and favour everyday. Prayer not only provides spiritual support but it also nourishes and keeps stress away.. THINGS YOU SHOULD NOT DO 1. Do not accept a bank card(ATM) that does not belong to its owner. There are chances it may be a stolen card. 2. Do not keep you money in the open where it is visible to customers.There are many people who move around looking for targets to rob. 3. Do not be so obvious in your movements especially when going home and coming to work.Change the routes you take regulary to avoid being another case of kidnap and robbery. 4. Do not multi-task.Handle one customer at a time to avoid confusion and loss. 5. Do not reveal your business secrets to anyone. Not all people are your friends and such information may be used against you.
Saturday, 14 January 2017
Scams Mpesa Agency Businesses Should Watch Out For
Mpesa is one of the fastest growing mobile banking and money transfer in Kenya. However while there are many success stories reported, there similary are many unsuccessful stories that many do not want to remember or simply go unreported. In this piece i am going to delve into some of the tactics used by thieves and con-men to defraud Mpesa operators off thousands of Kenyan Shillings.
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