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Obama Attacks GOP Budget
President Obama will attack the House Republican budget set forth by Paul Ryan—and embraced by Mitt Romney—as being a "radical vision" equal to "social Darwinism" in a speech Tuesday. "By gutting the very things we need to grow an economy that's built to last—education and training; research and development—it's a prescription for decline," Obama said. House Republicans recently passed Ryan's $3.5 trillion budget for 2013, which includes tax cuts and an overhaul to Medicare, Medicaid, and other entitlement programs.

subset: commoncrawl


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Prospective Foster Parents
Can you provide your commitment, care and compassion to a child in foster care? DSS needs parents who can provide this support, care and advocacy. Foster parents also provide support for birth parents who may struggle with poverty, domestic violence, substance abuse & mental health issues.
You may have heard that the rules are impossible and it takes a long time to be licensed as a foster parent. But DSS has great news!
• We have streamlined the process and hired more people to process licenses.
• We also have an entire unit dedicated to supporting foster families.
• In addition, our foster care workers support the children in care.
To find an information session, click here.


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Sheepskin Slippers and More - Handmade in Somerset
Sheepland is our family sheepskin company, since 1986 each pair of our luxurious Traditional Range sheepskin slippers have been handcrafted in our Somerset Workshop. We continue to employ English crafts people who work using the traditional methods and skills. We pride ourselves on our personal service and take great care in every aspect of our order, please don't hesitate to send a message with your questions or call us on 01458 850991
We use only genuine whole fleece sheepskin to make our luxurious Traditional Range handmade Sheepskin Slippers, Sheepskin Booties, Moccasin slippers and Handmade Katrina Sheepskin Slippers. Handcrafted with British Sheepskin they are soft and supple to wear, moulding to your feet with wear. Our sumptuous sheepskin moccasins make perfect gifts for all the family, the simple unisex design and incredible softness make them an all round winner.
Click here to discover this handmade process by viewing our Gallery showcasing our techniques, of which we are incredibly proud!
Buying Real Sheepskin Boots Online
Rest assured, our Sheepskin Boots use nothing but the finest whole fleece sheepskin. Real Sheepskin Boots are twin faced, or double faced; this means it is the whole fleece, not suede with sheepskin glued to the other side. Our "Classic Boots" are made from the highest quality, twin face sheepskin creating the most perfect Sheepskin Boots. All made from the most sumptuous sheepskin in Chestnut or Dark Chocolate, these unisex Boots are perfect for the cold weather.
View the range of Sheepskin Boots - designed to be worn barefoot to maximize the benefits of sheepskin, but also suitable with socks. These wonderful Boots include reinforced heel guards, extra strong thread and suede mud guards. The sole is tougher and more hard wearing than many other similar and familiar style boots on the market.
Sheepskin Gloves and Winter Mittens
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50% Off General Admission to Brunched
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For only $17.50, you'll receive one (1) GA ticket to Brunched at the St. Pete Shuffleboard Club on 12/1/18 from 12pm-3pm ($35 value)!
***Limited Deals available!
General Admission includes unlimited brunch samples from more than 10 local restaurants, one drink ticket good for a mimosa or Bloody Mary, complimentary shuffleboard, access to artisan market vendors, & other fun activities!
Let's raise our glasses once more to celebrate everyone's favorite meal of the day... brunch! Savor in this unique opportunity to sample brunch bites by Tampa Bay area restaurants while sipping on mimosas and Bloody Marys, enjoying complimentary shuffleboard, shopping Tampa Bay area artisan vendors, and much more. A portion of proceeds to benefit Humane Society of Tampa Bay.
Saturday, December 1, 2018
12pm - 3pm
St. Pete Shuffleboard Club
559 Mirror Lake Dr. N. in St. Pete
For 50% off VIP Admission, click here.
For more info, click here.
Certificate expires: 12/01/2018
50% off General Admission to Brunched on 12/1/18 at the St. Pete Shuffleboard Club!
$35 value. Valid for one (1) GA ticket to Brunched at the St. Pete Shuffleboard Club on 12/1/18 from 12pm-3pm. No refunds on events. No cash back. No cash value. Programming subject to change. Event takes places rain or shine. Must print certificate and present with valid at ID at will call. Expires: 12/01/2018 after event.


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Protester picture borrowed from Looking at the Left
But it's becoming increasingly clear that the most effective anti-reform protests are being organized and orchestrated by political organizations - like Conservatives for Patients' Rights.
Conservatives for Patients' Rights is a health care pressure group which claims to lobby government to enact health care reform 'based on free-market principles.'
Their founder, Rick Scott, pushes the group's agenda through both high-cost advertising and organizing the group's supporters to attend and disrupt town hall meetings. They provide lists of local meetings for supporters to attend and provide video tutorials on how to most effectively push their agenda (largely by drowning out debate.)
But who is Rick Scott? And what are Conservatives for Patients' Rights' real aims?
Well, Rick Scott's no activist, leading the charge to preserve America's freedoms. He's a health industry insider with a checkered history; who stands to make millions by derailing health care reform.
Scott was the founder of Columbia Hospital Corporation, which was at the center of the one of the biggest Medicaid and Medicare frauds in American history. His group fleeced the government out of billions by charging for services they didn't render, giving their own organization kickbacks and self-referrals and issuing fraudulent cost reports.
Rick Scott was eventually ousted from the board of directors and plead guilty to fraud, earning a record fine of $1.7 billion dollars.
So we've already established that he's a liar and a fraud.
But that didn't keep him out of the health care industry. In fact, Scott then co-founded Solantic, an organization that provides urgent care services, immunizations, physicals and drug screenings - a business that stands to reap huge rewards by preventing the cost-cutting measures and government-run competition proposed by Obama.
So instead of being a hero of the free-market health care system, Rick Scott is a stooge. He founded Conservatives for Patient's Rights not to help Americans get fair access to affordable health care, but to derail health care reform.
And why? Well, in the words of rival group Health Care for America Now:
"Scott and his insurance company friends stand to make millions by preserving the broken system we have now."And how about Conservatives for Patient's Rights? The group Scott founded?
The group rally support amongst grassroots protesters and regular Americans through well-funded advertising campaigns - claiming that health care reform will 'squeeze' Americans and provide 'lousy public health coverage.'
"Obamacare could crush all your other choices, driving them out of existence, resulting in 119 million off their current insurance coverage."However, their adverts have been accused of being misleading, or even incorporating outright lies. This isn't surprising since the PR firm behind the commercials - Creative Response Concepts - is best known for their previous work with the Swift Boat Veterans for Truth - who ran a campaign of outright lies and slander intended to derail the election campaign of 2004 Democratic candidate John Kerry.
'Swiftboating' is already in effect - a good example being how two British women were duped into recording for a fake 'documentary' on health care reform - only to find their words taken out of context and used in a Conservatives for Patient's Rights commercial slamming the NHS.
"I was told that they were a company in the United States who were doing a documentary on whether health care in the US should be nationalised," Katie Brickall, one of the duped women, told The Times. "I feel I was duped. The irony is that I campaign for exactly the people that socialised health care supports. I would never align myself with this group at all."FactCheck.org have a comprehensive list of lies Conservatives for Patient's Rights have told on their website, here and here.
To back up their campaign of misinformation, Rick Scott and the Conservatives for Patient's Rights list local Town Hall events across the country, and use email and social networking sights to orchestrate protests, demonstrations and disruptions to the political process.
"They have no plan for moving our country forward, so they've called out the mob."The worst part of all this? The grassroots activists who are misguidedly working with Conservatives for Patient's Rights are actually shooting themselves in the foot.
Instead of defending their personal freedoms, fighting higher taxation and rebelling against unnecessary government interference, they're being used and manipulated into furthering the financial stranglehold the insurance companies have on the health care system.
If health care reform is derailed, these regular Americans will continue to feel the sting of higher insurance premiums, reduced coverage and shrinking services - while health industry stooges like Rick Scott will reap millions by milking the system for every penny he can squeeze out of it.


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Position Battles Could Make or Break '09 San Diego ChargersMay 20, 2009
When looking closely at the San Diego Chargers' roster for 2009, few, if any, starting positions seem to be up for grabs. But while it may be clear who the starting 22 will be on opening day, there are several backup roles that will be hotly contested this training camp.
One area of a team that often gets overlooked is those key reserves in the sub-packages, such as nickel cornerback and passrusher, as well as third receiver and third down back. These reserve players often play a lot, sometimes as much as 60% of a teams total offensive or defensive snaps. In a sense, these players can almost be considered starters.
For the top three position battles in '09 we will look at one starting position and two pivotal reserve positions, or sub-package starters.
1. Offensive Right Guard.
The favorite - Kynan Forney
The challenger - Luis Vasquez
With the departure of ORG Mike Goff to the Kansas City Chiefs, the Chargers actually have a hole to fill amongst their starters. Enter Kynan Forney, formerly of the Atlanta Falcons.
Forney is known as a very solid run blocker, as he helped pave the way for the Atlanta Falcons number one rushing attack in 2004 and 2005, and was named a Pro-Bowl alternate in 2005. With a full training camp under head coach Norv Turner, the feeling is that Forney will be an upgrade from the previous year.
Challenging Forney will be 2009 third round draft pick Luis Vasquez of Texas Tech. Vasquez was one of the more highly touted guards in this years draft, with one web site even ranking him as the 52nd best player overall (he was taken 78th overall). Vasquez is big (6'5", 333lbs), strong (39 reps in the bench press), physical and nasty.
Bottom line—Expect Forney to hold off a strong challenge from Vasquez and be the opening day starter, but don't be surprised if Vasquez is starting by season's end.
2. Third Wide Receiver
The favorite - Malcom Floyd
The challengers - Legedu Naanee, Buster Davis
The third wide receiver for the San Diego Chargers is almost a starter, as Norv Turner often trots out three and four wide receiver sets. Before getting hurt towards the end of last year, fifth year pro Malcom Floyd was starting to emerge. The 6'5" Floyd saw his first action against New England last year and over the next nine weeks caught 27 passes for 465 yards and four touchdowns.
Challenging Floyd will be a pair of 2007 draft picks. Buster Davis, the teams first pick in '07, has been unable to stay healthy and been a dissappointment, yet has shown flashes in the past. This is most likely a make or break year for him.
The bigger challenge could come from the team's '07 5th round pick, Legedu Naanee. When Floyd went down in '08 Naanee filled in, and showed flashes of being a big time play-maker. Naanee has the bulk to catch passes in traffic and the speed to get deep. Also, his quarterback has spoken highly of him recently (always a good sign for a receiver).
Bottom line - Look for Naanee to be the primary number three receiver, with Floyd and Davis battling for playing time.
3. Third down back
The favorite - LaDainian Tomlinson
The challenger - Darren Sproles
For many Charger fans, it seems absurd to suggest Tomlinson won't be the three down back he has always been. He is one of the best receiving backs of all time, once catching 100 passes in a season. On top of that, Norv Turner has already stated that he expects Tomlinson to get back to carrying the ball 320 or more times this season.
What Turner didn't say is how many total touches he expects Tomlinson to have. The scenario that could quite possibly play out is for Turner to make Tomlinson more of a two down back this year. Turner could shift to a game plan that has Tomlinson starting the game, getting rotated out early, and being used as the "closer" to finish out games.
Tomlinson is still one of the premier backs in football, capable of grinding out tough yardage or making a jump-cut and going 50 yards. What he is probably not anymore is the all-world, one-of-a-kind runner/receiver capable of 40 touches a game for 16 games, plus the playoffs.
That takes us to Sproles. The Chargers used the Franchise Tag on Sproles this off season, and it wasn't for him to return kicks. Sproles is electric, capable of going all the way every time he touches the ball. He has also shown that he can run it inside just as effectively as he can run draws and off-tackle plays. He's also the best screen runner in the game.
What Sproles is not is an every-down back, at least not for 16 games. The Chargers don't think he is, but they do understand his importance to this team.
Bottom line - Tomlinson's role as the lead back is not going to change. Norv Turner has already said he expects Tomlinson to be a 20 - 25 carry per game back. What will change is how Tomlinson is used.
He will still start the games but get more breathers, especially on third down. This is where Sproles comes in, as he will assume the lead role as the third down back, and where he is most dangerous.
The Chargers return most of their starters, so not a lot of spots are open for competition, especially amongst the starters. They do, however, need to make decisions at a few key "sub-package starter" spots. The decisions they make at these spots could mean the difference between a fourth straight AFC West title, or a Super Bowl crown.


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During the last couple of years I've been developing research in the philosophy of technology. I am currently writing and rewriting an essay about individual identity, sociality, and smartphones.
Category: *my writing
on the divide: analytic and continental philosophy of music
That's the title of a essay of mine in The Journal of Aesthetics and Art Criticism (Volume 75, no. 1, 2017). I've posted the abstract on academia.edu
For an interesting response to my essay see Andreas Vrahimis, "Is There a Methodological Divide between Analytic and Continental Philosophy of Music? Response to Roholt." In The Journal of Aesthetics and Art Criticism (Volume 76, no. 1, 2018).
reviews/musings on groove
Follow these links for reviews and discussions of my book Groove: A Phenomenology of Rhythmic Nuance. I really appreciate the time these reviewers and writers invested in the book.
- Google Scholar citations
- Journal of Aesthetic Education, review by Andrew Kania (volume 51, number 1, 2017)
- Popular Music, review by Philip Boast (volume 36, issue 2, 2017)
- British Journal of Aesthetics, review by Jeanette Bicknell (volume 56, number 4, 2016)
- Notes, review by Scott Gleason (volume 73, number 1, 2016)
- Journal of Aesthetics and Art Criticism, review by Justin London (volume 74, Issue 1, 2016)
- Journal of Aesthetics and Phenomenology, review by Milan Jilka (volume 2, Issue 1, 2015)
- Notre Dame Philosophical Reviews, review by Clément Canonne (2/18/2015)
- Dancecult: Journal of Electronic Dance Music Culture, review by Daniel Schnee (volume 7, number 2, 2015)
- Choice: Current Reviews for Academic Libraries. (March, 2015)
- Under the Radar, by Frank Valish
- Brettworks, by Thomas Brett
- My piece "From the Author's Perspective…" in the Spring 2015 American Society for Aesthetics Newsletter: 35.1
- Groove back-cover endorsements
from the author's perspective: groove
I've written a fairly lengthy piece—"From the Author's Perspective: Groove: A Phenomenology of Rhythmic Nuance"—which appears in the new American Society for Aesthetics Newsletter. Here is the opening paragraph:
How should we understand the relationship between music and body movement? The common view is that a listener's body movement is a reaction to, an effect of, perceiving music. I don't doubt that this is, in part, correct. I claim in Groove, however, that moving our bodies is often something that we do in order to grasp certain rhythmic qualities; our movement is an integral part of a perceptual skill for grasping qualities such as a groove. We know that the perception of music is not passive; I view bodily movement as a component of one's active perception of music. To develop this, I draw upon the phenomenologist Maurice Merleau-Ponty's account of embodied perception, emphasizing his notion of motor intentionality. Before we get to this, though, let's take a few steps back…
Read the rest here: 35.1
my writing
"Being-with Smartphones" (under review)
"On the Divide: Analytic and Continental Philosophy of Music," The Journal of Aesthetics and Art Criticism 75, no. 1 (2017): 49–58
"From the Author's Perspective: Groove: A Phenomenology of Rhythmic Nuance"
(a piece written especially for the American Society for Aesthetics Newsletter, Spring 2015)
Groove: A Phenomenology of Rhythmic Nuance (Bloomsbury Academic, 2014)
Key Terms in Philosophy of Art (Bloomsbury Academic, 2013)
"In Praise of Ambiguity: Musical Subtlety and Merleau-Ponty," Contemporary Aesthetics 11 (2013)
"Philosophy of Music," in The Grove Dictionary of American Music, second edition. Ed., Charles Hiroshi Garrett, (Oxford University Press, 2013). Also published online at Grove Music Online (Oxford Music Online, Oxford University Press)
"Continental Philosophy and Music," in The Routledge Companion to Philosophy and Music. Eds., Theodore Gracyk and Andrew Kania (Routledge, 2011)
"Musical Musical Nuance," The Journal of Aesthetics and Art Criticism 68 (2010): 1-10
"Musical Experience, Philosophical Perspectives," in The Oxford Companion to Consciousness. Eds., Tim Bayne, Axel Cleeremans, and Patrick Wilken (Oxford University Press, 2009) Also published online at Oxford Reference
motor intentionality and groove
One of the ideas I leverage in my book, Groove, is the French phenomenologist Maurice Merleau-Ponty's notion of motor intentionality.* Phenomenologists use the term "intentional" to refer to our directedness toward something. Merleau-Ponty's idea is that, in certain movements, our bodily directedness toward objects constitutes a kind of practical, noncognitive understanding of them. (For example, I have a practical rather than intellectual understanding of the shape and flimsiness of this Coke can through the movements of my fingers and thumb.)
It's commonly believed that a groove is, in some sense, the feel of a rhythm. But the feels of grooves seem somewhat mysteriously embodied. I try to make sense of this through a particular characteristic of motor intentionality. Notice that our motor-intentional understanding of something can be effective or ineffective. (A faulty understanding may result in my not succeeding in picking up the Coke; the can may slip from my hand, spill.) Merleau-Ponty believes we experience this wrongness and rightness of our bodily understanding as bodily feelings of tension, equilibrium, etc. I think that when we move to music we are attempting to understand it, bodily, through our movements.
I argue that this felt, affective dimension of motor intentionality is the basic nature of the feel of a groove. The embodied understanding of a groove, on the one hand, and the feel that informs this motor-intentional activity, on the other, are two sides of the same coin: to "get" a groove just is to comprehend it bodily and to feel that comprehension.
*For more on motor intentionality, see Merleau-Ponty's Phenomenology of Perception. Also see Sean D. Kelly's "Merleau-Ponty on the Body: The Logic of Motor Intentional Activity," Ratio XV, no. 4 (2002): 376– 91. For more on Merleau-Ponty in general, see Taylor Carman's Merleau-Ponty. London and New York: Routledge, 2008.
Notes On Tiger C. Roholt's "Groove: a phenomenology of rhythmic nuance"
Originally posted on brettworks:
Tiger C. Roholt's Groove: a phenomenology of rhythmic nuance is a splendid, rigorous, and brief (140 pp) book that makes a compelling case for something many musicians already know something about: groove. Groove is the feel of a rhythm–that quality of musical time that can make it seem as though the…


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With the release of Windows 8 and Windows Server 2012, the protocol used for Remote Desktop has received a major facelift to version 8, which adds a slew of new features. In November 2012, Microsoft released an update to Windows 7 and Windows Server 2008 R2 which enables support for these operating systems for the new Remote Desktop protocol.
Users who have installed this update (KB2592687) may have discovered that UAG is not compatible with RDP 8.0, and therefore, Remote desktop applications published on a UAG server will no longer work for these users.
The UAG product team is aware of this, and are working to address it. This is expected to be included in a future Service Pack for UAG, though at this time, an ETA for this SP is not available. For customers who installed this update, we suggest removing it to regain the use of Remote Desktop applications published on UAG.


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How I Unexpectedly Became a Music Subscriber
"Given their obsession with control over making choices about playing music, why would music collectors choose to become subscribers to a music service that extinguishes so many aspects of users' control over music collections?"
- Patrick Burkart, Music and Cyberliberties, 2010
Good question, Patrick.
I confess a sort of bewilderment at the speed at which I've become a "subscriber." After all, I was one of the last people I know personally who was still purchasing CDs. As late as spring of last year, long after most of my peers had become iTunes people, I was still walking into HMV on occasion and exchanging cash or credit for a shiny piece of metal wrapped in paper or plastic. It wasn't economical, and given how I was mostly listening to music on my computer or my iPhone by that point—having just retired my six-and-a-half-year-old iPod the previous January—it wasn't practical either.
It also wasn't necessarily generational. Because while I'm sure I wasn't the only member of the "CD generation" (the 7-10 years in between the dominance of the cassette and the MP3) who hung onto those shiny metallic discs a bit too long, I also watched a great number of my peers abandon music purchasing the moment the MP3 came along.
I can't really say I blame them: all of a sudden, the barriers to accessing music—scarcity and wealth—had been obliterated. Listeners could now could have their hard drives full of classic songs to soundtrack their every need at the touch of a button. The music industry had spent the entire CD era focused on making us not fans, but consumers. Little wonder, then, that when the floodgates were open, and we were left to our own devices, the consumers consumed as much as they could.
Maybe I was too much of a fan to abandon the CD. Growing up in the suburbs, away from the downtown music scene—one that also that lacked the through-fare of major centres like Toronto or Montreal—the process of being "music fan" was inseparable from the act of "buying CDs": giving my father a list of albums to bring home to me from the downtown HMV. Finding European import R.E.M. CDs full of b-sides, or ordering Radiohead singles to be shipped from Europe. Rushing to Music World at lunchtime to purchase Kid A the day it came out, which by the next morning was sharply dividing the school hallways.
I became a music fan through the act of purchasing CDs, with all the complications and commitments that entailed. And I was slow to let that go.
So slow, that I skipped becoming an iTunes person altogether.
LAST YEAR around this time, I wrote about a panel discussion at Canadian Music Weekwhere analyst Mark Mulligan talked about music's "transition" generation: the 16-24 year olds who viewed the MP3 (whether on iTunes or BitTorrent) as their primary means of accessing music. The looming concern, though, was what he called the "digital native" generation: teens aged 12-15 who have spent their entire life with music available at the touch of a button. They don't collect it, except for the sake of putting something on their iPhone. They just expect access.
"Access" is what subscription-based streaming services offer. Instead of purchasing individual albums or singles, you pay a monthly fee that lets you listen to everything in their library, usually by streaming it across the web. Think of it as Netflix for music, with artists and labels getting reimbursed based on how often a song or album is played. And just this week, streaming data is starting to be counted as part of Billboard's Top 100 singles list. (The Village Voice has a great look at how this is changing the chart's layout.)
Spotify is the major global player in this game, but it's not available in Canada yet due to licensing issues. I use Rdio, one of Spotify's major competitors which just unveiled a major redesign at SXSW last week that, not coincidentally, looks a lot like iTunes. (A sure sign that these streaming services are start to make their move against the industry's dominant player.) I pay $10 a month, which gives me unlimited web and mobile streaming, as well as the ability to "download" (they call it "sync") as many track as I want to my iPhone to play offline.
Rdio's value proposition is simple: for the cost of buying one album a month on iTunes, or ten songs, I have access to as many albums or songs as I want. Though there are many artists and labels skeptical of this model—some clinging to the belief that the mass-profit days of music commerce can be brought back—others believe that it's the ticket to reconnecting with music purchasers who were lost in the digital revolution.
Like all forms of music commerce, though, Rdio requires some compromises. Among my biggest pet peeves: There's no gapless playback. The iTunes collection match feature isn't very precise and requires a lot of editing after the fact. My biggest issue is that its radiostation feature—how you shuffle beyond individual albums or playlists—only just became available for synced songs on your mobile, and you can't use it to, say, shuffle through all your Gaslight Anthem songs when offline.
But these are all software issues that can be fixed in time. The real risk as a music listener is what Patrick Burkhart hints at with his quote: that when you're purchasing access instead of content, the content you have access to can change.
It's one thing to search the Rdio database and find that a certain artist's work isn't available yet; that's to be expected. (Although some of Rdio's blind spots are confounding at first glance: why on earth is most of the Sloan discography absent, for example?) But it's another to see seemingly arbitrary or sudden changes to what's available.
When I joined Rdio, the Dirty Projectors' Bitte Orca was available and was added to my collection. Then a couple of weeks ago, when I went to add "Stillness is the Move" to a playlist, it wasn't available anymore. Lana Del Rey's independently-released EP? Gone once she signed to Interscope in advance of her full-length. Then there are cases where specific in-demand albums aren't available, like how most Arcade Fire and Black Keys records are available – except their latest. Sometimes it's not entire albums, but individual songs, like how half of Back in Black—the hits—is missing, or how New Order's Substance doesn't let you pay its version of "Bizarre Love Triangle."
The tension behind these omissions reflects the dynamic I mentioned above: that some in the industry are skeptical of the subscription business model, and concerned that fair shares aren't being paid, so they pull certain pieces of content. (Though some clearly see the benefit: Beggar's Group, for example, gives half of its streaming revenues to artists.) I'll let others tell that story; I'm more interested in what this dynamic means as a listener, as one of Burkhart's "collectors."
DISCOVERING THAT MUSIC you ostensibly controlled has been taken away from you is, indeed, unsettling. And it's different than, say, when an awesome Prince video that someone posted to YouTube has been pulled. One, Prince's digital assholedom is common knowledge. But two, that video wasn't yours. You didn't categorize it, download it, integrate it into your daily life. You just enjoyed it, briefly.
When we talk about "collecting," what's at stake isn't just the knowledge that something is available for your use/enjoyment whenever you want. It's about self-curation: bringing songs, movies, artwork and other artifacts into our lives that not only have utility, but speak to who we want to present ourselves as. "Stillness is the Move" is an important song to me: it speaks to my love of the nebulous space where pop ambition meets alternative ethos, to my affection for blurring subcultures in the 2000s. It's the sort of song I'd play to someone if they asked what kind of music I liked.
In his 2004 Popular Music essay on the contemporary record collector, Roy Shuker looked at how record collecting is tied in with selectivity, with a love of music, and with a desire for social capital. He wrote that the behaviour "presents itself as a core component of individual social identity and a central part of the life cycle." So does adopting Rdio as my primary music tool mean that my individual social identity is now subject to change at whim?
That's one way of looking at it, sure. But there's a tradeoff: the loss of control is balanced by the extreme thrills of full (if sometimes fleeting) access.
Rdio offers something that previously had only been available to the super rich, or to music journalistic types: the ability to listen to everything that's new, hot and relevant, right when it's released, and join the conversation. Even as someone who gets some music sent to me for my work, there's a rush that I get each Tuesday morning as I log into Rdio to see what new albums and songs are available. Likewise, there's something amazing about being able to make a playlist for a party, or a road trip, or just for fun, and have decidedly few limits in doing so. I just search, add and play, taking from the vast, gigantic history of recorded music at the touch of a button.
16-year-old me still can't believe that this sort of thing is even possible. It's like magic.
Of course, all of this has been possible for a while, just with questionable legality and a lot of work scouring torrent sites. But subscription services make it so easy that their implications are vast. Some have wondered if they mean the death of MP3 blogs, especially as the social features of streaming take over: why would I go scouring the web for what's new when I have "friends" that I "follow" whose music tastes I can see (and access) right away? Also: why even "collect" music anymore? When I joined Rdio, I copied most of my iTunes collection in my Rdio collection but other than advantages for shuffling, I'm starting to wonder what the point was: the software gathers what I listen to most, puts it right at my fingertips, and then leaves everything else a quick search away. In 10 seconds or less, it's blasting from my speakers.
Unless, of course, it's not available.
Which brings me back to answering Burkhart's question: how do music collectors like me choose between absolute control or the benefits of access? The modern Internet—from Facebook, through to Google, to Amazon—is full of examples where access prevails, and on the surface it would seem foolish to presume music would end up different. But on the other hand, as Simon Firth identified as early as his 1986 essay "Art Versus Technology," almost every successful music technology has given the listener more control than its predecessor, not less: the reproduction of vinyl, the recording and portability of the cassette, the song selection of the CD, the playlisting and library-ing of the MP3.
Unless, of course, subscription access gives the listener a greater perception of control. And it's hard to argue with the feeling that comes from paying a small fee for thousands and thousands of songs and albums, with the latest releases that everyone is talking about at your fingertips.
So for now, I choose access. Time will tell if I chose wisely.
From McNutt Against the Music. Follow McNutt on Twitter.
Subscribe to Maisonneuve today.
Related on maisonneuve.org:
—Arcade Fire, Tune-Yards and Growing Up
—9/11, New York Music and Cultural Memory
—Halifax Pop Explosion 2011 in Pictures


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Düsseldorf Photo Books
FOTOHOF edition
Düsseldorf Photo Books
16 − 18 February 2018
HSD Hochschule Düsseldorf
Building 4, Münsterstraße 156 / 40476 Düsseldorf / Germany
Saturday, 17 February, 2 pm
Eva Winkler and Birgit Sattlecker (FOTOHOF) in conversation with Katharina Mayer about her new book "Familia"
>> www.duesseldorfphoto.de
As part of Duesseldorf Photo 2018 DD Photo Books presents a varied programme of international publishers and their current publications and offers opportunities to communicate directly with the publishers. The emphasis will be on photobooks as preferred medium of artistic expression in photography. This includes not only traditional photobooks and artist books but also self-published books with experimental formats and contents.
In addition to the photobook market the acompanying programme of talks will deal with the possibilities of narration in photobooks and will emphasize different methods of approach from conception to the final form of publication.


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Chrisney Public LibraryChrisney, Indiana
Owing to a state law that caps operating cost increases, Indiana's public libraries face a serious problem when they want to expand facilities or add new branches. When the Town of Chrisney saw the need for a branch library, the biggest obstacle was not how to fund the building but how to fund the monthly operating cost increase to the local library district budget. The solution: a hybrid building that will produce as much power as it uses.
This public library is the first net zero energy public library in the U.S. The land for this library is adjacent to an elementary school and backs up to an outdoor learning lab. The Photo Voltaic and active solar panels are on a Learning Power Pavilion behind the traditional library building. The building is located among tall trees and the Learning Power Pavilion is in the full sun. The building features full daylighting, passive heating and ventilation with a thermal slab heat source.
A geothermal heat pump provides back-up heating and cooling. Renewable energy offsets 100% of the energy demand for the building. On sunny days, the electric meter spins backwards.
Read more…
Case Study: Lincoln Heritage Public Library Chrisney Branch
Originally published in the Summer 2014 issue of High Performing Buildings (HPB) magazine, a publication of ASHRAE.
Efficiency: Toward Net-Zero Energy (VoiceThread Presentation)
Via BDMDialog.com


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HOLLYWOOD, Calif. — Sienna Sinclaire, founder of the Naughty Empire and author of the adult travel guides, "Naughty Girl's Guide to Los Angeles" and "Naughty Girl's Guide to Las Vegas," will be hosting another Naughty Mixer event this Fri., Jun. 24 at 10 p.m. at the W Hotel in Hollywood.
"Come on out and meet some of the naughty members of Naughty L.A. at my upcoming mixer," Sinclaire said. "This is a great event for those that are new to the group and want to get to know the other members better before coming out to a more intimate naughty event."
The W Hotel is a new venue for Sinclaire's meetup group. Sinclaire, a spokesperson said, chose this venue because it "has lots of space with seating areas and a beautiful patio. The group will be mixing and mingling in the lobby area, where there is a DJ that spins all night for those that love to dance."
The W Hotel is located at 6250 Hollywood Blvd. near Vine St.
For information about Sinclair's Naughty Los Angeles meetup group, visit this link.
For more information on Sinclaire, visit her website or follow her on Twitter.


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Who Can Participate?
We are looking for driven and responsible students who have demonstrated
mature and significant achievement in theater—onstage or behind the scenes. Generally, these students also excel academically, particularly in communication, English and the humanities.
This program is intense and demanding, both intellectually AND physically! Students are involved in strenuous activity for significant portions of the day. Classes and rehearsals generally extend through a 12 hour day 6 days a week during which students are required to remain physically active, intensively at times. While we welcome and encourage students of diverse physical abilities, physical stamina (regardless of ability) is a requirement of every student in the program. We have worked successfully with a wheel-chair-bound student as well as students with a variety of physical conditions, including heartconditions. Key to those successes, however, was the general health of the students, their persistent intentions to participate, and their consistent communication with regard to their unique circumstances.
So, lots of energy and a positive attitude are fundamental to a successful candidate for the program. Students who come without such willingness hinder the morale and progress of the entire program and preclude other students from participating. The ability and intention of a student to respect and contribute to the group endeavor is critical to the success of the program for all.
As this is a residential program for which students receive college credit, participants are required to remain on campus throughout the entire three weeks of the program.


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Related Posts
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More on Arcs
I find it curious the type of things they put on Arcs and the flyers that go with them. I totally understand that they are trying to sell books. To do this they hope to achieve two main things with the advance reading copies, Get bookstores to order the books, and get reviewers to read and review the books (thus generating sales).
Some of the things included help, some don't.
Things that help:
Information on the author; this can include bio material and interviews. PJ Nunn at Breakthrough promotions is great about this.
Touring information; this is handy to booksellers and it also shows how much the publisher is investing in the book.
Things that I don't quite get:
A lot of new books mention a "Webmarketing campaign".
What the hell is that exactly? Is it the emails I get from the publishers people reminding the book is coming out and asking if I'm going to review it? Is it sending out mass emails to a list? Is it getting the book reviewed on various websites? Maybe even paying for banner ads?
And how effective is any of that in actually helping to sell extra copies?
They also mention national review attention. I understand that this helps the bookseller know that people will be aware of a book, but does it do any more than that? I don't think so. My knowing it is getting national review attention isn't going to guilt me into reviewing it.
Also, some publishers get really weird when they find out some bookstores sell copies of Arcs.
I've never sold one, nor do I plan to. But I understand why bookstores do. And the truth is, if someone is willing to pay for an advance copy, they will definitely buy the hardcover as well. These people buying arcs are fans and/or collectors. These sales will not cut into the books actual sales, and may actually help promote buzz about the book. I've heard arguments on both sides of this practice, and while I don't and won't sell arcs, I don't think it's really a problem.
Best use of Arcs?
Get them out early enough to be reviewed. Getting a book a week before the release means it won't be reviewed in time. I can't stress how important getting them out early is.
Get them to the right reviewers and to as many bookstores as possible. Bookstores who get a lot of arcs from companies tend to buy more of their books from the same company.
Arcs are a great tool and when used right they can help a lot. Sending out a lot of arcs really helped get John Connolly's latest book BLACK ANGEL a lot of extra buzz.


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Marketing and media technology event ad:tech New York 2016 is self-described as "the original industry authority for marketing and media technology, where marketing, technology and media communities assemble to share new ways of thinking, build strong partnerships, and define new strategies to compete in an ever-changing marketplace." They host annual events across the globe, delivering valuable information through keynote speakers, topic-driven panels, and hands-on workshops.
One such event is a panel on blockchain, called: "Driving ROI through Transparency, Trust & Collaboration: Enter the Blockchain." The panel will touch on front-end and back-end uses of blockchain in the marketing and advertising industry. Back-end uses include data security and privacy via multi-signature wallets. Front-end uses regard advertising across screens and platforms, as well as cross-channel standardization.
The event will feature several panelists, including blockchain expert and Senior Advisor of Ethereum Steven Nerayoff. Nerayoff has been with Ethereum since its earliest days, having creating their initial legal framework.
ad:tech New York 2016, the original industry authority for advertising, marketing and media technology, has added a blockchain-themed panel on Thursday, November 3rd, at 1:30PM EDT, titled "Driving ROI through Transparency, Trust & Collaboration: Enter the Blockchain." Discussion topics include data security and privacy via multi-signature wallets, addressable advertising across screens and platforms, and cross-channel standardization.The panel will be moderated by blockchain industry leader David Bailey, CEO of BTC Media, the blockchain press conglomerate. Bailey will be joined by panelists Adam Helfgott, Co-Founder and CEO of MadHive; the Senior Advisor of Wiredrive, Konstantin Richter; Jim Wilson, President of TEGNA media; as well as Steven Nerayoff, blockchain expert and Senior Advisor of Ethereum.
Adam Helfgott, along with his team of ad tech industry veterans, are among the first to apply blockchain technology to advertising. Helfgott co-founded MadHive, a video advertising and data management platform that uses blockchain technology to facilitate audience based buys across screens delivering stronger measurement to support a brand's investment.
Konstantin Richter is a seasoned software entrepreneur who believes that the future of data lies in distributed ledgers, where transactional metadata is authenticated and secured to increase efficiency and integrity across transactional chains. He has been an advisor to Gem, the world's leading blockchain company in the healthcare space, as well as sitting on the boards of Wiredrive -- the world's leading rich media approval and distribution platform for the advertising industry -- DNAstack -- the first commercial application on top of the Google genomic platform, allowing for fully sequenced genomes to be searched and matched across multiple platforms -- Genymobile -- the world's leading Android emulator and modulatable Android OS platform for enterprises.
Jim Wilson is a highly experienced media, technology and business transformation executive. He is currently the President of Premion, the OTT division at TEGNA Media (formerly Gannett) Jim has held various C-Suite and leadership roles at Universal, Atari, Sony and TouchTunes. He is a co-founder and advisor at G-DII, Prowdr and Mutagen.
Steven Nerayoff, Esq. LL.M. is a prolific serial entrepreneur, venture capitalist and attorney, having founded six companies and inventor on 20 patents. Nerayoff is currently the CEO and founder of Maple Ventures, a venture capital firm with a heavy focus on blockchain related technologies. He is also the Founder and CEO of Cloudparc, a patented next generation artificial intelligence company in the smart city and Internet of Things sectors. Nerayoff advised and contributed to Ethereum from its earliest days, created the initial legal framework and co-drafted the crowdsale model which set the standard for all other crowdsales to follow.
For media inquiries, please contact Kelley Weaver at Melrose PR. Kelley(at)melrosepr(dot)com or call (310) 260-7901.
To book tickets for ad: tech conference, use promo code 50SPEAKERNY16 for a discount!
About ad:tech
ad:tech is the original industry authority for marketing and media technology, where marketing, technology and media communities assemble to share new ways of thinking, build strong partnerships, and define new strategies to compete in an ever-changing marketplace. Several annual events around the world deliver immersive education through keynote speakers, timely topic-driven panels and hands-on workshops as well as showcase the latest products and solutions to help deepen understanding and create new ideas that will drive innovation. Attendees leave ad:tech inspired by what's new and what's next, armed with the tools and techniques they need to shift and re-imagine their own businesses. For more information, visit http://www.ad-tech.com. Follow @adtech on Twitter.
About BTC Media
Headquartered in Nashville, Tennessee, BTC Media LLC is the publisher of Distributed, Bitcoin Magazine and yBitcoin. The company is the world's largest provider of multimedia
educational and informational resources about the blockchain and digital currency industries.
About MadHive
Headquartered in New York City, MadHive is a video advertising and data platform that allows brands and publishing partners to build audiences in innovative ways and target those audiences across multiple screens and platforms. MadHive's back-end product uses blockchain technology to safely allow brands and publishers to work together in new ways by leveraging the inherent trust and verifiability of a blockchain network.
About Wiredrive
Wiredrive is a secure media-sharing and collaboration tool designed for creative professionals. More than 1,500 agencies, brands, production houses, and entertainment companies rely on Wiredrive to effectively collaborate with teams and privately share video. Tailored for professionals who create video, Wiredrive has faster upload and download speeds, industry-specific workflows, robust search capabilities, custom branding, insights into user activities, metadata search, and enterprise-grade security.
About TEGNA
TEGNA Inc. is comprised of a dynamic portfolio of media and digital businesses that provide content that matters and brands that deliver. TEGNA reaches more than 90 million Americans and delivers highly relevant, useful and smart content, when and how people need it, to make the best decisions possible. TEGNA Media includes 46 television stations and is the largest independent station group of major network affiliates in the top 25 markets, reaching approximately one-third of all television households nationwide. TEGNA Digital is comprised of Cars.com, the leading online destination for automotive consumers, CareerBuilder, a global leader in human capital solutions, and other powerful brands such as G/O Digital and Cofactor.
ETHNews has reached out to the panel's media contact and will be following up on this story after the event takes place.


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A while ago I needed to add some video playback functionality to an Android application I'm working on. I had the video files in the assets directory of the application. I needed to figure out how to get those videos playing on the screen. This turned out to be harder than I originally expected.
Continue reading Android: how (not) to play video files from assets


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The tales of the Victorian-era detectives of Scotland Yard in England and the Pinkerton's National Detective Agency in the United States of America continue to entertain us today. But few people are familiar with a detective agency of that same era that boasted a network of connections beyond those of Scotland Yard and Pinkerton's combined.
Mrs. Booth's Enquiry Bureau was set up by the Salvation Army in 1885 in the impoverished London neighbourhood of Hackney, and run by a professional detective. Within a year, the Bureau opened branch offices in New York, Chicago and Toronto, as well as Melbourne and Sydney in Australia. The agency was immediately swamped with queries asking for help in finding missing family members, and it had a remarkable success rate.
Percy L. Parker, writing in 1897 in the British magazine The Young Man, said of the success of the Army's search for people:
…the average of finds is very large—one in three. Scotland Yard—which is supposed to be the best detective agency in the world—only averages one in ten.
In the 19th century, millions of British citizens were on the move. Young men and women left the impoverished farms in the counties for the promise of jobs in cities like London. Shiploads of emigres set sail for Canada, Australia or other British colonies. Many were never heard from again.
As families fretted about the lack of news from a daughter gone off to be a domestic in a big house in London, or wondered what had become of a son who joined the flood of immigrants seeking farmland on the Canadian prairies, they turned to the Salvation Army. The SA had established a great many corps in rural England, and in many cases, its officers were often the only official network families could turn to, other than the police, for help finding their missing kinfolk.
By 1885, SA founders William and Catherine Booth were already overseeing rescue homes for abandoned and destitute women and were running shelters for destitute men. William Booth lamented that, in any year, some 18,000 husbands, sons, mothers and daughters disappeared into the factories and slums of London—and 9,000 were never heard of again. He instructed the Army's head of women's social work, his daughter-in-law Florence Booth, to establish the bureau to answer the many pleas for information on the missing. "Mrs. Booth's Enquiry Bureau" opened in 1885 at 259 Mare Street in London.
The Army wanted a professional detective to run the Bureau, and Clifford Harland fit the bill. Harland was already a successful and well respected detective working on the sensitive investigation of a British Member of Parliament when he caught the attention of William Booth. Harland attended his first Salvation Army meeting in 1886 on Oxford Street in London's West End. He was there in search of his agency chief, a Salvationist, for instructions on the case, but since his chief was part of the service, he was forced to sit through the sermon before he could speak with him. Harland was so impressed with the meeting leader's oratory that he decided then and there that the Salvation Army was right for him. He quit his employment with the private detective agency in 1888 and took on the management of the Enquiry Bureau at the rank of Staff-Captain.
The first public record of a Bureau investigation was in October 1885 with an appeal from a husband whose wife had disappeared, which was published in the British War Cry, the Army newspaper sold to the public. By the end of that year, the Bureau initiated its first international case in the search for a missing woman in Canada. Initially, the Bureau's work was fairly straightforward—tracking down a lad too embarrassed by his failure in the city to return home, or a maid who had been put out into the street after rejecting the advances of her employer and turned to prostitution to survive. This the Bureau undertook for a fee of 10s. 6d. (ten shillings and six pence), or for free if the applicant was unable to pay.
Other cases were more complicated. Some involved investigating the abductions of young women at train stations and parks by sophisticated enterprises bent on entrapping girls into prostitution. Other girls were sold into brothels or shipped from the country into white slavery on the Continent, and in South America and the Near East. As noted in the War Cry (Canadian edition, 8 June 1896), Bureau agents were employed to "hunt up the titled and rich scoundrels who gloat over the ruin of many girls, and bring them to justice". The Army used moral suasion to have them take responsibility or sign legal promises of financial support for the children they fathered, collected by the Army on behalf of the children.
The Bureau's agents went far beyond just finding missing people and letting their kinfolk know. Part of the agency's mandate was to help restore and heal families where they could. Sometimes, it meant protecting people who had good reason to run away from those seeking them. Or it could mean encouraging a father who had abandoned his children to do right by them. The Bureau offices also served as a refuge for any girl seeking to escape prostitution or who felt trapped in a bad situation.
The Enquiry Bureau investigated more than just missing persons cases. It took on cases involving disputes between masters and servants, as well as wills, legacies and other property matters. Interestingly, the Bureau also advertised that it would take cases "of a certain nature" for those who could pay the fee, a sufficiently vague description that opened the door to a potentially wide range of investigations.
Some investigations led Bureau agents to the remote corners of civilization, and in that they were aided by the roughly 10,000 Army officers posted throughout the world. As author Henry Rider Haggard noted in his 1910 description of the Enquiry Bureau:
The result is that a large percentage of individuals sought for are discovered, dead or alive, for in such work the Salvation Army has advantages denied to any other body, scarcely excepting the police. Its representatives are everywhere, and to whatever land they may belong or whatever language they may speak, all of them obey an order sent out from Headquarters wholeheartedly and uninfluenced by question of reward.
The Army also made good use of the "Missing!" columns in the War Cry to advertise for assistance in their enquiries. The British edition had a circulation of 300,000, with other versions of the War Cry published in a variety of languages in 23 other countries.
In 1897, the London office alone was receiving some 3,500 enquiries a year. The Army changed the structure of the Bureau at that point, and renamed the agency the International Investigation Department.
Mrs. Booth's Enquiry Bureau, begun in 1885, continues to this day as the Salvation Army Missing Persons or SA Family Tracing Service, with offices in 120 countries. The Army now limits its cases to locating missing family members, reunifying families, and helping heal the wounds that may have caused separations.
BIBLIOGRAPHY: Bramwell PRATT (1988), God's Private Eye (London, UK: The Salvation Army]; Richard WILLIAMS (1976), Missing: The inside story of the Salvation Army's Missing Persons Department (London, UK, etc.: Hodder and Stoughton]; Percy L. PARKER (1897), "A Salvation Detective Agency: some strange stories", in The Young Man: an illustrated monthly magazine, vol XI, pp.16-19 [London, UK]; Henry Rider HAGGARD (1910), Regeneration: Being an Account of the Social Work of the Salvation Army in Great Britain (London, UK: Longmans, Green & Company).
Nearly every issue of the War Cry carried a Missing column. The Enquiry Bureau placed notices in the Army's two-dozen newspapers around the world, wherever they might generate information on people the Bureau was searching for. This column appeared in the 14 November 1896 Canadian War Cry. The fee for launching an investigation was fifty cents.
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• Grab your current read
• Open to a random page
• Share two (2) "teaser" sentences from somewhere on that page
• BE CAREFUL NOT TO INCLUDE SPOILERS! (make sure that what you share doesn't give too much away! You don't want to ruin the book for others!)
• Share the title and author, too, so that other TT participants can add the book to their TBR Lists if they like your teasers!
Here's my teaser for this week.
"You need someone to take care of you and to protect your interests. I'm that someone."
~ page 48, pdf, Island Bound by Kiru Taye.
I hope you all had a great festive break.


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Copper Care Wood Preservatives, Inc was founded in 1994 with a single revolutionary product Cu-Bor. Since our inception we have always never lost focus of our primary objective, to provide effective, inexpensive, low-toxicity wood preservatives. We believe that our wood preservative products are some of the best on the market, we believe that our customers and industry know this too!
We have added to our product line and are contunually striving to discover, develop, and bring to market ne and innovative products to the wood preservation industry


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They are quite sheer lipsticks (especially Delicate Pearl) so they need building up, unless you like a subtle application. They are very shimmery and the colours look gorgeous on. I find that some Maybelline lipsticks can be quite drying but these aren't at all - in fact they are quite moisturising.
These will definitely be my 'go to' lipsticks now!
I picked mine up from Boots as they were all sold out at Superdrug.
What do you think?


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Book Review: Marlow and the Monster11:27 AM
Being a kid can be scary; just ask my five-year-old son, Moses. Everything has to be perfect before he goes to bed, and this includes having a light on, keeping the closet doors shut, and turning all of the dolls and stuffed animals in the room so that they are not facing towards him (he hates the EYES.)
Like most kids, talking about fears can be a good way to let him know that it's not unusual to be scared, and that there is a solution. In the new book Marlow and the Monster by Sharon Cramer, a little boy, not unlike my own children, has a monster in his room. This monster, however, is more annoying than terrifying. Marlow looks for ways to ditch the monster as he tries to explain to his parents that it is a genuine problem.
The book, which is marvelously illustrated, had an instant likability for my kids. The pictures are done in quill and ink -- the only part done in color was the monster. As the children read along, they giggled and pointed at the pages. This was a very fun read!
When we bring our fears to light and discuss them with our loved ones, they no longer seem so scary. This book was a great introduction to the topic of nighttime fears, and the silliness made it a good time for all of us.
Wanna Read It? Marlow and the Monster is available for FREE for the Kindle from Amazon for a limited time only. Get it here! You can also buy the hard copy (recommended) for $14.95.
Wanna Win? We are giving one lucky reader the chance to win this amazing book! To be entered for your own hardcover copy, just comment on this post with what your kids are scared of.
You have until August 30th at 11:59 pm CST to get your entries in. One entry per person, and we will pick one winner at random from all eligible entries. This giveaway is open to U.S. residents ages 18+. See our full rules here.
Don't forget to enter our other blog giveaways while you're here!
*Review copy received. Opinions are 100% my own.


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featured in
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Dinner Party
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Christmas Party
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Personalized Stationery
Our professional Consultants are trained to assist you with etiquette, item selection, wording, ink color, font and envelope lining selection. We work closely with our customers on their orders for both personal and corporate / organization events. Through the years, our consultants have been collecting and gathering information on invitation and party etiquette. This etiquette guide contains the questions our consultants are most frequently asked by our customers.
Ideally, we recommend ordering your invitations as soon as the details for your event have been finalized. This should be at least 2-3 months before the event. You want to give yourself as much time as possible to avoid feeling rushed. In corporate environments, however, this amount of time is not always available.
This varies depending on the item you order. Each item's description page will show available turnaround
times. Keep in mind that if you order a proof, the turnaround time you select
will not begin until we have received your final proof approval.
As you are placing your order, you will receive an instant preview. In addition, we can e-mail a proof to you of your order (PDF format) at no charge within 1 business day of placing your order.
Proofs allow you to see your order as it has been typeset before the order goes to print. You can still make changes as needed in the proofing stage as many changes can occur for corporate events. Also, in many cases, a supervisor or
manager may wish to view the proof and give their approval before proceeding. Rest assured, however, if you do not have
time for an emailed proof, all of our orders are edited by two consultants, and all orders receive quality control before they are shipped to you.
For a business event, you will list the hosts in order of rank. The CEO's name first, the President's name second,
the Vice President, Chairman, etc., the Board of Directors underneath that. If the event is informal and the hosts are of equal status, you will list them alphabetically. If the event is at one of the host's homes, you would put his/her name first and then list the other hosts alphabetically. Alphabetical order would apply for multiple companies hosting an event, or you can list them in the order of the dollar amount contributed to the event (the largest sponsor would be listed first).
Click here to view our corporate invitations wording samples.
No, it is not considered inappropriate, it can actually be helpful. For many corporate events, it is even considered a necessity for various reasons. Your guests need to know that information so they can arrange dinner dates, pick up
times for the children, etc. Also, you'll want to plan on turning the bar off 30 minutes after your stated end time
(otherwise it may never end).
This is a matter of personal preference. In many business situations, the person organizing the event may find it easier to only have to keep track of people who are unable to attend. However, proper etiquette suggests that the term "Regrets only" has a negative connotation and isn't helpful to the planning process. Another reason many shy away from using "Regrets only" is that you are more likely to receive even less responses than when using "RSVP." Do not use the term "RSVP Regrets only" because it sends a mixed message to your guests. Remember that RSVP means "please respond,"
but "Regrets only" is asking them to only respond if they are unable to attend.
When using "RSVP" do not word it as "Please RSVP" as it is redundant. If you are including it in the invitation wording,
RSVP with a name and phone number or email to respond to will suffice. For more formal events, it is traditional to use a separate response card. Response card envelopes, if they will be sent within the office, may be addresses to a specific person or department.
We can print logos on any of our invitations, stationery or cards for an additional charge.
Logo costs vary, and you may obtain quotes online. Logos may also incur additional charges for screens and other special requirements. View our logo costs.
In the 'Special Requests' Box at the bottom of Step 1 of the online order form, specify the following:
We recommend sending your corporate invitations four to six weeks ahead of time. For formal events, we recommend
sending them six to eight weeks prior to the event (especially if you are inviting guests from out of town). If the event is informal, it is usually acceptable to send the invitations three to four weeks prior to the event. Anything less than three weeks puts pressure on your guests as they will have very little time to clear their schedule and respond.
If you are friends, you may send a personal card to their house and, if needed, a business card to their business staff in general.
Click here to shop for corporate holiday cards.
Your Fabulous Event Starts Here™
© 1999 -
Invitation Consultants, Inc.


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Maitland Postal Codes
Maitland city is located in Ontario, Canada
You can search for the Maitland ON postal codes by its streets and block numbers
Maitland Area Code is 905/289 and Time Zone is Eastern (GMT -05:00).
Maitland Postal Code - Ontario
Maitland Postal Code is a six-character string that forms part of a postal address in Canada. Like British and Dutch postcodes, Maitland - ON postal codes are alphanumeric.
The first three characters (alpha-numeric-alpha) of the postal code which represent a geographic area in Maitland.
The last three characters denote a Maitland local delivery unit (LDU). An LDU denotes a specific single Maitland address or range of addresses, which can correspond to an entire small town, a significant part of a medium-sized town, a single side of a city block in larger cities, a single large building or a portion of a very large one, a single (large) institution in Maitland, Ontario, such as a university or a hospital, or a business that receives large volumes of mail on a regular basis
If you want to send a mail to Maitland City, you should use the corresponding Postal Code.


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VA and DoD offer guideline on managing type 2 diabetes with summary in Annals
The summary describes ways in which the Veterans Affairs/Department of Defense (VA/DoD) guideline differs from recommendations from the American Diabetes Association, the American Geriatrics Society, and the American Association of Clinical Endocrinologists.
A clinical practice guideline on management of type 2 diabetes was released by the Department of Veterans Affairs (VA) and Department of Defense (DoD) in April and was recently summarized in Annals of Internal Medicine.
The guideline recommends individualized target HbA1c ranges based on patient characteristics and suggests the following ranges if they can be safely achieved: 6% to 7% in patients with a life expectancy of 10 to 15 years or more and no or mild microvascular complications; 7% to 8.5% in most patients with established microvascular or macrovascular conditions, comorbid conditions, or life expectancy of five to 10 years; and 8% to 9% for patients with a life expectancy less than five years, significant comorbid conditions, advanced complications, or difficulties with self-management.
The guideline advocates for patient-centered care and "strongly encourages clinicians to incorporate shared decision making and partner with their patients." The guideline also recommends assessing individual patient characteristics, including race, ethnicity, and kidney function, when interpreting HbA1c, fructosamine, and other glycemic biomarker testing. Other recommendations in the VA/DoD guideline address nonpharmacologic diabetes treatments, glycemic targets and insulin regimens in the hospital and ICU, and combinations of pharmacologic therapies.
The summary, which was published online Oct. 24 and in the Nov. 7 Annals of Internal Medicine, describes ways in which the VA/DoD guideline differs from recommendations from the American Diabetes Association, the American Geriatrics Society, and the American Association of Clinical Endocrinologists (AACE). Among other differences, the VA/DoD recommends that for a new diagnosis of diabetes, an HbA1c of 6.5% to 6.9% should be confirmed with a fasting blood glucose level (>7.0 mmol/L [126 mg/dL]), due to evidence of strong racial differences in correlation of HbA1c levels and glycemic control.
An accompanying editorial described additional ways that the various guidelines differ, noting that the AACE sets the strictest HbA1c target of the various groups, at 6.5% for most patients. Differentiating glycemic control recommendations by patient subgroup is important and the variables to do so would ideally be identified in observational studies or randomized controlled trials, the editorialists said. "Until groups developing [clinical practice guidelines] reach consensus about important risk subgroups and practice recommendations associated with those subgroups, we will continue to face conflicting recommendations that confuse providers, patients, payers, and policymakers," they wrote.


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NEXT SATURDAY, the Danish morning paper Politiken is going to close down a couple of its broadsheet sections and open some new ones in tabloid format.
To a normal newspaper, in 2012, this would be no big deal, except perhaps rather late for such a move. But to a publication which has, during the last couple of years, been nominated World's Best-Designed Newspaper, European Newspaper of the Year, and brought home truckloads of SND and SNDS diplomas – almost always with jurys mentioning the Politiken designers' skillful use of the broadsheet format as a unique quality – this step is quite a significant one.
After making some experiments with the format and having to accept the fact that Danish print facilities are turning any idea of a berliner-sized newspaper, like The Guardian, into an impossible dream, the late editor-in-chief Tøger Seidenfaden had drawn the conclusion that tabloid would be wrong for a paper like Politiken. Now with a new person behind the wheel, the smaller format starts looking like an option once again, and I can't wait for it to happen.
WHY IS THAT? As a visually oriented person, I guess I am supposed to love Politiken and the way photos and illustrations are exposed on its big, big, big pages. And I do indeed love Politiken. It is a love affair that started in the mid-sixties and grew only stronger during the years around 1990 when I had the pleasure and great privilege of working at the paper myself. Politiken has got world-class illustrators, world-class photographers, and world-class page designers. And the visual staff is highly appreciated by the management as one of the paper's key assets, and constantly encouraged to explore the possibilities and try out new ideas.
For instance, look at this great front page from last Friday, promoting a special supplement on music festivals:
NEVERTHELESS, I have the impression that all this visual hype has gone too far. In earlier blogposts, I wrote about what I see as the lack of a critical eye in the editorial department when it comes to Politiken's use of photographs. Another observation I have made is that ever more frequently, I choose to read the Politiken e-paper on my iPad instead of the paper version, partly because it is more handy but just as much because every broadsheet page does in fact contain so little information that I can easily overview it on the 241x186 mm screen.
Yesterday, once again I sat there with the feeling that an awful lot of paper had been wasted.
The front of the Sunday B-section looked like this:
THIS FRONT PAGE promotes a two-page interview with Danish actress, author, artist, film director, etc, Anne-Grethe Bjarup Riis.
It is an interesting interview, portraying an interesting person. As the headline suggests (both headlines do, in fact), she possesses an intriguing dualism, graceful lady and outspoken provocateur at the same time.
Lars Just's photographs of her are beautiful and everybody in Denmark loves the sight of anemones as this flower signals the start of our favourite time of the year.
However, when I asked my wife, who had already read the article, what she had thought of the photos, she answered: "To be honest, I did not notice them".
IN MY EYES, this is a complete communicative failure. Altogether, we are talking close to half a square meter of color photography and its task is indisputable: Give Politiken's readers a visual impression of a controversial, many-faceted person.
Instead, I get anemones.
NOW LOOK what might have happened to the communicative totality if the second photo had looked like this:
OR, even more provocative and, as such, expressing the very point of the story (the headline says, roughly, "A graceful lady who refuses to keep her mouth shut"):
THE SELF-PORTRAIT TO THE RIGHT is titled Ordinary Hooker with Career Spoiler and was Bjarup Riis' contribution to the Charlottenborg Art Exhibition 2006, a comment on the exploitation of women. Both the subject and the photograph are being thoroughly discussed in the interview.
If yesterday's story had been presented in such a way, I am pretty sure my wife would have noticed. Moreover, this would have been a much more congenial visual representation of the interview. But of course, there is an infinite number of "right" solutions, not just these two stitched together by me in a couple of minutes.
MY CONCLUSION? Politiken appears to be resting on its laurels, assuming that every big photo is a good photo, and all too often allowing its photographers to run free-style without paying any attention to the story. Shrinking the format will force everyone at the paper to consider much more critically what to print and what to frame and use for decorating the walls. As I just mentioned, I can't wait for that to happen.


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Today, we're featuring a guest post from our friend Dan Susman, director and producer of Growing Cities, a documentary about America's urban farming movement. Right now, he's raising money to help get the film featured on PBS through a Kickstarter campaign that ends tomorrow, July 9. Let's help him reach his goal!
What's the first thing you think about when you hear there's a great new environmental documentary? For me, it's a sense of panic about being a documentary filmmaker who can't stand to sit through another movie that says we're doomed. Whether it's about dying dolphins, floating islands of garbage or cutting down the last piece of virgin forest, I just can't do it.
It's not that these issues aren't incredibly important or that the filmmakers don't do a good job – it's just very difficult to feel so helpless after watching a movie that doesn't show a pathway to change.
As a filmmaker, it's my belief that stories without hope do not inspire people to make the world better. So, close to four years ago, my friend, Andrew Monbouquette, and I figured it was time to highlight positive stories of people transforming their communities, right in their own backyards. And this is what our new documentary film, Growing Cities, is all about. Here's the trailer:
The film follows us as we visit folks who are challenging the way this country grows its food one vacant city lot and backyard chicken coop at a time. From New York to New Orleans, we've found urban agriculture has remarkable power on many levels—it connects people to their food, strengthens communities, revitalizes blighted areas and much more.
In many ways it appears that urban agriculture is our generation's back to the land movement, but with a crucial difference—today's new farmers are not running away from society's problems but tackling them head on. They are helping solve issues of hunger and childhood obesity and giving hope to many communities where there was little previously.
And sure, while many people continue to flock to urban centers like New York and San Francisco, more and more are putting down roots in their smaller hometowns. For instance, in Omaha, where I'm from, a collective of young people came together to form Big Muddy Urban Farm, which has a 25-member CSA and grows on vacant lots throughout the city. In the heart of industrial farming country, these farmers are a wonderful example for residents, many of whom don't know a CSA from a GMO — which, let's be honest, is probably true for a majority of Americans.
I'm not saying urban farming will fix every problem that our communities face. It won't. However, I do think these farms are an integral part of changing the food system. In fact, they're on the front lines when you consider close to 80% of our population is considered urban. As Eugene Cook, a farmer in Atlanta, says in the film, "Grow something, grow where you are."
Dan Susman
Growing Cities
Please help Growing Cities spread these inspiring farmers' stories to millions on PBS! Learn more and donate on their Kickstarter page by July 9: www.kck.st/1kDfhgP
Sustainable America is proud to partner with Growing Cities, and we encourage everyone help them spread these inspiring farmers' stories to millions on PBS! Learn more and donate on their Kickstarter page by July 9.
Inspired to become an urban farmer yourself? Here's are some ways to get started, or consider offering your own backyard to others to garden at SharedEarth.com.
Grow Where You Are: How to Be Part of the Urban Farming Movement
3 New Urban Farm Projects to Watch
'Growing Cities' Digs Into Urban Farming


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Fall for Sandals Negril
August 29, 2017 | By Tanya Solari |
Seventh Heaven on Seven Mile Beach
Facing the most heavenly stretch of sand in Jamaica, Sandals Negril invites couples to experience the free-spirited personality of Negril and soak up the blissful ambience of a resort where everything is included, even gratuities. And with complimentary wedding and honeymoon packages, there's no better place to celebrate love!
Find your perfect vacation now.


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Learn More »
South Seattle College graduate Marady Duong was awarded the Washington State Association of College Trustees (ACT) Transforming Lives Award in Olympia on Jan. 23, 2017. Marady received a $500 cash prize along with four other students selected from community and technical colleges across the state.
The winners shared their stories with college trustees, presidents and Washington state legislators at the Jan. 23 award ceremony to rousing applause for their journeys that exemplify how lives can be transformed by pursing higher education at a community or technical college.
Marady immigrated to Washington state from Cambodia in 2011. She started taking English as a Second Language classes at South Seattle College, and through her own drive, encouragement from instructors and scholarship support, graduated from South in 2016 with associate degrees in Business and Business Information Technology. She became a campus leader during her time here, participating in student government and starting the Southeast Asian Association student club. Today, Marady attends the University Of Washington Foster School Of Business.
Duong was nominated for the award by the Seattle Colleges Board of Trustees.
"Marady's journey from rural Cambodia to Seattle required her to overcome many challenges, both in her home country and as a new immigrant to the U.S.," Seattle College Board of Trustees Chair Teresita Batayola wrote in her nomination letter. "Without question, Marady's life has been transformed for the better since the moment she decided to sign up for an ESL class at South Seattle College."
Below is Marady's story, told in her own words:
I was born in a small rural village in Cambodia, where there was no electricity or running water and a poor education system. Growing up in single parent family after my father left us, I started selling cookies door-to-door in order to buy food and school supplies when I was seven years old. Yearning for a better education, my family moved to live in an urban city, Phnom Penh, so I could complete my high school diploma. When time allowed, I volunteered as an English teacher and administrator for a non-profit organization called "Our Home." Many of the children were from families suffering from HIV. Those that did survive often couldn't afford to care for their children. My heart went out to those children because of my own similar hardships.
After immigrating to the United States in 2011, the financial struggles my family faced in our new environment forced me to keep my educational goals on hold. I worked over 70 hours a week at two jobs, packing fish and crab at a seafood processing plant and grilling and wrapping sandwiches at a McDonald's to support family who had come to Seattle and those who stayed in Cambodia.
After working that unrelenting schedule for over a year, I realized that without an education I would have this kind of career for the rest of my life. So, I decided to attend college.
Because my English was very limited, I first started at South Seattle College as an English as Second Language (ESL) student. After one year, through the courage and support I got from my family and professors, I started taking a pre-college class in hope I could become the first person in my family go to college. Unable to afford tuition, I made monthly payments and only took one class at a time.
However, everything started to change when I was aided by South's resources. Receiving scholarships from the South Seattle College Foundation meant that I was able to work 30 hours a week, rather than 70. Their gift not only gave me the funds I needed to continue my education, but the confidence that someone believed that I was worth their investment. My favorite resources became the Asian Pacific Islander Center (AANAPISI), TRiO, South's writing and tutoring centers, advising services, and the financial aid office. For example, my TRiO advisor was always there to help me find resources and map my education goals. Without their support, I would be working for a minimum wage for the rest of my life.
As a result of an AANAPISI scholarship, I was South's student representative for the Higher Education Summit in Washington, D.C. In addition to this, I was a founder of the Southeast Asian Association student club by networking with other Southeast Asian students on campus to share our culture, leadership skill, volunteer opportunities, and life challenges. Lastly, in addition to my work and campus involvement, I fundraised at my temple and volunteer as an interpreter for my family, co-workers and neighbors when they need a translator at their doctor appointments or with their case workers.
I graduated from South Seattle College with an Associate's Degree in Business Information Technology in 2015 and was awarded the President's Medal at graduation. I extended my education goal and experience by going back to South to obtain a second Associate's Degree in Business, and graduated again in 2016.
After graduating, I was accepted to the Foster School of Business at University of Washington, where today I major in Human Resource Management and minor in International Business.
I want to be successful because since I was young, I've wanted to become a businesswoman. Specifically, I want to create my own non-profit for youths. I have learned a lot from challenges that I have faced and know how to seek help when I am struggling. I would like to share these qualities with others, and help them overcome their own challenges.
My advice for other students is to give yourself a chance to reach your dream. Believe in yourself; believe that you can do it. Do not give up and don't be shy about asking for help because there are a lot of people willing to help you reach your goals.


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***1/2 (out of 5)
March 25, 2005
Bernie Mac as PERCY JONES
Ashton Kutcher as SIMON GREEN
Zoe Saldana as THERESA JONES
Judith Scott as MARILYN JONES
Studio: Sony Pictures
Directed by: Kevin Rodney Sullivan
Listen to Kevin's radio review…
The country can breathe a sigh of relief to know that "Guess Who" is more about Bernie Mac than Ashton Kutcher. It's actually refreshing to see a talented man like Mac get the lead roles now with hacks like Kutcher playing second fiddle.
Even when he's not in the scene, Mac takes command of the movie while Kutcher slops his way through this film as a clean-cut Keanu Reeves. Fortunately the rest of the cast successfully carries him along. Without them, this might have been as excruciating as "The Butterfly Effect."
In case you haven't put two and two together, this film is a remake of the classic drama "Guess Who's Coming to Dinner" with the racial roles reversed. I remember seeing trailers for this a while back and thinking it could really be awful. But again, Bernie Mac saves the day.
There's little about this film that resembles the original, except the fish-out-of-water story with heightened racial sensitivities. In fact, rather than being like "Guess Who's Coming to Dinner," this is more like "Meet the Parents, and the Parents are Black."
In this modernized version, Ashton Kutcher plays Simon Green, a young financial whiz who is on his way up the investment company food chain. He's engaged to Theresa (Zoe Saldana), who happens to be black. Theresa is bringing Simon to her parents' home for the weekend. Of course, she never mentioned to her father that Simon was white. You'd think people would be over these things, but apparently not everyone is.
Theresa's father Percy (Mac) just can't accept the fact that his daughter's boyfriend is white. Of course, the film isn't just about racial tensions. It also hits on all the general general issues a father is going to have with any young man – black or white – dating his daughter. No matter what he does, Simon just can't win. However, as they are forced to spend time together, they are also forced to deal with their problems.
I've never liked it when studios retool classic films. For example, I thought "The Manchurian Candidate" was a travesty, mainly because they updated the story into modern stupidity. But I have to admit that this role reversal of a black girl bringing a white boy home was a stroke of genius. In these all-too politically correct times, "Guess Who" is able to show that the blade of racism can cut both ways.
The film exposes the hypocrisy that has arisen from political correctness. Sure, my 82-year-old grandfather would never take things well if my sister or cousin were to marry a black man (or if I had married a black girl, for that matter). But there are plenty of African American families that would have a problem with their kids marrying out of their race. It's silly, I know, but it is an attitude that is not uncommon for either race.
Director Kevin Rodney Sullivan said he took the job directing this film because "I have a 12-and-a-half-year-old daughter who's beautiful, and I'm sure she's going to come home one day with some Lithuanian, Samoan, punk-rock drummer dude, and I thought if I did this movie I'd be able to work out my issues before that day comes." (This quote came from IMDb, so forgive me if it is inaccurate.) What is uplifting about this view is that Sullivan is a big enough person that he (like everyone else in this world, including me and you) has their own biases and prejudices. The color of your skin does not make you immune.
But let's not make this film more than it is. "Guess Who" is not out to change the world. It's really just out to make you laugh.


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Meeting laws and regulations
Operating in the US: Canadian startups, nexus and taxes
Canadian startups operating in or selling to the US may be subject to sales & income tax in the US.
Keeping and protecting employee records: The Ontario Employment Standards Act
The Ontario Employment Standards Act requires companies to securely store certain employee information.
Canadian tax compliance: What startups need to know
Understand the basics of business tax compliance with Canada Revenue Agency (CRA).
Business structure basics and financial implications: Corporations and holding corporations
Corporation or a holding corporation? Learn what these structures mean for your business.
Business structure basics and financial implications: Sole proprietorships and partnerships
Sole proprietor or partnership? The structure you choose for your business has financial implications.
Managing tax reporting and incentive claims
Streamline the process of tax reporting and tax incentive claims.


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How to Cope with Stress Incontinence
Stress incontinence is a medical condition that results in urine flowing from the bladder through the urethra outside the body when some type of physical movement or activity occurs.
For example, a cough or sneeze might result in stress urinary incontinence, as could other movements that put undue pressure on the bladder.
Laughing, lifting heavy objects, engaging in sex and all forms of exercise can cause urine leakage. Other causes may be childbirth, obesity, prostrate surgery, smoking and more.
As we age the pelvic and bladder muscles weaken
The human bladder is designed to expand as it fills with urine, and the tube that carries urine out of the body will stay closed until the individual is able to reach a bathroom.
However, as men and women age the pelvic and bladder muscles weaken and regulating urine release becomes more difficult which can result in stress incontinence.
Certainly, urinary stress incontinence does not occur in every instance. Some activities are more prone to bladder leakages than others. A prime example is doing jumping jacks. Any activity or movement that puts pressure on pelvic floors will exert pressure on bladders to leak urine to occur.
Those with stress incontinence may limit their social interactions
Stress incontinence can have psychological and emotional consequences. Due to stigma and embarrassment of bladder leaks in social settings, those who have stress incontinence may choose to participate in social settings where access to restrooms is important.
People with stress incontinence may limit their social interactions and leisure activities to avoid the possibility of experiencing loss of bladder control in public. However, these limitations are not needed when coping techniques are learned and stress incontinence is properly managed.
See a doctor for diagnosis and coping techniques
If you are experiencing extreme urine leakage it is important to see a doctor for proper diagnosis and treatment. There are a variety of suggestions for coping with urinary stress incontinence and minimizing leakage. For example, the doctor may suggest a series of pelvic exercises designed to strengthen those muscles that control urine release.
There are other ways to control stress incontinence
Weight loss may be a necessary intervention as well. Other suggestions include drinking less caffeine coffee/tea beverages, and maintaining a bathroom schedule where you release urine at regular intervals. Experts in the field suggest keeping track of how often you feel the urge to empty your bladder and urinating before you have the urge. This is helpful to doctors who want to know frequencies of urination so they can base their medical opinion on which course of action to take.
Conversely, doctors may suggest that if you find you have an uncontrollable urge too often, then begin the process of 'training' your bladder. Force yourself to wait an extra ten minutes before emptying your bladder so that it 'gets used' to this extended wait time.
Wearable devices can help reduce your concerns
There are also a variety of wearable and/or disposable devices that will help to prevent any embarrassing visible leaks in public. Incontinence underwear/devices/botox/surgical procedures can help to cope with incontinence anxieties. There is no silver bullet for for the 28 million Americans who suffer from urinary stress incontinence every day.
Finally, there are more and more drugs being developed to help regulate urine release, so there is no need to suffer in silence today. There is also research currently underway for stem cells research to help with problems of bladder control and leaks. Make an appointment with your doctor today and get back out there and enjoy life!
Shop incontinence underwear for women and men. Free shipping in U.S.A.


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There will be 2 separate Waltz classes tonight.
You will have the choice of a Beginner class or Intermediate class.
Feel free to chose the level that is best for you.
-No partner necessary –
$10 drop in rate (8:45pm DANCE PARTY INCLUDED)
-$15 drop in rate includes both the 7pm & 8pm classes. and DANCE PARTY