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The Foolproof Bengaluru Deliveries Strategy
The Debate Over Bengaluru Deliveries
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Being an actual distribution executive in a large city like Bengaluru isn't a simple job. Our staff handpicks the best items from throughout the world, and you will pick from a massive variety of goods. "A staff is working on the illustration, we've gotten the facts on the majority of the callers and we'll arrest them briefly," he described.
Weekend activities in your community convey professionals with one another to chat ecommerce, payments, and the method to raise capital. It is a sizable Earth, and occasionally our pals and individuals windup in the far sides of the planet. Men also provide begun to stay to the match with trying out their absolute best couple to fulfill their outfits and flavor. Outside the addon facilities out there while in the birthing suites, a most significant difference is the fact that during an average suite, the caretaker is dropped at the labour house, the delivery occurs in exactly the same space in a birthing suite. If you choose to deliver a present to someone you adore in another land, and sometimes even is likely to, get from GiftsnIdeas! Moreover, we have presents for a variety of the more significant holidays recognized around the world. It provides one of the most desired bag of the season.
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Bengaluru Deliveries – the Story
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Our lookboard is an range of related products or a set determined by your choice. Pikas survive high altitudes in mountianeous areas, creating them more at risk of home damage on account of the growing worldwide temperature. Incase TCI XPS couldn't deliver the consignment in accordance with the standard Transit Time. Regardless of how a shipper should produce the transaction in accordance with our normal Tariff costs.
Airtel can be a timeless situation with this. The exemption was helped by way of a government notice to the exact same, officials said. Meanwhile, protests are happening in Tamil Nadu too. Shreyas shared with her which was not possible." We are not going to be buying locally," Menon explained.


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As the year draws to a close, we are pleased to announce that Joseph Norton Academy has been awarded the Restorative Service Quality Mark (RSQM). The RSQM is a badge of quality that guarantees that a service provides safe, high quality restorative practice that meets the six Restorative Service Standards. Joseph Norton Academy joins other RSQM awardees – in sectors ranging from criminal justice through education to care – delivering high quality restorative processes.
Jon Collins, the RJC's chief executive, said: "I would like to offer my congratulations to the whole team at Joseph Norton Academy on this fantastic achievement. By successfully completing the RSQM, it has demonstrated its commitment to providing the highest standards in restorative practice."
Sarah Wilson, Headteacher at Joseph Norton Academy said, 'I am extremely proud of the staff team for all the work they have undertaken to achieve the award but, more importantly, for the ongoing work they undertake with our children as they use restorative practice to help them build and repair bridges after experiencing conflict or crisis. Particular thanks goes to our Pastoral and Restorative Practice teams and to Darryl Jones, who led them through this process.'
More information and the article that was published on the Restorative Justice Council website can be found here:

subset: commoncrawl


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Numerous school buses ply from Kota, Rawatbhata and their near by areas to Rathkankara.
Each bus carries security personnel and a caretaker to pick and drop children safely from their designated bus stops to school and back, thereby ensuring the safety and security of students.
The School
Buddy Concept
Academic Curriculum s
Mother Teacher
Teacher Student Ratios
Teachers Training Programs
Dining Hall
R. O. System
Campus Security Overview s


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Join the friendly crew of Manta Ray Night Dives of Hawaii for an adventure of a lifetime. Departing from Honokohau Harbor, located just north of Kailua-Kona, their boat will take you to a location just offshore on the Kona Coast where manta rays like to hang out at night.
A manta ray night dive has been featured on numerous Travel, National Geographic and Discovery Channel programs. It is often described as "surreal." Hawaii's Kona Coast is home to over 240 resident manta rays, and each one of them has been identified and named! This is possible as each manta ray has unique black and white markings on their underside. Mantas can grow up to 16 feet in length and weigh up to 1,600 pounds, but they have nothing that bites or stings, so they can be closely observed.
Here is how this adventure works: Groups of manta rays mingle nightly off of Makako Bay (Garden Eel Cove) to feed on the plankton that appears to soak up the glow given off by underwater dive lights. In a water depth of about 30-40 feet, both snorkelers and certified scuba divers can view the manta rays up close. This is a fun tour for the whole family. Ride alongs (observers) are welcome on board as well.
Tour Highlights:
Tour Inclusions:
Top quality scuba dive gear (BCD, regulator, full wetsuit) is available for rent.


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A nice writeup this week about Girls Girls Girls' Boys of Summer, playing the next 5 Fridays at 8pm at The Hideout Theater
Troupe suspends 'girls-only' rule in summer series
Published: Friday, July 23, 2010
WHERE: The Hideout Theatre
WHEN: Tonight at 8
TICKETS: $10 at the door
Certain medicaments are used to prevent ear infections in men with weak immune systems caused by bone marrow transplant. Certainly it isn't all. Very likely every adult has heard about otc viagra. Usually humanity who take street drugs like cocaine find it difficult to get an erection and turn to erectile dysfunction remedies. So it's substantial to learn about it. At present twelve percent of men aged 40 to 70 were have trouble getting an erection during sex. It becomes more common as you men older. Because some of sexual problems are medical emergencies, it's great to know what to do if they happen.


text: WGP Posted February 20, 2012 2008 YZ450 Bike is hard to start when it has been shut off for 10 minutes or more. Strange problem. I have searched on hard starting and nothing really helped. Bike is at 4500 elevation and the temps run from 20-80F (high desert) JD red #4 168m 45p FMF exhaust, 2.5 out on f screw It runs like a champ, no bogging, hesitation ect... Valves are all in spec. When the bike is cold and its cold out like below 40F is will usually start on the 5-6 kick using 2 twists of throttle, choke out and kick w/ no throttle. Sometimes it will flood a little bit and will have to pull in hotstart and it will fire. When the motor is warm and I have been riding, I can shut it off and it will fire right back up using hotstart. BUT if the bike sits for 10 minutes or more, it doesn't want to start! Driving me nuts! The biggest problem is racing because of dead engine starts. I'm getting killed! It will start but I have to kick it like 10 -20 times. My guess is that its got to much gas? Searching the forum someone said that adjustments for starting the bike are only in: Float bowl height Starter Jet Idle speed (rpms) Starter jet is stock, Idle may be a little low but not much, I have never checked float height. The Carb is cleaned out every 6 months Any thoughts? Share this post Link to post Share on other sites


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Braided Bull WhipPRM-7928
Our biggest whip yet! This one is the BOSS, 6.5 feet (200 cm) long. Soft, sturdy, braided leather with a frond end. This is NO TOY. This bull whip is the REAL DEAL! Perfect if you're adding it to your Renaissance costume, or using it to get a point across! Available in colors red or black
Playful TicklerPSE-2642-00
Feather teasers in assorted colors. ABS (handle), Natural feathers. 9 inch /23 cm (length).
Rubber Master 18 Inch Tapered FloggerPRM-918-T
On sale for: $49.95
Feel the sting of these 18 inch tapered rubber strands on your back. This Intense Rubber Flogger has a 9 inch handle with each strand starting at .5 inches and tapering to a point. Being made from rubber it is easy to clean.
Twenty Inch Thong WhipPSPL-10A
On sale for: $27.95
This 20 inch leather whip, has thin strands and a convenient ring on the end of the handle. The shorter length makes it the ideal playmate for getting up close and intimate. You've always wanted to try it, haven't you? Your choice of black, red or purple.
30 Inch Thong WhipPSPL-10B
The 30 Inch Thong Whip by Spartacus Leather is a dozen strands of thin black leather. Experiment with the sensations of slow, playful strokes and rapid, intense flicks. The handle has a D-ring for attaching to a belt or hanging after an intimate session.
Spartacus Deluxe Strap WhipPSPL-10J
On sale for: $69.95
The Deluxe Strap Whip by Spartacus is the perfect instruments for bondage enthusiast who enjoy flogging. This BDSM impact device is perfect for beginners to intermediates. There are many reasons why this sensational tool has long been the stuff of fantasies. It's all within your grasp, whether you wield your strap whip with quick stinging strokes or steady thudding massage. These high-quality leather strap whips, also known as "floggers," are each crafted from twenty-two 0.5 inch straps, featuring studded handles for a comfortable grip. This longer (36 inch) straps are for more intense experiences
Suede Bull WhipPRM-7948
Soft velcro is perfect if you're just starting out in the bondage scene or if you need something that is study, yet lightweight and easily stored. Padded straps are very comfortable, straps are soft, but sturdy. Length of this whip is 41.33 inches (105 cm). Great for traveling.
20 inch Spiked Thong WhipPSR-A398
On sale for: $56.95
This vicious 20 inch whip is sure to leave its mark on your slave. This thong whip is made from 12 strands of black leather lacing with silver metal spikes attached to the ends. It has a metal D-ring affixed to the handle, which makes it good for hanging from a belt.
Sex and Mischief Fantasy Rubber TicklersPSS-730-01
To be naughty or nice, tickle your lovers fantasy with sportsheets rubber ticklers.The Fantasy Ticklers come in black, red, pink or purple rubber. A great way to punish your submissive in a role-playing fantasy.
Sportsheet Steel Ball TicklersPSS-750-18
On sale for: $7.95
The great advantage of this ball tickler is the range of sensation possible. When using lightly, the sensation created is not really a tickle, but more of a caress. Used more aggressively though the baby can really string. Chill it or heat it up for extra fun. A flexible & fun toy. Ball tickler has a 18" black plastic handle & is topped with a 5" strands of ball chain, Gold or Silver.
Sensual Rubber WhipPSS-810-01
On sale for: $12.95
The touch of this rubber whip makes for a unique sensory experience. The 14 inches of latex threads can be used for a whip or a tickle. This sensual whip is durable and totally flexible. It has a black wooden bead handle and a nylon cord for hanging from your wrist or a hook on the wall. Your choice of black, purple, red or pink.
Strict Leather 4 Foot WhipPXR-AD102
Fine plaiting and a Turks head knot handle define this excellent quality whip. Soft and supple, with a good spring, all 4 feet of leather are sure to make an impression on any sub lucky enough to earn its bite. A braided loop at the base is perfect for the wrist, or for storage. A quality item that will ensure years of enjoyment.
Measurements: 4 feet in total length, 1.05 inches in diameter at handle, 1.6 inches in diameter at widest point.
Nubuck FloggerPXR-SA100
On sale for: $79.95
The Nubuck Flogger is sturdy and reliable. Its 18.5 inch leather straps are more than sufficient to give a serious flogging. It has a 9 inch handle with wrist straps to for a secure grip while in use.
Devil's Tail SlapperPXR-SA104
On sale for: $82.95
This slapper has a long handle with a pointed leather end (which resembles the tail of the devil). To keep up the theme, the handle is wrapped in red and black leather straps. There's a wrist strap at the end of the handle for an easier grip. The black tail end measures 6.25" long and 1.5" wide.
Strict Leather Punishment FloggerPXR-TT641
On sale for: $134.95
The Strict Leather Flogger is great for beginners and advanced users and is great for massage and BDSM sensation play. These leather floggers are hand crafted and made from high quality leather. The handle comes in either black or red.
z* 10 inch handle
* 18 inch tails
6 inch round braided leather wrist loop.
.5 inch wide lashes
Single Tail Silicone WhipPXR-AD723
Do not let the understated size fool you. This small hand whip has one sturdy tail that is more than enough to deliver a sharp dose of pain to your subject. The single silicone rubber strand will leave a stripe of pain across their hide, and the stainless steel handle will give you a good grip for a nice solid impact. The handle has a braided leather knot at each end, and looped leather strap.
22 inches in total length, tail measures 15 inches in length.
Strip Tip WhipPXR-AE652
This vegan-friendly whip is artfully woven for sadists and masochists with a taste for the dramatic. They will hear this whip before they feel it! Take careful aim and bring the four falls at the end of this whip down upon your target for a sting that will leave a mark! Impact play enthusiasts will enjoy the unique sensation of this bull whip. A wrist strap allows you to secure this devious instrument when in use and hang from a hook when not in use.
78 inches in total length, 11 inch handle, 11 inch falls.
Beginner Leather FloggerPXR-VE963
On sale for: $39.95
Feel the sting of this classic black flogger. This beginners leather flogger is a total of 20 inches long with 25 strands of punishing leather to make your BDSM play fulfilling. The handle is wrapped in leather with 5 silver studs and a D ring to secure on your belt or wall.
Le Plume Feather TicklerPXR-AD362
I am lying on my stomach, my limbs securely fastened to each post of the bed. All my senses are burning. Sir pauses for agonizing seconds. Then I feel it. The most glorious sensation trailing down my spine. The softest caress of feathers dance upon my skin. How is it possible that something so light can stir up such desire?
Measurements: 17 inches in length
Rubber Strands Hand WhipPXR-AD216
Despite its small size, the heavy rubber tails of this mini flogger can still deliver an intense sting upon impact. The petite size makes storage easy and discreet, and allows users of all experience levels to dip their toes into the exciting world of impact play. The manmade leather handle is spiral wrapped and topped with a comfortable wrist loop.
Measurements: 14.5 inches in total length, tails 8.5 inches in length, 0.75 inches in diameter
Material: Rubber, PU leather, metal
The Teaser FloggerPAL-2040
On sale for: $17.95
Make them beg for more with this suede whip. Colored handle comes in Black, Purple, or Red
The DisciplinarianPAL-2043
Our riveted whip will get your heart thumping. Available in Black and Purple
Whip Smart Rubber WhipPCJ-D140-04
The 14 INCH RUBBER WHIP is a sturdy rubber whip that delivers a mean sting, and lets your partner know who is in charge!!!
Flat Rubber Strap Whip With HandlePCJ-D4009
Keep your partner in check with this durable instrument of titillating pleasure!An imposing, broad length of rubber; securely fasted to a durable, wood grain handle.


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Le Paris des Romantiques
The premise of this fascinating disc is that all three composers knew, worked with and respected one another in the Paris of the first half of the 19th century. If Liszt and Berlioz have not had any trouble being remembered over the years, Napoléon Henri Reber (1807-80) has long since faded from view. But in his day he was an influential figure at the Paris Conservatoire and a friend of Saint-Saëns, who made a four-hand piano transcription of the Fourth Symphony that Reber had written in the 1850s.
It is a substantial piece, conservative in the sense that the ghosts of Haydn, Beethoven and Schubert loom over it but, at the same time, with a dramatic flourish revealing that Reber knew the operatic conventions of his age and was well aware of both Mendelssohn and Weber. The score certainly merits the polished and vivacious advocacy that Le Cercle de l'Harmonie under Jérémie Rhorer bring to it on what is plausibly billed as its world premiere recording. The orchestra's period instruments add punch and pungent colour, as they to a beguiling performance of Berlioz's Rêverie et Caprice with the violinist Julien Chauvin. The instrumental timbres are equally well adapted to the Erard piano of 1837 on which Bertrand Chamayou plays the E flat Concerto that Liszt completed in the following decade. With a warmer, mellower sonority than that of a 21st-century grand, the Erard also possesses power and depth that Chamayou harnesses alongside his sparkling virtuosity.


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Last year me and Christian Richardson, a person I had only met a handful of times, packed everything we could fit into my Corolla and drove for two days to Miami, Florida where we lived together for 6 months. During our short stay in South Florida, we spent a good part of it inside our apartment behind laptop screens making beats for no rappers in particular. Fast forward to today and Christian, who goes by South House, just released his first single as an artist himself.
I've paid attention to South House's music over the years, as he has been one of this areas best kept secrets living in the backyard of Kansas City. I'd often refer artists who wanted 'trap' beats to him - as that was the genre I felt he represented. Today however, his new single Invasion flips the script as he moves forward into the world of EDM.
The once trap oriented producer who raves about Scott Storch every time I see him makes a bold move into a genre once heavily criticized by the hip hop world. Growing up many of my friends distanced themselves from EDM and often mocked it's repetitive, bass heavy style and lack of words. This is of course comical since today's mainstream hip hop could be described the exact same way.
The release of Invasion further emphasizes the idea that hip hop and rap is mostly being carried by the producer, especially the commercially successful mumble raps of artists like Migos, Future, Lil Pump, Xxxtentacion, and many others. I've argued the idea that music production is more important than ever and have often cited that Jay Z is the only artist who could sell an a cappella album when he released a vocal only version of American Gangster. Ironically this album was mostly purchased by producers such as 9th Wonder for remix purposes.
As the worlds of hip hop and EDM continue to blend, it's artists like South House who are crossing that bridge and taking risks by putting out records that don't fit in the typical genre boxes. Stream Invasion on Spotify, or find it on your preferred listening platform today.


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Hear how two students navigated through thinking that missions were for "better Christians", to going on a trip themselves.Read More
On August 17th, over 45 volunteers from Sunset Church went to Lawton Elementary to help teachers prepare their classrooms for the 2018-2019 school year.Read More
Q3 Members' Meeting RecapRead More
Pastor Joey joined the Africa team's annual STM trip. On this trip he was able to see how God was working in Zambia and also support one of our partnering organizations, Hands At Work.Read More
"The team was clear that whatever activity was chosen, it will be secondary to this main purpose: that Sunset church come together to send its mission teams out to build God's Kingdom."Read More
Watch and listen to Jason and Matt as they share their experience in Thailand.Read More
Here is a recap of the first members meeting of 2017.Read More
For the year of 2017, we chose to go through the book of John. Here is how we came to choose John.Read More
We want to take some time at the end of this year to thank you for your continuous support for us in the Women's Ministry!Read More
April was diagnosed with cancer. She went in for treatments and nothing seemed to be working. Hear her experience as she went through her situation.Read More
The year is coming to an end. Here's a quick recap of some things that has happened in 2016 and a look ahead to 2017.Read More
Judy was able to feel God's peace in the midst of battling through cancer. This is her story.Read More


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Trees and their importance to our atmosphere and climate is well documented. They provide many advantages to the earth and its inhabitants, from cleaning the air, soaking up stormwater to adding approximately 15% to the value of our homes and property. Trees are also crucial in the fight against world climate change and we need to protect them. Therefore, it makes sense to look after our valuable assets, if you need to remove a tree for whatever reason, consider tree transplantation as an alternative to tree removal. Digging near or around tree roots is often detrimental to a tree's health and if it is required, then using the safe digging technique of vacuum excavation also known as Non-Destructive Digging is vital.
Development and building is an essential part of modern life and with expanding populations and the need for more homes to be built, sometimes there can be a necessity for trees to be removed. An unhealthy, diseased, or unstable tree is a health and safety risk to both public and property and so should be moved and recycled as a matter of course. In cases where the tree is healthy, it is an effective option to transplant it to another, better suited area however, transplantation of large trees is a tough job and should be left to the experts.
If you have a small sapling to transplant, there are plenty of informative gardening blogs available online which will tell you how to successfully transplant a small tree. If you are seeking to transplant larger trees with well-established root systems, then the do-it-yourself method is not recommended. It is astute to hire a tree doctor or Arborist who can consult with you about the best place to replant and the likelihood of the tree being able to re-establish itself in its new surroundings. Qualified Arborists will endeavour to carry out the tree transplantation in a safe, timely and cost-effective manner. When you have decided to use an Arborist always choose your tree care company carefully as there a few different methods for transplanting trees. The safest and most cost-effective method is using a tree company who uses Vacuum Excavations to transplant trees.
Once the tree has been safely removed, transported, and transplanted into its new home it will need plenty of regular care and attention. For smaller trees, it can take up to three years before they are truly re-established, however, for large trees the time frame can be much longer for a root system to re-establish itself. Think about the climate, as trees that have been transplanted in a very dry climate will require regular moisture for a few years after the transplantation has taken place.
For all your tree transplantation needs in South East Queensland including: Brisbane; Logan; Ipswich; Redlands; Toowoomba or Gold Coast areas please call Heritage Tree Care on 0737155 444 or email email@example.com. Heritage Tree Care works closely with sister company Heritage Vacuum Excavations to provide a comprehensive range of tree care and excavation services.


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To think of all of the energy I have spent fighting against my suffering.
It's just exhausting.
A friend recently encouraged me to offer my suffering up to God as a sacrifice of praise. She told me when you take a moment to offer up your suffering in light of all that Jesus suffered for us, it is a speck in the bucket and you find that your heart fills with gratitude. So I've been trying that this week. As I suffer a wounded heart from a broken relationship that I can't fix, I offer it up to Jesus. I thank Him for how this small amount of suffering in my life opens my eyes to the unimaginable suffering He endured for me. Gratitude is born. He doesn't shame my sadness, He affirms it. He grieves with me and then reminds that His love is what has made the loss sting. He made us to love and be loved, and though my suffering is a drop in the bucket, He sees it, He acknowledges it and He understands my grief. As I surrender my grief I feel closer to God - like I've just confided in a trusted friend. I am given a deeper strength in my soul - I believe I am not alone. I am given a greater wisdom - I can look at His love and learn how to love others.
Not only is fighting my suffering exhausting, but I actually miss out on some of the deepest blessings. So, dear heart, I know it hurts. Surrender it to Him. His love will win.


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Product Overview
Imitated but never eclipsed, the Fender Stratocaster is debatably the most beloved guitar in the world! From its debut in the Spring of 1954 the Stratocaster electrified the music world with it's versatility and incredible tones! The new range of American Professional Stratocaster is not a re-design of the original guitar but an evolved model.
The roster of Musicians since release is limitless, from lead legends like Jimi Hendrix to metal monsters like Dave Murray. In the hands of anyone the Stratocaster is the perfect tool for any genre.
Featuring newly developed V-Mod single-coil pickups, designed by the genius that is Tim Shaw, retain high end clarity when adjusting the volume control. Built with a mix of different alnico magnets which creates a powerful, direct tone with the original Fender sound.
Narrow-tall frets detail the new "Deep C" neck which has been designed with speed and comfort in mind. The overall expanded profile gives a more natural feel, making it perfect for chord and single-note playing.
Body Material Alder
Body Finish Gloss Polyurethane
Neck Maple, Modern Deep C
Neck Finish Gloss Urethane Front, Satin Urethane Back
Fingerboard Radius 9.5"
Frets 22 Narrow Tall
Nut Width Bone 1.685"
Scale Length 25.5"
Bridge 2 Point Synchronized Tremolo
Pickups V-Mod Single Coil
Case Elite Molded


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Release notes available at Version History
Download Now
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Choose the button that matches the bitness of your Excel installation (which may differ from the bitness of your operating system).
All Windows Excel versions from Excel 2000 to Excel 2016 are supported.
You are adviced to uninstall your previous Deriscope version before you install a new release.
After installation, you will notice a new ribbon item labelled "Deriscope" each time you start Excel. This action is completely anonymous and requires no registration or license.
Deriscope installation is user-specific and requires no admin rights. More than one users on the same computer will have to install their separate user-specific Deriscope Add-In but they can benefit from sharing the same license. You can easily uninstall Deriscope at any time through control panel as you would uninstall any other application.
If you do not have of a license, your usage of Deriscope is restricted.j View available licenses
You can use them without license, but then the usage constraint mentioned above applies.
Unlimited usage is granted under any of the licenses offered at this page.
They provides you with actual bid-ask quotes on US stocks and currencies and allow you to place simulated market orders.
Since the quotes are not time-delayed, you can link your trading decisions on real time news feeds.
You may also use Excel's flexible spreadsheet environment to design and test your own trading signals.
Video tutorial on Stock Simulator
Video tutorial on Stock Simulator - version 2
Video tutorial on Forex Simulator


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Welcome to our new website! If this is the first time you are logging in on the new site, you will need to reset your password. Please contact us at firstname.lastname@example.com if you need assistance.
The site navigation utilizes arrow, enter, escape, and space bar key commands. Left and right arrows move
across top level links and expand / close menus in sub levels. Up and Down arrows will open main level
menus and toggle through sub tier links. Enter and space open menus and escape closes them as well. Tab
will move on to the next part of the site rather than go through menu items.
The regulatory function is vital in making safe and effective healthcare products available worldwide. Individuals who ensure regulatory compliance and prepare submissions, as well as those whose main job function is clinical affairs or quality assurance are all considered regulatory professionals.
One of our most valuable contributions to the profession is the Regulatory Code of Ethics. The Code of Ethics provides regulatory professionals with core values that hold them to the highest standards of professional conduct.
Your membership opens the door to free learning resources on demand. Check out the Member Knowledge Center for free webcasts, publications and online courses.
Like all professions, regulatory is based on a shared set of competencies. The Regulatory Competency Framework describes the essential elements of what is required of regulatory professionals at four major career and professional levels.
Join the brightest minds in regulatory at the annual Regulatory Convergence. See the global regulatory community in action. Intensive workshops. Topical sessions. Meet ups with regulators. This is where it all comes together.
For 20 years, our flagship publication, Fundamentals of US Regulatory Affairs, has been giving regulatory professionals the insights and answers they need, right at their fingertips.
There are hundreds of RAC testing centers available worldwide. Any of the four RAC exams (US, EU, CAN or Global) may be taken at any location. Find an upcoming exam at a location near you.
The RAPS store will be under maintenance Saturday, 28 September between 6 a.m. and 12 p.m. Store functionality may be unavailable at times during this window.
We apologize for any inconvenience caused during this time.
Posted 08 September 2017 | By Zachary Brennan
The US Food and Drug Administration (FDA) is increasingly granting faster reviews via expedited regulatory pathways, but a new article published in the British Medical Journal found a higher association with these expedited pathways and the likelihood of safety-related labeling changes than with non-expedited pathways.
In their analysis of 15 years of data, authors Sana Mostaghim, Joshua Gagne and Aaron Kesselheim of the Program on Regulation, Therapeutics, And Law (PORTAL) at Brigham and Women's Hospital and Harvard Medical School found that drugs that won faster approvals had a 38% higher rate of safety-related label changes than drugs approved through non-expedited pathways.
"Further research is required to understand the underlying process factors contributing to the differential rates in safety changes that were observed in this analysis," the authors added. "Policymakers will likely need to ensure that these pathways are not overused, that there is sufficiently close post-approval monitoring of drugs approved through these pathways, and that patients and physicians are fully informed of the risks that accompany the widespread use of expedited development and regulatory review pathways in the approval of new drugs."
With the 21st Century Cures legislation in the process of being implemented, it's expected that more treatments will see expedited approvals, particularly regenerative medicines.
The authors note that the increase in safety label changes points to the importance tracking drugs approved through expedited pathways "to help identify any emerging problems necessitating a safety related label change as early as possible," the authors write.
And although drugs that earn accelerated approval generally include a statement about the "clinical benefit . . . has not been established" because of "the reliance on an incompletely validated surrogate measure," the authors suggest that there "should also be formal requirements for manufacturers to alert patients about the higher rate of subsequent safety labeling changes arising from drugs approved through the accelerated approval, fast track, or priority review pathways."
The authors also note several limitations to their research, including that the rate of safety changes "does not provide a qualitative assessment of the clinical relevance of a particular change.
"For example, the addition of 'risk of serious cardiovascular events' to the boxed warning of a label in which there was already some cardiovascular outcomes mentioned may have less clinical impact than the addition of new psychiatric side effects that were not previously included in that section of the label," they write. "Such qualitative analysis of the label changes is complicated by the fact that in some cases FDA only indicates that a change was made but then presents the whole label section, and in others it underlines or italicizes the text but does not indicate what was changed. Greater clarity from the FDA about the exact nature of each label change and the number of changes each month would be useful in resolving these issues."
Tags: breakthrough drug, accelerated approval, fast track, drug safety, label changes
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The Siemens Gigaset SL565 Cordless Phone unites outstanding design with cutting-edge technology. Thanks to innovative Bluetooth® capability, you can now quickly and easily synchronise data with your PC or download ringer melodies.Speak with your hands free and still enjoy the best sound quality. Or use the comfortable Bluetooth® headset connection to talk and walk without bothersome cables. And if you don't like being disturbed at home, just switch on the vibracall function and stay connected in peace and quiet. The Gigaset SL565 brings features that were once reserved to mobile phones right into your home. Discover the comfort of voice dialing and text messaging (SMS) or let the Gigaset SL565 help you manage your day with its organizer and alarm functions and the PC interface is of great help for quick and easy data synchronization with your PC. Connected to the data adapter Gigaset M34 USB, you can even make handsfree calls over the Internet.
Important -
Voice over IP (VoIP) telephony with the Gigaset M34 USB adapter works only if the Skype software, provided with the product, is installed from CD. Do not download and install the software from Skype 's Internet site!
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|12 months
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From playing in local bands to becoming a family and businessman, Winston has always called Lake and Sumter County his home. As a husband and a father of two, he is no stranger to hard work.
Winston has been in Technology and Cellular Sales for the past five years. To him, sales are about having the heart of a teacher and helping others achieve their goals. He chose Flamingo because of what the team represents—putting people first.
After Winston and his family purchased their first home, he fell in love with the home buying experience and began his real estate career.
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Colours of Motion
A great exploration into colour used in motion pictures over at The Colours of Motion. Each film has been broken down and assessed using a series of code to work out the average colour per frame in each film. The result is a clever colour breakdown infographic that can be scrolled through and selected to see the frame of reference. Clever old stuff from Brooklyn based interactive developer and designer Charlie Clark.
GoodFromYou Charlie Clark


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Posted by Russell G on January 24, 2002 at 12:02:46:
Is there anything going on around the Bay Area? I would think that with all the other cool stuff going on around here that there would be more herp shows. I live just north of SF and I have searched on the net and only found info for a couple of shows in San Diego during the summer. If anyone could direct me toward info on some nor-cal herp events I would appreciate it greatly.


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Eating Right to Recover from an injury
While food doesn't magically cure most illnesses and injuries, it can help speed the healing process. Nutrition is important in all medical conditions, and it can help you get well faster. Here are some tips to help you recover from an injury with the right diet.
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Don't let an injury keep you down. Eat a healthy diet and follow the doctor's orders to be back up and at your usual routine quickly.


text: Hello All, We have a puppy, and I'm now thinking if we might be able to have a short holiday....even just a night away. What are your thoughts? I've seen dog friendly places, but does that mean *puppy* friendly? Would it be best just to get someone to look after her for a night, or skip the whole idea....Until when? Thanks all.


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Looking to get a jump on the competition in 2010? If so, check out these new Web tools that can give your business a definite edge.
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The Jack in Cross Jacquard$89
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Driver dies after collision with Cave Creek school bus; 4 students injured
Do you know what to do if you're in an accident? Wochit
The driver of a vehicle in a crash with a Cave Creek school bus Wednesday has died, Scottsdale police said.
In a statement, police identified the vehicle driver as 63-year-old Michael J. Muller. Authorities said Muller died at the hospital as a result of his injuries from the crash.
Muller rear-ended a Cave Creek Unified School District bus around 3:15 p.m. near 136th Street and Rio Verde Drive. District officials said the bus was transporting middle school and high school students.
Four students were taken to hospitals for survivable injuries, authorities said. The students' names and ages were not released.
Authorities continue to investigate the accident's cause.
- These Diamondbacks mascots made $60 a game. Next season they'll make less.
- Here's how to check if your early ballot was counted in Maricopa County
- McSally vs. Sinema ballot update: About 9,600 votes separate the candidates, with Sinema in the lead


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I grew up as a youth pastor's kid, so my family moved around a lot. I went to 7 different schools before I graduated High School. After HS I saw that even though I resisted Him, God used people and circumstances in my life to direct me into youth ministry. I felt like my life has been defined by trials, difficulties, and a desire for people to have a place where they are known, loved, and can feel safe. I have discovered in my life that that place is with Jesus. He cares deeply for us and He hurts when we hurt. Out of that realization I have had the honor to serve students and staff in ministry for the past 17 years. On this journey, I earned a Master's degree in Biblical studies and for 10 years served as a pastor of student ministries in the local church. God has recently directed our lives back to Royal Servants. I went in 1999 and 2000 and had a great experience where I also met my wife =). I am excited to live life with students, to journey side by side with them as we have adventures together discovering a foundation in Christ, discovering God's purpose for their lives, and serving others overseas.
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GSLHS (GSLHS) Class of 1964 Alumni List
Help us Update the GSLHS 1964 Class List by adding any names missing from the list below:
Registered Alumni
1964 Class List
Know GSLHS Class of 1964 graduates that are NOT on this List? Help us Update the 1964 Class List by adding missing names.
The most popular movie of 1964 was Mary Poppins which has grossed over $102,300,000 since its release. The TV series The Beverly Hillbillies was the most popular show of 1964.
Hit Songs From 1964
Hello, Dolly!Louis Armstrong
SuspicionTerry Stafford
Everybody Loves SomebodyDean Martin
Don't Let The Sun Catch You CryingGerry and The Pacemakers
RonnieFour Seasons
The Girl From IpanemaStan Getz and Astrud Gilberto
Keep On PushingImpressions
Last KissJ. Frank Wilson and The Cavaliers
The Little Old LadyJan and Dean
Dawn (Go Away)Four Seasons
Hit Movies From 1964
Reunions and Glencoe Silver Lake High School News
More 1964 alumni from Glencoe Silver Lake HS have posted profiles on Classmates.com®. Click here to register for free at Classmates.com® and view other 1964 alumni.
Alumni from the Glencoe Silver Lake High School class of 1964 that have been added to this alumni directory are shown on this page. All of the people on this page graduated in '64 from GSLHS. You can register for free to add your name to the GSLHS alumni directory.
You can share memories of those activities that you were involved with at Glencoe Silver Lake HS and you can view other alumni and read what other former students have posted about the time they spent at Glencoe Silver Lake.


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In her book Hiking the Horizontal, Lerman emphatically states, "I am interested in… performers who look like people dancing, not dancers dancing." Lerman has challenged the assumption that only professionals can create beautiful dances with active research, listening, storytelling. In this episode we'll hear from Healing Wars cast member and Navy Veteran Paul Hurley, and from other choreographers partnering with non-traditional performers.
What gestures do you make on a daily basis? And how could those movements find their way into a dance?
Print a PDF of the full transcript.
4 Questions
LIZ LERMAN At the Dance Exchange we have 4 questions. Every project we take on looks somehow at these 4 questions:
Who gets to dance?
Where is the dancing happening?
What is the dancing about?
And why does it matter? I think the 4 questions are good for most professions actually. So I am just going to tell you a few stories from each of those questions and see how this relates to you. To me there are thousands of ideas in there about innovation. I hope you'll hear them even though I know I am just talking about dancing.
I was trained as a classical dancer. In fact, I performed for President Kennedy when I was 14, when I was a ballerina in this little troupe. But eventually I left classicism, which is a story in itself, and was turning to modern dance. My mother got diagnosed with a virulent form of cancer. She was given a very short time to live. Luckily, I was able to go home and be with her in these last few month of her life. She did things that people do who know they are dying, if you are lucky enough to know that. She imagined many people in her life she wanted to see again. And I imagined them all as old. When she died I went back to Washington where I was living, and I wanted to make a piece about what my family had gone through. And I wanted to have old people be in the dance.
Now, this is 1975. And I like to remind people that in 1975, this is pre-jogging. [Crowd laughs] It's amazing what has changed in the United States in the last 30 years. We are use to practically naked people stretching on the streets. Not again light posts any more—LEDs. There are out there. At the time you didn't see that and you didn't see old people, because Robert Butler had just written his book "Why Survive". It was just the beginning, beginning of the idea of conscious aging.
Anyway I found this old home near my house, eventually, because I didn't even know where they were. But I did find one! I asked the lady could I come in and teach a dance class, and she thought absolutely ridiculous, but see I was desperate. And that to me is the thing about innovation. I was desperate. It's not like I wanted to break the rule that there should be old people on stage. I was following the rules. I was only in my 20's. I thought that was getting old for my profession.
She said however she lost her entertainment. She needed something on Thursday nights. I could come in for $5 a week, and do whatever I wanted. [Crowd laughs] And the first night I went it was not unlike this. Except the room was also the room where bingo was, they ate—it was just one of these very working class places where people were trying to stay out of nursing homes. I promise that I would perform a little. I performed a little bit, and then I said, "Ok, it's your turn. We are going to exercise together." I said, "Everybody, I want you to turn your head like this." And of course, nobody moved. I thought they couldn't hear me. [Crowd laugh] I think its interesting to think about that, because if you are not in relationship with people all you can believe are the stereotypes. That's all you know. So I yelled, "Ok everybody! Turn your head!" And again, nobody moved. So I began to run back and forth in front of them. And their heads went... like this [following Liz].
And I have to say, the reason I tell this story over and over, it change my life. I knew in that minute that everything I had ever known about dance was going to be challenged by being in this environment. And that the world was going to open up for me in ways that I could not imagine. And that is exactly what happened. The old people became my teachers. They continued to perform after we made the piece about my mother's death. They were angels welcoming her to where she was next.
They were incredible. I thought the show was over and they said, "No, we need to rehearse more." That's what I mean. They were my teachers. I learned very, very much from the.
KIRSTEN WALSH Who gets to dance? Who gets to make? Those are two of the questions we will be considering in this episode. Hello again and welcome, my name is Kirsten Walsh and you're listening to Podcasts on Process.
Podcasts on Process takes a peek into the creative process of artists, and considers what tools they use to create their innovative work. In these inaugural episodes the inspirational spark is choreographer Liz Lerman.
LIZ Since then when you see a Dance Exchange performance, you always see old people. The company ranges from their 20s into their 70s. We have a very, very busy, busy touring schedule. And the seniors are amazing. And its incredible to me that audiences are still so moved by simply seeing the old guys on stage. One is a man who had been in the military, retired at 53, never danced—now he's in his 70s. Martha Graham says it takes 10 years to become a dancer. He has. And I think people will retire and become artists. I think that is one of our futures. So, who gets to dance?
KIRSTEN You just heard from Liz. The opening was from a talk she gave at the Business Innovation Factory. Right off the bat you hear Liz talking about the 4 main questions the Dance Exchange considers before making any piece. Liz started the Dance Exchange in the mid 1970s, and while she's no longer the director of the company, these four questions still apply to her own practice. The first being who gets to dance.
I love seeing true craftsmen and women working at what they do best, but there's something particularly special about seeing a non-professional express themselves artistically. Liz Lerman is known for including non traditional performers in her work. But why is there presence on stage so important or worthwhile?
In this episode we'll talk to several artists who incorporate and are inspired by the stories and movement of quote "untrained makers". First Elizabeth Johnson, who work with and at the Dance Exchange for many years. And second from, Washington DC based artist, Holly Bass. And we also get the chance to hear from Paul Hurley. Paul is the veteran who jumped on board Healing Wars and has been touring with the team since Healing Wars premiered in June 2014.
Knowing my background as a visual artist and my current pursuits as a curator, Liz connected me with dancer and choreographer Elizabeth Johnson.
LIZ She is an example of—somebody should write a book apropos these conservatories—about her, because she's the kind of performer that audiences adore, but peers don't necessarily. Because she isn't in the stratosphere technically.
KIRSTEN What do you mean by that?
LIZ I think in dance, and I think in classical music, technique is god. And if you don't have certain kind of technique people can be dismissive even though you are a phenomenal artist and performer. This is one of the things that I fought for so long. Technique is the idol—i-d-o-l—of the arts. And Elizabeth, the natural progression of an artist is into choreography. Elizabeth natural progression was towards engagement—and in now way diminishing her artistry, her worth, her value. And whenever she is on stage, that is who audiences look at. And here's a person who exceeded what even a brilliant technician would have done with their life. Elizabeth has exceeded it.
KIRSTEN Elizabeth connected with the Dance Exchange after seeing them perform while she was an undergraduate student and she'll be the first to tell you that the experience brought her to tears.
ELIZABETH JOHNSON I started at Dance Exchange in 1998, the day after I graduate from Connecticut College. The Dance Exchange had done a two week residency at the Garde Art Center, and I was at the time doing community-based work without knowing there was such a thing as community-based work. I was apart of the community tour that was apart of that, and a class that I was teaching with mothers and daughters performed in windows. I was also making my senior piece that had 88 people in it, in a campus that had 1200 people. People were performing parts of that in a parking lot as apart of the tour. And then I saw the Dance Exchange company perform and I [said}, "ok, I've never wanted anything more in my life!"
KIRSTEN I know exactly where I am supposed to be.
ELIZABETH Exactly. And I was bawling all the way through. Just heaving crying—I was just so moved by the performance. And I was still crying in line when I was going to talk to Liz. I [said], "I, I need to know..." I can't remember what I said, but [Liz} said that, "were starting this new intern program. We're having an 'institute' in a couple weeks. Do you want to come down to see how things go?" So basically, I got in my Ford Taurus station wagon the day after graduation from college, I went down to Dance Exchange and I stayed there for 12 years.
KIRSTEN The project I specifically wanted to talk with Elizabeth about was called, "Its Not Just Black and White." In 2011, Elizabeth's colleague, Gregory Sale and other collaborators launched "Its Not Just Black and White." It was a three-month residency exhibition investigating the complex issues at stake in the criminal justice system in Arizona. The exhibition was apart of the university art museum's Social Studies series where the museum became an active laboratory and studio. As Elizabeth mentioned earlier she had been working with mothers, daughters and teens with the Dance Exchange. The project she facilitated in "It's Not Just Black and White" created a virtual space for incarcerated mothers and their daughters to dance with another.
ELIZABETH Within the scope of this project, I was thinking where are the women and thinking particularly about distance, and the relationship these incarcerated women must have with their daughters. And is there a role that dance can play. So we envisioned this project, that would have me working with the women in jail, concurrently working with their daughters in the museum. The museum itself was an open space. It had tables, modular furniture, and the museum itself was painted black and white stripes by inmates who were on a day's furlough. They came in and they painted, wearing their black and white stripes, they painted walls. There was a SWAT team member for each of the incarcerated men.
So I worked with the girls in the museum and I worked with moms in the jail. We did 6 weeks of programming. And Gregory and I both landed on the "pearl" as a metaphor for the work. Because the pearl is an organism that builds value under pressure. And although we never articulated this so clearly to the women or the girls. But there is something considered an irritant, and that in an enclosed space under pressure builds value.
And we thought that was a nice metaphor for thinking about what incarceration can be. I built that down into 3 chapters: beauty, change and value. The first chapter on beauty, both the women and the girls talked about what they find beautiful: their own images of beauty and how those might differ from how the media projects images of beauty, and specifically what they find beautiful about themselves, or what they find beautiful their mother or daughter.
The second part was about change. And we looked at different things that change, metamorphosize. And also did some writing, and thinking, and talking, and dancing about how we're evolving and how we are changing. The women really brought up how they were changing as a result of the incarceration.
And then the last one was about value. What do we value? And specifically for the women, what kind of values do they want to pass on to their daughters? And then what was lovely, Gregory gave the women pearls that he had from a collection. These tiny little mother of pearl pearls, and one of the last things is that the women had made jewelry for their daughters. So the culmination was not a performance.
KIRSTEN That was going to be my next question!
ELIZABETH It was a workshop that was a virtually connected workshop. So that through a super tenuous Skype connection with the women in a courtyard in their jail, and the girls in the museum, they danced with and for each other.
KIRSTEN With our question in mind for today's episode, who gets to make, I asked Elizabeth why she advocates for and develops community-based social practice and choreography.
ELIZABETH I am somewhat uncomfortable with the wording of "gave power". And I think it just might be my own thing. We all have power and sometimes that's just unrealized or unrecognized by ourselves or others. And for me, if I am empowering someone, it means I have power and I'm giving my power in some ways to them—like some sort of hierarchical relationship—that I am empowering you. I think there is something about this work that provides space for something to happen that as a choreographer working independently or working with a group of dancers, there is only so much that I can make. That by us working with a broad range of diverse individuals, there's just so much more in the room. Because you have so [many] more facets of experience. So much more vocabulary to work with. So many more ideas. So yes, it might be a powerful feeling, and it might be empowering even, and I definitely think it was a powerful experience for the women, but I don't feel so much like I am giving that to them.
HOLLY BASS My name is Holly Bass. I am a writer and performance artist.
KIRSTEN When I was considering who else to interview for this episode several colleagues mentioned Holly Bass' work. She is multi-disciplinary artist who's shown at the Smithsonian National Museum of African Art, the (e)merge art fair in Washington D.C., and internationally in Holland, South Africa and Italy. When we got together for our interview, we discussed one of her more recent projects, Black Space.
HOLLY The work I have most recently done is the Black Space house, and its a tiny house. Its 8 feet by 8 feet, and the foundation of the house is the map of Washington D.C.
KIRSTEN Where is it?
HOLLY It just came down, but it was first built for the (e)merge art fair. And it was outside on the lawn, and in addition to the house which functioned as its own installation, I stage a number of public performances and rituals. And then the house moved to Martin Luther King Jr. Library, the central library downtown. And it was there for a full month, and we also did a range of public programming. It was really exciting.
I did a rent party, which is harkening back to this Jazz Age tradition of hiring a band, and making food and drink, and inviting the neighborhood over—for a fee—to have a party, which then goes to rent. This was a Friday night tradition, particuarly in Harlem and other black centers, cultural centers in the US. And then there were variations that continued in the 70s and 80s, but that would have been a DJ instead of a live jazz band.
So we had a house rent party, and at (e)merge I did a blessing, more like a house warming. So I had a Yoruba priest poet friend lead the blessing, and another cultural performer, Liz Andrews, was the song leader. We did traditional negro spirituals, in particular, "I'm Building Me a Home". And then there's was a drummer and myself, and we guided people through, not only an artistic experience, but also— Well, one of the things I have been doing recently is taking the structure and outline of traditional worship services and applying them in an art world context.
My proposition is that if you live in D.C., regardless of your ethnic background, that you are occupying Black space. And that it is a cultural Black space, much like Harlem, Detroit, Oakland. And all of these spaces right now are having huge demographic shifts, and a major decrease in the Black population, as a result of shift in the social culture. This to me is not about debating gentrification or not gentrification. My thinking is that if we can shift our idea of cultural preservation so that it's not just about historic buildings, but cultural preservation meaning the energy and the dynamic of a people who live in a given place, and how do we preserve that. Again, it's very ephemeral, as is most of my work. Those are the kind of questions that I am grappling with.
KIRSTEN Holly Bass has been commissioned by many institutions throughout her career. One of my favorites commission came from DC Department of Public Works, and the performance is called the Touch Truck Ballet.
Part of the ballet includes two cherry picker operators gracefully moving their trusted equipment through the sky to Louis Armstrong's "What a Wonderful World", and employees in full uniform dancing together to Pharell's "Happy".
HOLLY Following the trash and recycling guys, and how fast they are and how strong they are. And looking at their movement as choreography. There's certainly choreography between the crews. Like when you have a crew, a driver, and 3 people who are working from the back, there's a way in which it like a really well honed dance troupe. They know when someone is going to swing that can to them, and they've got to dump, and I'm going to run up here. There's very little verbal communication. We just going to work this street and get it done as quickly as possible. And so that was really wonderful to watch. I would have loved to—it would be pretty hard to stage, but get 50 people and say, "ok, we are going to stand at the bottom of this street and watch the crew go up the street, and do what they do."
KIRSTEN Did any of that natural movement for them find itself in the piece?
HOLLY It did! So, I had a series of moves, which I think we are going to try and highlight a little more [this year]. So there was "the can", there was..
In our first rehearsal I basically asked what are the movements that you do in your job. So if someone was with lawn care and greenery, we were doing "the weed wacker". You gotta start the engine, and the sweeping motion. Or the person who has the electric saw, who's in charge of cutting trees. And so all of those movements, even the parking enforcement. They have their little machine, and so we turned that into this sassy "I'm writing a ticket. I'm putting the ticket..." So all of that turned into movement which was really fun.
For the full production we conducted interviews with several of the workers, so their voices would be the prelude, the intro and outro to a lot of the pieces. So you would hear the director speaking, you'd hear someone from parking enforcement, you'd hear a trash working speaking. It was really amazing to have the voices of actual people, to see them in a different context, but still in their uniforms. And so for the public, I think it was this really eye-opening experience. It was fun, and it certainly was a celebration, but certain people said, "I'll never look at the guys who picks up my trash the same way again." They shared about how difficult their job is, how thankless their job often is, but the commitment they have toward. And so that dignity and respect was something that was really important to convey.
I am looking forward to this year because we will have even more people wanting to participate—but I also just think so many of us love to dance and don't necessarily feel comfortable or welcome. So to have that opportunity to just express joy in that way is really incredible.
There's amazing precedent for this kind of work. Artist Mierle Laderman Ukeles in the 1970's spent 85-hundred hours with sanitation department workers in NY. And there's Liz Lerman's pas de dirt performance. It was shown outside the National Building Museum in DC, where performers and bobcat operators danced to "Swan Lake". And there's also the documentary with contemporary visual artist Vik Muniz called WasteLand. The artist travels to the world's largest landfill in Rio de Janiero, and develop art and relationship with the pickers there.
KIRSTEN What are the qualities of a non-traditional performer that strike you?
HOLLY That's a really great question. I think what appeals to me about a non-traditional performer is that excitement of transformation that often happens. It's also for me as an artist and educator, it's a really good reminder of how to go back to the beginning. And then the process, and you see someone who may have struggled with movement and now they have to master it, and what they have to do in order to get it down pat.
KIRSTEN With each performance of Healing Wars there's always a character played by a veteran, who's not a professional dancer or performer. For the last year Navy veteran Paul Hurley has been reenacting his story.
On stage, Paul is not playing a fictional character. Instead he describes and embodies his specific story. Paul is a single leg amputee, and at each performance he tells the story of how he was wound in Iraq. His fellow performers stand in as locals, and dancer Keith Thompson plays his fellow soldier and friend. As the group reenacts the accident, one dancer even plays Paul's seat belt.
Several scenes later in Healing Wars, Keith Thompson again has a duet with Paul. In the movement they support one another, stretching back and forth, and in one graceful move Paul also lifts Keith over his shoulders in a fireman carry. It's hard to explain but there's one moment that will always stand out for me. Paul and Keith are sitting side-by-side and hanging over the edge of the bench you see three legs, because Paul has removed his prosthetic.
Here's Paul, in his own words, describing how his duet with Keith developed.
PAUL But Keith started talking to me, and well from your story...
KIRSTEN So, he had heard that before?
PAUL We had just gone through that and then went out into a separate room where it was just Keith and I. Everyone else was practicing on some other stuff. And he was like, "Ok, let's try and figure this stuff out. Just show me some of the movement that you may have made during this whole incident." Well, I was thinking about different things. One of the things that really stood out was when I got out of the car, and was staring up at the moon. And then, we started talking about therapy and being on the mats, and the constant work with the physical therapists. The duet is, it's me being in that moment and reliving all of these experiences.
KIRSTEN You already had a movement vocabulary, right? It just wasn't considered dance movement.
PAUL Alright, well I just keep working with you here and see if we can come up with something. Keith really made me feel comfortable and doing all of that.
KIRSTEN Paul's story, the veteran story, is what makes Healing Wars exceptionally authentic. Experiencing his accident, the loss of his friend, and his recovery at Walter Reed with each performance means Paul's had some more challenging nights. But more than a year later he also sees his performances as one additional component to his healing.
PAUL ...bring yourself back into focus. So sometimes it can be difficult, but other times it feels, it feels very healing. It really does. It's like, I feel, like after that talk or after the play sometimes I feel like I got something off my chest.
KIRSTEN Did you feel a little lighter?
PAUL Yeah! That was one of the things I liked about it, but it all depends. Every day is different.
LIZ They represent and/or are symbolic of several ideas that matter a lot to me. And I don't know that dehumanizes them to suggest that I'm using them as a key into really big ideas I have about art. I really believe that everybody, human beings and actually a lot of animals, have enormous capacity to express. I mean I'll use the word creative, but there are a lot of small sub things inside that. That's a big word for the things that I'm talking about. I believe that a lot of that of those things get subsumed by whatever the current professional idea is in a given century. What becomes the dominant representation of art. And sometimes, that a lot of those sub things are lost inside what the professional deems important.
But the professional wraps itself up in some really cool stuff. That's very enchanting for a person like me. I love the challenge, I love the craft, I love the push, I love the dynamic, I love the isolation, I love the pursuit. All those things that a professional gets to have, I adore. But, in doing that, if I only live in that world I'm going to lose those sub-sparkles that are so important to me. And one of them is authenticity. One of them is a naturalness. One of them is kind of an innate beauty that you see for example, it's kind of like when an animal is curious you know how gorgeous they become. No matter what they are. When they get curious their whole body changes. Its like that, its like that deep kind of thing that's so innate and so beautiful.
So when you have a person like Paul or Deanna, or the dogs in the piece with the animals, or a person with a disability, or someone who's not able-bodied in a way that the other dancers are, or old people—cause the old people did it right away from the beginning—it does a couple things.
It forces the viewer to say, "oh, I guess she doesn't mean to say its about technique because they don't have any." So right away, you, you're the viewer, the person in the audience, if you are willing to say she must have done it for some reason. If that's true, then you go, "ok, what is that?!" And then you get an expansion of what art is. And I find that thrilling. Secondly, in the early years when I was doing this, I did feel that by having people who were much, much, much less trained in the room with those that are highly trained that you couldn't talk in code. You couldn't slide over stuff in this sort of sub, "wink wink" agreement that we have about what's good. You had to keep revisiting it. And that's really healthy!
So just the process itself was different. And then I have that expression, "the more you're you, the more I get to be me", that even though we are looking for common moments when we are together, and that might be expressed through unison or just through the fact that we are all together on stage, but when you have those kinds of extremes you can see the distinctions in such a beautiful way. And it changes the story. That's maybe the biggest thing. They are contributing to the story in a way that without them the story couldn't be told. And that's really important to me.
Oh! One last thing. Their authenticity brings out the authenticity in the professionals who you might otherwise go, oh ho hum. There's a 25 year-old woman up there who's been dancing since she was 8. Oh wait, let me see the specificity in her.
KIRSTEN The title for this episode is "Who Get to Make". In her book Hiking the Horizontal, Liz Lerman emphatically states, "I am interested in… performers who look like people dancing, not dancers dancing." After hearing from Elizabeth, Holly and Paul, I'd like to broaden that question a little and ask, "Who Gets to Participate?"
Who get to dance, sing or paint? And also who gets to watch, listen, and respond? Whose stories are you hearing in a concert hall or seeing at a museum?
For this episodes creative challenge I would like you to think back to Holly's choreography in Touch Truck Ballet and Paul's dance in Healing Wars. The movement in those performances from the everyday movement of the participants. So here's the question for you: what gestures do you make on a daily basis? And how could those movements find their way into a dance? Take a moment to consider what your "natural dance" is, and I challenge you to capture that via video or picture. And then upload your response to the website, podcastsonprocess.com or use the hashtag on Instagram.
This episode and the whole series would not be possible without the incredible team around me. So I have to say thank you to a few folks. Thank you to the faculty of Curatorial Practice, to my extraordinary mentors, and to my support team from The Contemporary. The music you'll hear in this series was composed and recorded by the remarkable Ruby Fulton and the band, Nudie Suits. And thank you to Estelle Kline and Sean Tubbs, my audio engineer magicians. Thank you to my dear classmates and beautiful friends in Curatorial Practice and to my husband, my unwavering volunteer and MacGuyver on all of this.
And last but not least thank you to Liz Lerman, the stunning artist who graciously opened up her life and process to me.


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Chronic heart failure (also known as cardiac failure or congestive heart failure) is a condition characterized by an abnormal heart function – insufficient to pump the blood effectively.
The heart is the major part of the circulatory system which pumps blood. Heart failure is a life-threatening condition when the heart is unable to pump blood effectively. This leads to the stasis of the blood in the pulmonary and systemic circulation and impairment of the blood supply to the brain, muscles and other internal organs.
It was estimated that about 15-23 million of people in the world suffer from chronic heart failure.
Causes and risk factors
- Arterial hypertension;
- Diabetes mellitus;
- Coronary artery disease and myocardial infarction;
- Left ventricle hypertrophy;
- Heart defects;
- Cardiomyopathy(dilated, hypertrophic, restrictive);
- Myocarditis and pericarditis;
- Pulmonary hypertension;
- Valvular heart disease;
- Alcohol abuse;
- Anemia;
- Liver cirrhosis;
- Thyrotoxicosis;
- Beri-beri;
- Severe smoking is associated with cardiovascular diseases.
Heart failure is characterized by the progressive course of the disease.
In the beginning ankles and legs appear swollen, usually in the evening (peripheral edema). Edema occurs in the larger areas and become permanent as worsens the dysfunction of the heart due to the systemic congestion (anasarca may develop).
Shortness of breath/dyspnea is the most common and the first symptom of the heart failure. Initially shortness of breath occurs due to significant physical activity causing decreased exercise tolerance. As the disease progresses, it occurs during walking and may be present at rest at late stages of the disease.
During the night a person may wake up because of the shortness of breath. A person should sit up or stay for about 30-40 minutes to relieve the symptoms. This condition is called paroxysmal nocturnal dyspnea and occurs due to the inability of the heart to pump blood when the body is in the recumbent position. The increased blood flow to the heart leads to the pulmonary congestion and, as a result, dyspnea.
Orthopnea is similar to paroxysmal nocturnal dyspnea, although occurs not only during the night and is associated with permanent increased pulmonary pressure. Because of the same reason a person may experience coughing on exertion or at night. The crackles or crepitaions may be heard in the lungs. These sounds are suggestive of pulmonary edema. Heart murmurs indicate the possibility of valvular heart disease as the underlying condition.
Another common and early symptom of the disease is nocturia – often voiding at night. When the blood supply to the kidneys is impaired oliguria (low urine output) develops.
Systemic congestion causes abdominal pain and distention, dizziness, sometimes vomiting, constipation and diarrhea. Later occurs ascites – the accumulation of the fluid in the abdomen. Fluid may also accumulate in the chest (pleural effusion, hydrothorax). The liver appears enlarged (hepatomegaly).
Impaired blood supply to the muscles causes muscular atrophy and weakness.
Decreased blood supply to the brain causes cerebral symptoms such as confusion, memory impairment, anxiety, headaches, insomnia and nightmares.
Leafy Greens and Whole Grains Help Lower the Risk of Heart Failure
|High-output or low-output
|Depending on the heart output
|Forward or backward
|Forward failure is characterized by the symptoms caused by low output, including hypotension; whereas in backward failure pulmonary venous congestion is seen
|Right-sided or left-sided
|Depending on the dysfunction of the right or left heart chambers
|Diastolic or systolic
|Based on the failure of the heart to relax normally (diastolic dysfunction) or contract effectively (systolic dysfunction)
New York Heart Association Functional Classification for Congestive Heart Failure
|Unlimited ordinary physical activity
|Physical activity slightly limited due to fatigue, pain in the chest, shortness of breath etc.
|Physical activity greatly limited. Even minor activity causes dyspnea, chest pain, fatigue etc.
|Any physical activity causes discomfort, the symptoms present even at rest.
The diagnosis is made based on the following examinations:
- Blood test;
- Urine test helps to estimate the function of the kidneys;
- ECG helps to assess the heart rhythm and rate, verify the conduction problems, ischemia of the heart muscle and the signs of the infarction;
- EchoCG helps to verify the underlying condition and estimate the heart function and to determine the stroke volume, the end-diastolic volume, the ejection fraction (EF) (low EF is characteristic for systolic heart failure, whereas in diastolic heart failure the EF remain normal);
- Chest X-ray to diagnose pulmonary edema;
- Coronary angiography may be performed to imagine the blocked vessel and may be used to restore the blood supply to the myocardium;
- Endomyocardial biopsy is helpful to make a diagnosis of cardiomyopathy, myocarditis;
Chronic heart failure requires non-pharmacological, pharmacological and invasive treatment.
Non-pharmacological treatment includes lifestyle changes: weight loss if possible or at least weight control, regular physical activity, well-balanced diet with low lipid intake, sodium and fluid (to 1.5 L per day) restriction. A person with chronic heart failure should be strongly recommended to quit smoking and stop drinking alcohol.
Invasive treatment of chronic heart failure includes:
- Revascularization of the myocardium – the repair of the blood supply to the heart muscle by the means of coronary bypass surgery or coronary stent implantation.
- Heart valve repair or replacement when the heart failure is caused by the valvular heart disease.
- Pacemakers and implantable cardioverter-defibrillators (ICDs) are required to maintain the heart rhythm and the heart muscle contractions.
- Left Ventricular Assist Device (artificial heart) is used temporally before the transplantation of the heart.
- Heart transplantation is necessary when the pharmacological treatment fails to maintain the heart function.
Applicable medicines
- Angiotensin-converting enzyme inhibitors (ACE inhibitors) – benazepril, captopril, enalapril, lisinopril etc.
- Angiotension receptor blockers (ARBs) – valsartan, losartan etc.
- Beta-blockers –atenolol, bisoprolol, metoprolol, nebivolol, propranolol etc.
- Diuretics – thiazide diuretics (indapamide, hydrochlorothiazide), loop diuretics (furosemide, torsemide), potassium-sparing diuretics (triamterene, spironolactone).
- Cardiac glycosides – digoxin.
- Hydralazine and nitrates – nitroglycerin, isosorbide mononitrate etc.
- Anticoagulants – warfarin, heparin etc.
- Statins – simvastatin, atorvastatin etc.


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In the western most part of Fisherman's Wharf you will find Ghirardelli Square and Aquatic Park. A former chocolate factory, Ghirardelli Square, has three levels of shops and restaurants including, of course, the famous Ghirardelli Chocolate Store. Aquatic Park has San Francisco's only downtown beach!
Ghirardelli Square
For many people the taste of Ghirardelli Chocolate immediately brings back their memories of visiting San Francisco. San Franciscans got their first taste of Ghirardelli Chocolate when James Lick brought 600 pounds of it to The City from Lima, Peru where he was a neighbor of Domingo Ghirardelli. Lick had made a small fortune making pianos in South America which grew into a very large fortune through real estate investing in what was then the small village of San Francisco. A year after arriving he convinced Ghirardelli to join him in San Francisco. Domingo Ghirardelli and his sons purchased an entire block of property to serve as headquarters of their growing chocolate manufacturing business in 1893. They added several buildings the the several that already existed including the Clock Tower, Chocolate Building and Cocoa Building. After The Golden Grain Macaroni Company bought Ghirardelli Chocolate and relocated it to San Leandro the complete block was purchased and redeveloped into Ghirardelli Square. Opened in 1964 it was the first major adaptive re-use project in the US. The square was granted National Historic Register status in 1986. Ghirardelli Square has evolved once again with Fairmont Heritage Place private residence club and fractional ownership occupying much of the space formerly housing shops. The Ghirardelli Ice Cream & Chocolate Shop is still here along with several other specialty shops, restaurants, cafes and wine bars.
Aquatic Park
A March 14, 1916 article in The Star recommended establishment of an aquatic park in San Francisco. The City took possession of Black Point Cove in 1925 from Pacific Railroad and the Muni Pier was begun in 1937. Aquatic Park opened to the public in 1939. You can swim at Aquatic Park though most find the water too cold for extended dips. Aquatic Park is a National Historic Landmark District bounded by Van Ness Avenue, Polk Street and Hyde Street. The Dolphin Club, which began in 1877, has a clubhouse here. It was originally a just a small shed at the foot of Leavenworth Street, later a two-story building at the foot of Van Ness which was moved to the foot of Larkin. You are likely to see members swimming in the cove even on the coldest days.
San Francisco Maritime National Historical Park
The San Francisco Maritime National Historical Park incorporates the Aquatic Park Historic District and includes a fleet of historic ships at the Hyde Street Pier, a maritime museum and library/research facility.Hyde Street Pier was the automobile ferry terminal for Golden Gate Ferries (Southern Pacific railroad) prior to the construction of the Golden Gate Bridge and the San Francisco – Oakland Bay Bridge. It was considered to be part of US 101. Today you can visit and tour these historic ships at the Hyde Street Pier:
• Balclutha, an 1886 three masted, steel-hulled, square-rigged ship, built near Glasgow, Scotland is the crown jewel of the park. It's complex rigging and 25 sails were managed by a crew of 26 in 17 voyages around Cape Horn at the tip of South America. The Balclutha sailed under several names and owners and appeared in the film Mutiny on the Bounty.
• The C.A. Thayer, an 1895 three masted, wooden-hulled lumber schooner was built in Fairhaven, California. In addition to hauling lumber C.A. Thayer had careers in the Salt-Salmon Trade and cod fishing industries.
• Eureka, an 1890 wooden-hulled, sidewheel paddle steamboat looks and feels like a sister ship to the ferryboat Kalamath that I worked on while it served as the headquarters for the Landor Associates design firm at Pier 5 in San Francisco. Eureka, originally named Ukah, was built at Tiburon, California for the North Pacific Railway to serve as a freight-car ferry. It was later extensively rebuilt to be used as a passenger and automobile ferry.
• Alma, an 1891 wooden-hulled scow schooner was designed with a flat bottom to navigate shallow water in the Delta. Scow schooners like Alma were the trucks of their day delivering goods. You can join National Park Service rangers in sailing the 60 foot Alma on San Francisco Bay.
• Hercules, an 1907 steam tug was built in Camden, New Jersey for ocean towing, beginning by towing her sister ship, Goliah, through the Straight of Magellan to San Francisco for the Red Stack fleet.
Hercules worked long ocean tows for many years before being sold to the Western Pacific Railroad Company which used her to shuttle railroad car barges on San Francisco Bay until 1962.
• Eppleton Hall, a 1914 steam-powered, sidewheeler steel tug was built in South Shields, England to tow ocean-going, coal-carrying vessels known as colliers to and from Newcastle on the River Tyne.
Eppleton Hall was sold for scrap in 1967 but later served as a private yacht and eventually steamed through the Panama Canal to San Francisco arriving in 1970.
• San Francisco Bay Ark, was one of several little wooden houseboats moored out as summer hideaways in Belvdere Lagoon near Tiburon, California. The San Francisco Bay Ark is on Hyde Street Pier, near the entrance, and open for visiting free of charge.
Maritime Museum
The Maritime Museum building was constructed in the shape of an ocean liner as a bath house during the 1930s as a WPA project of Roosevelt's New Deal. It was known as the Aquatic Park Casino when Alma deBrettville Spreckels moved a collection of ship models she rescued from the Exposition of 1939 on Treasure Island to the building. The U.S. Army commandeered the building during WWII, but it returned to use as a Museum after the war. Ten years after it was initially conceived Alma's original idea for the Maritime Museum was expanded to include the historic ships at Hyde Street Pier by Karl Kortum. A multi-year restoration project is scheduled to end with the building's reopening in 2009. Other Maritime Museums with historic sailing ships can be found in New YorK City and San Diego.


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VIP Evening Cruise:
The VIP package includes:
Prices are excluding a service charge of £2.50 per ticket.
An Historic Reception Venue
The Greenwich Heritage Center is the reception location for you at the beginning of the evening. At the time of Henry VIII, this building served as a Royal Dockyard before later becoming part of the Royal Arsenal. Once everybody is ready you will walk over to the Royal Arsenal Pier where you will board your Tall Ship. The friendly crew will give you a warm welcome, taking care of you on board as you then cast off and set course upriver towards Tower Bridge.
A Route full of highlights
Cruising on the Thames aboard one of the Tall Ships you will be blessed with stunning views of the sights of London, the perfect place to soak up the sights and sounds of this capital city in full swing. During the trip you will pass through the Thames Barrier, towards the Emirates Air-Line and the O2 Arena with fantastic views of Canary Wharf. The route continues along by the Old Royal Naval College, the Royal Observatory, Greenwich Park and the Cutty Sark all in central riverside Greenwich before cruising on to Tower Bridge. On route you will sail from the western to the eastern hemisphere and back, passing through the 0° meridian.
Every evening of the event, your ship will be at a perfect location to witness the spectacular fireworks display on the river Thames near Royal Greenwich or near the Royal Arsenal Riverside.
At the end of the evening your ship will return to Woolwich Royal Arsenal Pier.
Please note: this cruise does not sail through Tower Bridge. Only the VIP Brunch Cruise sails through Tower Bridge.
All our offers for the sale and delivery of products are subject to our General Terms and Conditions.


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This years Mercy retreat for those who have a significant degree of healing, will take place from March 1-3, 2019 in preparation for lent.
Our theme this year is "The Grace of Abandonment" and will deal with the conversion of our abortion connectors/sufferings, as a means of offering for our souls and the souls of others.
We were unable to use the retreat house we have in the past and so our number of retreatants is limited to 25 this year, but God knows what He is doing and we entrust it all to Him!
We only have one spot left! I am very excited for this retreat which promises to be filled with many graces!