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Max began dancing under Risa Kaplowitz, Director of Princeton Dance and Theater (PDT) Studio in Princeton, N.J. In 2014 Max began studying at American Ballet Theatre's Jacqueline Kennedy Onassis School after winning a full scholarship through Youth American Grand Prix. He trained at the JKO School from 2014-2017, first under Franco De Vita and then Cynthia Harvey. In 2016 Max was awarded the prestigious Northern Trust Scholarship. Max spent his summers at PDT, Orlando Ballet School, the Chautauqua Institute, and American Ballet Theatre, N.Y. He also studied at the Amsterdam International Summer School, IBStage in Barcelona, and International Ballet Masterclasses in Prague. He began performing at age 12 with Princeton Youth Ballet. While at the JKO school, Max performed Jeremy McQueen's original work, Garden of Dreams, at the Ballet Across America Gala. He performed the Paquita Grand Pas de Deux and George Balanchine's La Source at JKO's year-end performance.
Ian J. Bethany is from Long Island, N.Y. He started dancing as a tap and jazz student at Robert Mann Dance Centre. He started ballet at the age of 12 at Tap to Pointe Dance Center. Ian then went on to train at the Frank Ohman School of Ballet, at the School of Ballet Chicago with Daniel Duell and Patricia Blair, at Ballet Academy East with Darla Hoover and Francis Patrelle, and then as a full scholarship student in the Professional Division of Pacific Northwest Ballet School with Peter Boal, Elaine Bauer, Marjorie Thompson, Bruce Wells, and Nicholas Ade. With Ballet Austin, Ian has enjoyed performing in George Balanchine's Agon and Allegro Brillante, Nicolo Fonte's Lasting Imprint, Annabelle Lopez Ochoa's Requiem for a Rose, Gabrielle Lamb's Dovetail, Bradley Shelver's The Last Just, Stephen Mills' Carmina Burana, The Magic Flute, and The Nutcracker, and the Bluebird Pas de Deux in The Sleeping Beauty. Ian has performed with project-based company Performa/Dance, has sung with the Austin Opera, was seen as Dream Curly in Zilker Theatre Production's presentation of Oklahoma!, and does numerous juggling gigs around Austin. He also teaches in the Ballet Austin Academy. Ian would like to thank Jesus Christ, his wife, Grace, and his family for the support they give him each day.
Orlando Julius Canova began his ballet training in Southern California with Lawrence and Sarma Rosenberg at the Anaheim Ballet School. At age 16 he moved to New York City to train at the School of American Ballet. There, he received a full tuition merit scholarship and was sponsored by Debbie Allen. Orlando furthered his ballet training with Miami City Ballet School. In 2001, Orlando became an Arpino Apprentice with the Joffrey Ballet of Chicago and in 2003 he joined as a full company member. While at Joffrey, Orlando played the part of apprentice in Robert Altman's movie, The Company.
At Ballet Austin Orlando has danced lead roles in The Nutcracker, Cult of Color: Call to Color, Truth & Beauty: The Bach Project, Romeo & Juliet, Nine Sinatra Songs, silence within silence and The Magic Flute. He has worked with such choreographers as Stephen Mills, Twyla Tharp, KT Nelson, Dominic Walsh, Nicolo Fonte, Sonya Delwaide, Toni Bravo, Michelle Thompson, Reginald Harris, and Annabelle Lopez Ochoa. Orlando has also had the pleasure of dancing for Molly Lynch's National Choreographers Initiative in 2012 and 2013. There he worked with Darrell Moultrie, Melissa Barak, Val Caniparoli, Frank Chavez, Kitty McNamee, and Susan McCullough. In addition, Orlando teaches dance at the Ballet Austin Academy, the Butler Center for Dance & Fitness, Saint Mary's Hall, Austin City Ballet, and Alamo Heights High School.
Growing up in Pittsburgh, Penn., Edward received his first 12 years of ballet training at the Pittsburgh Ballet Theater School. After graduating high school, he continued his training at Canada's National Ballet School in Toronto under the instruction of Lindsay Fischer. While there, Edward performed works by James Kudelka, Toer van Schayk, and Rudi van Dantzig. Since joining Ballet Austin, he has been featured in Twyla Tharp's Nine Sinatra Songs, Bradley Shelver's The Last Just, Nicolo Fonte's Left Unsaid and Lasting Imprint, originated roles in Stephen Mills' Angel of My Nature, Though the Earth Gives Way, and Belle Redux / A Tale of Beauty & the Beast, and has portrayed Claudius in Mills' Hamlet and Tybalt in Mills' Romeo & Juliet. He has appeared as Drosselmeyer in every performance of Mills' The Nutcracker since 2009. When not dancing with Ballet Austin, Edward teaches in the Ballet Austin Academy and works with local choreographers such as Jennifer Hart.
Katherine is originally from St. Paul, Minn. She began her pre-professional training at Minnesota Dance Theatre under Lise Houlton. She became an apprentice with MDT in 2013, where she danced in works by Loyce Houlton, Lise Houlton, Elliot Feld, and Emery LeCrone, among others. In 2014, she was invited to attend the School of American Ballet. While at SAB, she participated in multiple Choreographic Institute's where she originated roles by Dana Genshaft and Peter Walker. She also appeared in SAB's annual Workshop performance in Jerome Robbins' Fanfare as well as George Balanchine's The Four Temperaments. As an apprentice with Ballet Austin, she has had the opportunity to dance in works by Stephen Mills, Michelle Thompson, Thang Dao and Septime Webre. Most recently, she appeared in Jennifer Hart's Fellow Travelers with Performa/Dance.
Born in Frankfurt, Germany, and raised in Atlanta, Georgia, Constance trained until age 17 under Gigi Hyatt and Janusz Mazon. At 17, she was invited to study year-round at the School of American Ballet in New York City, where she was thrilled to complete her final years of training. She performed George Balanchine's Serenade, Western Symphony, and Valse Fantaisie during the school's Workshop performances, featured in a 2015 PBS "Live from Lincoln Center" national broadcast. She was repeatedly invited to dance in the annual New York Choreographic Institute and to participate as both dancer and choreographer in SAB's Student Choreographic Workshop. In 2015 she began her apprenticeship with Ballet Austin, and 2017 was invited to join the main company. At Ballet Austin, she has particularly enjoyed dancing the principal couple in Stephen Mill's Touch, George Balanchine's Allegro Brillante, and was honored to join the company in their month-long tour of China. She is thankful to her parents, whose love and sacrifices made her career possible, and she dances to glorify God and magnify His beauty.
Originally from Lafayette, La., Hailey began her ballet training at The Ballet Studio and later Lafayette Ballet Theatre. She has attended the summer programs of American Ballet Theatre (NYC), Houston Ballet, Pacific Northwest Ballet, Boston Ballet, The School of American Ballet (SAB) and Ballet Austin. At 15, Hailey was awarded full scholarship to study year round at SAB where she then trained for three years. While at SAB, she performed in the Student's Annual Workshop performances. She had the pleasure of performing Dance of the Little Swans in George Balanchine's Swan Lake, Danses Concertantes, The Four Temperaments and Jerome Robbins' Fanfare. She also participated in SAB's Student Choreographic Workshop and was selected to participate in lecture demonstration programs for New York public schools. Hailey joined Ballet Austin II in 2016 and was promoted to the main company in 2017. She would like to thank her parents for their continued support.
James Fuller is from Irvine, Calif., and was trained at Ballet Pacifica Conservatory. In 2004, James received a Youth America Grand Prix scholarship to study at the Boston Ballet School, where he completed his final year of training. James apprenticed with Oregon Ballet Theatre for a year before enrolling at Harvard University. At Harvard, James performed works by choreographers such as Paul Taylor, Martha Graham, George Balanchine, and Alvin Ailey. In the summers, James studied modern dance with the Paul Taylor Dance Company, American Dance Festival, and Beijing LDTX. James directed the Harvard Ballet Company in 2009 and graduated in 2010 with a Bachelor of the Arts in Philosophy, a secondary field in dramatic arts, and a language citation in Urdu-Hindi. Since joining Ballet Austin, James has performed in original works by Stephen Mills, including Luminaria and Though the Earth Gives Way, danced in Balanchine's Allegro Brillante, performed with the National Choreographers Initiative, and choreographed for Houston City Dance.
Oliver Greene-Cramer is originally from Marlboro, Vt. He received his early training at the Brattleboro School of Dance and Burklyn Ballet Theatre. He graduated from SUNY Purchase College cum laude with a BFA in Dance - Ballet Concentration and was given the award for Outstanding Senior in Modern Dance. While at Purchase he danced works by George Balanchine, Merce Cunningham, Lar Lubovitch, Nicolo Fonte, John Heginbotham, and premiered works by Ori Flomin and Jonathan Riedel. In 2012 he was honored to join Purchase on a tour to Taipei to perform Dvorak Serenade by Lar Lubovitch. Immediately after graduation Oliver joined the Lar Lubovitch Dance Company. Since joining Ballet Austin he has performed works by Stephen Mills, Jimmy Orrante, Jennifer Hart, and Nelly van Bommel. Oliver also works with Performa/Dance, an Austin company directed by Jennifer Hart and Edward Carr.
Courtney Holland was born and raised in Toronto, Canada, and at the age of 11 began her professional training at Canada's National Ballet School. During her time at NBS, Courtney attended various summer intensives through an exchange program that included École Supérieure de Danse Rosella Hightower in Cannes, France, San Francisco Ballet school, Houston Ballet and Alvin Ailey American Dance Theatre. After graduating from NBS in 2010, Courtney moved to New York City to continue her training at the Dance Theatre of Harlem on full scholarship. In June 2012, she was a finalist at Valentina Kozlova International Ballet Competition. She was awarded a full scholarship to the Banff Centre's Professional Dance Program where she appeared as a guest artist in the Arts Summer Festival performing George Balanchine's Concerto Barocco and Christopher Wheeldon's Souvenirs. In 2013, Courtney was invited to join Charlotte Ballet II where she performed works by George Balanchine, Dwight Rhoden, Sasha Janes, Mark Diamond and Jean- Pierre Bonnefoux. There she had the privilege to perform featured roles in The Nutcracker and the role of the Autumn Fairy in Cinderella, under the direction of Kennedy Center Honoree Patricia McBride. Courtney feels very blessed to have the love and support of her family and excited to be starting her first season with Ballet Austin.
Aara Krumpe is originally from Corpus Christi, Texas. She received her early training from Nancy Sulik and studied for three years at the Pittsburgh Ballet Theatre School under David Holladay. Since joining Ballet Austin, Aara has enjoyed dancing in many Stephen Mills ballets, including the title roles in Belle Redux / ATale of Beauty & The Beast, Romeo & Juliet, The Firebird, and The Taming of the Shrew, as well as Queen of the Night in The Magic Flute, Gertrude in Hamlet, Fairy Godmother in Cinderella, and The Sugar Plum Fairy in The Nutcracker. She has also danced the principal roles in the classics Swan Lake, Giselle, The Sleeping Beauty, Bournonville's La Sylphide as well as Dark Angel in Balanchine's Serenade. In 2007 and 2011, she was recognized with Outstanding Dancer awards by the Austin Critics' Table. Aara is most thankful for the opportunity to perform the role of the Survivor in Mills' Light / The Holocaust & Humanity Project. Aara and her husband, Ambrose, are the proud parents of two wonderful boys, Leo and Lucas.
Paul Martin began his ballet and dance training in West Des Moines, Iowa, under the tutelage of Hank and Beth Adams. With their guidance, Paul was able to earn scholarships to notable summer intensive programs to include the Kansas City Ballet School, Nutmeg Conservatory, San Francisco Ballet School and Ballet Austin. In 2014, Paul received a scholarship to study full time at the Kansas City Ballet School. This program enabled him to advance his training and culminated in a performance opportunity with Kansas City Ballet II. Since joining Ballet Austin II in 2015, he has been able to perform lead roles as The Judge in Nick Kepley's Season of Innocence and The Prince in Nelly Van Bommel's Snow White. Additionally, he has performed in Jennifer Hart's Spaces and in Stephen Mills' The Nutcracker and Touch. Paul has found artistic joy and growth working with Ballet Austin and looks forward to joining the main company for the 2017/18 season.
Grace Morton is from Seattle, Wash. She received her early training from Vivian Little and Mary Reardon, school directors of Dance Fremont. In 2010 she began training under the direction of Damara Bennett in Oregon Ballet Theater's professional division. She had the chance to tour to Korea and performed in company productions of George Balanchine's The Nutcracker and Nicolo Fonte's world premiere of Petrushka. As a member of Ballet Austin II, she enjoyed performing featured roles in Stephen Mills' Luminaria, Jennifer Hart's Wavemakers, and Nelly Van Bommel's Snow White. After joining the company, Grace has performed roles in classical ballets such as French in Stephen Mills' The Nutcracker, Puss 'n Boots in The Sleeping Beauty, and Four Little Swans in Swan Lake. She has also had the pleasure to appear in George Balanchine's Agon, Stephen Mills' One/the body's grace, Gabriel Lamb's Dovetail, James Gregg's The Space Between, and Jennifer Hart's To Here. Grace has danced in project-based company Performa/Dance, and appeared in Zilker Theatre Production's presentation of Oklahoma! as Dream Laurie. She is also a teacher in the Ballet Austin Academy.
Originally from Roseville, Calif., Kevin began his dance training at The Hawkins School of Performing Arts. He then went on to train at the San Francisco Ballet School for six years, with teachers such as Lola De Avila, Jean-Yves Esquerre, Parrish Maynard, and Jeffrey Lyons. Kevin then joined Ballet Austin II, and later the professional company. He has enjoyed dancing in roles such as Mercutio in Stephen Mills' Romeo and Juliet, the Dodo Bird in Septime Webre's ALICE (in Wonderland), as well as other works by Lar Lubovitch, Pam Tanowitz, Pontus Lidberg, and Justin Peck. Kevin has also worked with the Austin-based company Performa/Dance under the direction of Jennifer Hart and Edward Carr.
Preston Andrew Patterson was born in Atlanta, Ga., and began his dance studies at the Ballethnic Academy of Dance. At age 17 he attended the School of American Ballet and later the National Ballet School of Canada. As a member of Ballet Austin, Preston Patterson has had the privilege of performing in Stephen Mills' Wolftanzt, Light / The Holocaust & Humanity Project, Belle Redux / A Tale of Beauty & The Beast, George Balanchine's Allegro Brillante, the Peasant Pas de Deux from Giselle, and the Blue Bird in Petipa's The Sleeping Beauty.
Elise Pekarek is originally from the Chicago area and began her formative ballet training with the Judith Svalander School of Ballet under the direction of Judith Svalander and Greg Begley. Since joining the company in 2011, Elise has been honored to have been featured in several works by Stephen Mills' as well as Annabelle Lopez-Ochoa, Lar Lubovitch, George Balanchine, Pam Tanowitz, and Septime Webre. She participated in the National Choreographer's Initiative 2017 and enjoyed dancing works by Christopher Stuart and Suzanne Haag. Elise was nominated for the 2016 Austin Critic's Table award for "Outstanding Dancer" for her work in choreographer Michelle Thompson's Illusory Impressions. In 2017, she performed Thang Dao's award-winning choreography, We Circle The Night, for the Danz in Arte a Pietrasanta festival in Pietrasanta, Italy. Elise has completed her Bachelor of Science in Business Administration through Columbia College of Missouri and teaches classes for Ballet Austin's Pilates Center.
Chelsea Marie Renner, originally from Bozeman, Mont., received her early training from Ann Bates of Montana Ballet and Campbell Midgley of Queen City Ballet. Since joining Ballet Austin's main company, Chelsea has enjoyed performing in Stephen Mills' Light / The Holocaust & Humanity Project, The Magic Flute, Kai, Hamlet, and as Flower Waltz soloist in The Nutcracker, along with George Balanchine's Agon, Nicolo Fonte's Lasting Imprint, and works by Nelly van Bommel, Gregory Dolbashian, Gabrielle Lamb and Jimmy Orrante. In June of 2013, Chelsea was honored to travel to Washington, D.C., to perform Stephen Mills' Hush for Ballet Across America III at The Kennedy Center, and in September of that year joined the company in Israel for a three-city tour of Light / The Holocaust & Humanity Project. Chelsea was the first recipient of the Sarah and Ernest Butler Scholarship in 2006. When not in the studio Chelsea loves spending her time with her son, Landon, who turned 2 in April, and running her home-based skin care business with Rodan & Fields. Chelsea would like to thank her husband, Aaron, her parents, and her grandparents for their endless love and support.
Ashley Lynn Sherman returns to the stage for her 16th season after she and husband, Joshua welcomed their son, Theo, in October 2017. Originally from the Chicago area, she received her pre-professional training from Ms. Sherry Moray. She began her career with Alabama Ballet under the direction of Wes Chapman and Roger Van Fleteren. Since joining Ballet Austin, her personal highlights have been dancing the roles of Giselle, Odette/Odile, Juliet, and Ophelia in Mills' Hamlet, receiving an Austin Critic's Table Award for her performance. Ashley had the honor of originating the role of Pamina in Mills' The Magic Flute, as well as premiering many of his contemporary works, and touring with the company to China, Israel, Italy, Slovenia, The Joyce Theater, and The Kennedy Center. She has also danced the principal pas de deux in Balanchine's Agon, Lar Lubovich's Dvořák Serenade, and Pontus Lidberg's Stream. Ashley has made guest appearances with National Choreographer's Initiative, Dominic Walsh Dance Theater, and Performa/Dance. She is an alumna of St. Edward's University, a member of the Ballet Austin Academy faculty, and a private yoga instructor with specialization in Restorative and Ayurveda.
Morgan Stillman is originally from Fort Wayne, Ind., and joins Ballet Austin for the 2017/18 season after dancing two years with Nevada Ballet Theater where he was featured in a variety of classical and contemporary roles. Morgan received most of his formal training at Indiana University Ballet Theater under the guidance of Michael Vernon, Violette Verdy, Jacques Cesbron, Guo Pin Wang, Victoria Lyras, and Shawn Stevens.
Brittany Strickland is originally from Winston-Salem, N.C. She attended the North Carolina School of the Arts (now the University of NCSA) from 2001-2007 where she trained under Melissa Hayden, Nina Danilova, and Kee-Juan Han. With NCSA, Brittany was privileged to perform George Balanchine's Serenade at the Hollywood Bowl as well as performing featured roles in The Nutcracker, La Fille mal Gardee, La Sonnambula and Jardin Anime. Following graduation she continued her training with Ballet Austin under full scholarship. With Ballet Austin II she was privileged to perform featured roles in works such as Thang Dao's Quiet Imprint and Stephen Mills' Touch as well as performing with the company in Mills' Coppelia and his world premiere of The Firebird. Since joining the company, she has enjoyed performing in works such as Mills' The Taming of the Shrew, The Nutcracker, Carmina Burana, and Light / The Holocaust & Humanity Project. In her free time, Brittany also teaches in the Butler Center for Dance & Fitness.
Christopher Swaim is originally from Bryant, AR, where he began his training with Kirt and Linda Hathaway at the Academy of Ballet Arkansas. He then went on to graduate with distinction from the University of Oklahoma with a B.F.A. in Ballet Pedagogy. Chirstopher has danced principal roles in The Sleeping Beauty, Coppelia, The Nutcracker and Valse Fantaisie, and has been featured in works by George Balanchine, Twyla Tharp, Stephen Mills, Thaddeus Davis, Amy Seiwert, James Clouser, Miguel Terekhov, Septime Webre, Nelly Van Bommel, Loni Landon, Bradley Shelver, Sidra Bell, Gina Patterson, Nicolo Fonte, Annabelle Lopez Ochoa and Ben Stevenson. He has also performed at the 2010 San Francisco International Arts Festival as a guest with Amy Seiwert's company Imagery, at the Kennedy Center in 2008 with The Suzanne Farrell Ballet and again in 2013 with Ballet Across America III, with Ballet Arkansas as a guest in 2012, and at the 2011 Festival des Arts de Saint- Sauveur. Mr. Swaim teaches in the Butler Center for Dance & Fitness, Ballet Austin Academy, and has guest taught across the country.
Jaime Lynn Witts is originally from Bucks County, Penn., where she received most of her training from Maxim Ponomarenko, Oleg Briansky, and Mireille Briane. She attended summer programs at CPYB, Boston Ballet, and Ballet Austin. There, she continued her studies with Truman Finney in Ballet Austin's Trainee program before joining Ballet Austin II. Since joining the company, Witts has performed in works by numerous choreographers including Stephen Mills, Thaddeus Davis, KT Nelson, Nicolo Fonte, Sidra Bell, Viktor Kabaniaev, Nelly van Bommel, Loni Landon, Jennifer Hart, Annabelle Lopez Ochoa, Gabrielle Lamb and Gina Patterson. She has enjoyed performing principal roles in George Balanchine's Allegro Brillante and Agon,Swanhilda in Coppelia, Lilac Fairy in The Sleeping Beauty and Kate in The Taming of the Shrew, for which she earned her second Austin Critics Table Award. Most recently she has made her premier as the title role in Mills' The Firebird. Witts has also had the honor of performing the role of The Survivor in Mills' Light / The Holocaust & Humanity Project in Austin and on tour in Miami and Israel. When she is not dancing, Witts enjoys spending her time off with her husband and daughter, Evaline.
Joined Ballet Austin II in 2017
Born in New York, N.Y., Jonathan trained at the School of American Ballet for 11 years. As a child, he had the pleasure of performing with the New York City Ballet in Balanchine's The Nutcracker, Robbins' Mother Goose, Martins' Swan Lake, and the original cast of Martins' Romeo and Juliet. Jonathan has attended summer programs at Chautauqua Institution, Pacific Northwest Ballet, Miami City Ballet, and Boston Ballet. From 2015 to 2017, Jonathan was lucky enough to dance in three sessions of the New York Choreographic Institute, and to choreograph, compose music, and dance in two sessions of SAB's Choreography Workshop. Jonathan also danced featured roles in Martins' Les Gentilhommes and Balanchine's Danses Concertantes in 2016, and lead roles in Wheeldon's Scenes de Ballet and Martin's Hallelujah Junction in 2017, during SAB's Workshop performances. Jonathan would like to thank his parents and twin sister for their unconditional support.
Joined Ballet Austin II in 2016
Hailing from Boston, Mass., Matthew started dancing through Boston Ballet's outreach program, Citydance. He trained with the Boston Ballet School as the Harry Wilcott scholar for many years. Upon graduation from Boston Ballet School, he became a professional division student with the Pacific Northwest Ballet School where he danced for two years before joining Ballet Austin. Outside of ballet, he is the creator of MatthewGattozzi.com which is a blog and portfolio for his work as a visual artist. He would like to thank Mr. Gino Dimarco, his first ballet teacher, and Mr. Christopher Hird, who taught him for seven years in Boston and is still a great mentor. He would also like to thank his family for all their support over the years. He is a disciple of Christ and is trying to glorify God through all that he does.
Joined Ballet Austin II in 2017
Dallas is originally from Clearwater, Fla. At 13 he began his studies at The School of American Ballet where he trained with Jock Soto, Andrei Kramarevsky, and Arch Higgins. At SAB, Dallas performed in The Firebird and Cinderella with the New York City Ballet, and in Western Symphony, Stars and Stripes, and Fanfare in the annual SAB Workshop. He also participated in the New York Choreographic Institute on several occasions. After graduation from SAB, Dallas joined the Professional Division at the Pacific Northwest Ballet where he performed with the company as corps in Balanchine's Stravinsky Violin Concerto and Jean Christophe's Cendrillon, Spanish Corps in Balanchine's The Nutcracker, the Thug in Balanchine's Slaughter on Tenth Avenue, and a Jet in Jerome Robbins' West Side Story Suite. In his last season as a PNB student, Dallas performed in four of the pieces comprising Next Step, choreographed by Margaret Mullin, Guillaume Basso, Jerome Tisserand, Angeli Mamon and Dammiel Cruz.
Butler Fellow 2013-14, 2014-15
Joined Ballet Austin II in 2016
Originally from Jacksonville, Fla., Jake Howard trained in the Ballet Austin Academy for three years before being invited to join the Butler Fellowship Program. He received his early dance training from Linda Jenkins, Laurie Byrd, and Carlos Miller at the Florida Ballet Conservatory and also attended Douglas Anderson School of the Arts as a dance major. Past summer programs include Orlando Ballet, School of American Ballet, Pacific Northwest Ballet, and Ballet Austin. During his first season as a Butler Fellow, he enjoyed performing roles in Stephen Mills' The Firebird, The Nutcracker, and Belle REDUX / A Tale of Beauty & the Beast, as well as Jennifer Hart's Strange Toys and Nick Kepley's Greater Mass.
Joined Ballet Austin II in 2017
Originally from Seattle, Wash., Elizabeth began her ballet training with Jill Adomaitis before studying for three years at Pacific Northwest Ballet School under the direction of Marjorie Thompson and Abby Siegal. In 2015, Elizabeth joined the second company of Oregon Ballet Theatre under the direction of Lisa Sundstrom and Anthony Jones, where she had the opportunity to perform George Balanchine's Serenade and Kevin Irving's adaptation of Swan Lake with the main company in addition to roles in company productions of Napoli, George Balanchine's The Nutcracker, and James Canfield's Romeo and Juliet. Her notable OBTII roles include the soloist in George Balanchine's Walpurgisnacht, Aurora in The Sleeping Beauty wedding pas de deux, August Bournonville's Flower Festival pas de deux, and Flames of Paris pas de deux.
Joined Ballet Austin II in 2017
Elizabeth is originally from Staten Island, N.Y. where she began her training with Ellen Tharp and Staten Island Ballet. She went on to train with The Rock School for Dance Education on a full scholarship before moving to Houston to attend the Houston Ballet Academy. In 2014 she was invited to join Houston Ballet II. While there she had the opportunity to perform in ballets such as George Balanchine's Serenade and Allegro Brillante, and Stanton Welch's Brigade, A Time to Dance, and The Young Person's Guide to the Orchestra. Elizabeth-Jane moved on to join Texas Ballet Theater for two seasons where she was lucky to have performed in many incredible ballets such as Ben Stevenson's Dracula and Cinderella, Harald Lander's Etudes, Carlos Acosta's Carmen, and Ohad Naharin's Minus 16, as well as others.
Joined Ballet Austin II in 2017
Originally from Columbia, Md., Paige received the majority of her training at the Maryland Youth Ballet, under the direction of Michelle Lees. She has been a scholarship recipient and attendee of summer programs such as Chautauqua Institution, Houston Ballet, Oklahoma City Ballet, Cincinnati Ballet, and Ballet Austin. In the summer of 2015, Paige was invited to further her classical training at the Houston Ballet Academy for two years, under Sally Rojas, Sabrina Lenzi, and Claudio Muñoz. Paige has had the opportunity to perform in Stanton Welch ballets such as Brigade, The Long and Winding Road, The Young Person's Guide to the Orchestra, and The Nutcracker. While in Maryland, Paige enjoyed dancing principal roles in The Sleeping Beauty and participating in The Kennedy Center Master Class Series.
Butler Fellow in 2016-17
Joined Ballet Austin II in 2017
Originally born in Florida, Anna grew up in the Kansas City area and began dancing at age 5. She trained for 10 years at The Culture House Academy of Performing Arts under Courtney Kierl-Bourman and Mona Störling Enna and recently trained for one year at Tulsa Ballet Center for Dance Education under Pia Russo. Before joining the Ballet Austin Butler Fellowship Program, she attended intensive programs at Oklahoma City Ballet, American Ballet Theatre, Houston Ballet, Gelsey Kirkland Academy, and Ballet Austin. She has had the opportunity to dance Balanchine's Serenade with Tulsa Ballet as well as perform soloist and principal roles in academy productions.
Joined Ballet Austin II in 2017
Born and raised in Norwich, Vt., Marya began dancing at Lebanon Ballet School in Lebanon, N.H., and supplemented her training at summer intensive programs nationally and internationally including Boston Ballet and Miami City Ballet. Marya continued her dance education at SUNY Purchase Conservatory of Dance where she studied ballet along with the modern techniques Graham, Cunningham, and Limón. In the fall of 2016, Marya was selected to study at the Western Australian Academy of Performing Arts in Perth, Australia. She will graduate SUNY Purchase in December 2017 with a BFA in Dance with a ballet concentration and a minor in arts management. As a member of the Purchase Dance Company, she had the honor of performing in Balanchine's Four Temperaments as a Melancholic demi-soloist, and in works by Taryn Kaschock-Russell and Stuart Loungway. At Miami City Ballet summer program she performed the finale of Diamonds by George Balanchine.
Joined Butler Fellowship Program in 2017
Originally born in Stavropol, Russia, Maxim was raised in an orphanage until the age of 5 when he was adopted by two loving and caring parents. He began his training at the Marin Dance Theater in 2008 under the direction of Margaret Swarthout. In 2014, Maxim began studying at the San Francisco Ballet School with a full scholarship under Patrick Armand, where he danced the lead roles in Balanchine's Serenade and in John Neumeier's Yondering. He also got the chance to perform in San Francisco Ballet's performance tour of Cinderella in Washington D.C. as well as character roles in Swan Lake, and The Nutcracker. Maxim is excited to begin dancing at Ballet Austin.
Joined Butler Fellowship Program in 2017
Originally from Charleston, S.C., Jacy received her early training from Deanna McBrearty, a former New York City Ballet soloist. During the past two years, she trained at Miami City Ballet in the Pre-Professional II program. During that time, she danced featured roles in Balanchine's Who Cares and Stars and Stripes and in Matthew Neenan's contemporary ballet Penumbra as one of the main girls. Jacy also choreographed her own piece for the Pre-Professional showcase. She recently had the opportunity to work with Pam Tanowitz in Once with Me, Once Without Me, which opened the Faena Forum in Miami.
Joined Butler Fellowship Program in 2017
Lexi Garden is originally from Fremont, Calif., and began her training at San Francisco Ballet School at age 8. She spent 10 years at the school working her way from Level 1 to Level 8 before joining Ballet Austin as a Butler Fellow. As a student, Lexi was privileged to perform with San Francisco Ballet Company in George Balanchine's Coppelia in the Waltz of the Golden Hours, Helgi Tomasson's Don Quixote as a Little Cupid and Helgi Tomasson's The Nutcracker in multiple roles. Her greatest accomplishment was performing Helgi Tomasson's Swan Lake as a Swan in Act II and Act IV. Lexi also trained at Pacific Northwest Ballet and American Ballet Theatre's Summer Intensives.
Joined Butler Fellowship Program in 2017
Tristan Grannum is originally from Brooklyn, N.Y. He began training in classical ballet at the age of 14 at Fiorello H. Laguardia High School for Performing Arts, and Manhattan Youth Ballet. Over the years, he has trained year round at Central Pennsylvania Youth Ballet, The School of Pennsylvania Ballet and Dance Theater of Harlem. He has also attended many notable ballet summer intensives on full scholarship at the Harid Conservatory, San Francisco Ballet, Joffrey Ballet of Chicago, and Charlotte Ballet. While at Dance Theater of Harlem he danced in many outreach performances for students across New York City. In June 2017, he participated in an international dance competition (Royal Dance Grand Prix), which was held in Beijing, China. There he won first place in the Contemporary ballet category. Though this is still the beginning of his professional career, Tristan aspires to dance in Europe one day.
Joined Butler Fellowship Program in 2017
Samantha Howe, originally from Windsor, Conn., received her early dance training at Connecticut Concert Ballet under the direction of Wendy Fish-Lawrence and David Lawrence. She then trained at Walnut Hill School for the Arts under the direction of Michael Owen and Denise Lewis during high school where she graduated in 2017 with a departmental award in dance. She has had the pleasure of performing in annual productions, including The Nutcracker, La Bayadere, Debussy Suite, and Valse Presto choreographed by Samuel Kurkjian. Samantha is thrilled to be joining Ballet Austin this year as a Butler Fellow.
Joined Butler Fellowship Program in 2017
Megan is originally from Brookfield, Wis., where she began her ballet training at Milwaukee Ballet School at the age of 4. In 2005, Megan began studying at Pacific Northwest Ballet through 2013 under Nicholas Ade. She then attended The University of North Carolina School of The Arts under Susan Jaffe from 2013 through high school graduation in May of 2017. She spent her summers at Ballet Austin, Boston Ballet, and Next Generation Ballet. She has had the opportunity to perform multiple roles in PNB's and UNCSA's The Nutcracker, Serenade, La Bayadere, Coppelia, Snow White, and Hansel and Gretel and more contemporary works like Carnival of the Animals, Suffusion by Wayne McGregor and a solo piece by an emerging choreographer.
Joined Butler Fellowship Program in 2017
Audrey started her dance training in Oakland, Calif., with Ronn Guidi at the Oakland Ballet Academy, who she trained with until his retirement. Subsequently, she studied with former Oakland Ballet principals Denise Roman Schmalle, Joral Schmalle, and Joy Gim performing in numerous Oakland Ballet academy and company productions. Audrey attended Oakland School for the Arts where she studied with Reginald Ray Savage until she was accepted to the San Francisco Ballet School. She trained at SFBS for five years where she had the privilege of studying with many teachers including Patrick Armand, Tina LeBlanc, and Sofiane Sylve. While at SFB, she had the opportunity to perform corps and character roles in Helgi Tommason's The Nutcracker and Swan Lake, as well as guest principal roles in Oakland Ballet School's The Nutcracker and Giselle. Audrey is very excited to be in her first season as a Butler Fellow at Ballet Austin.


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SOURCE: Check Point Software Technologies Ltd.
June 05, 2013 08:05 ET
Mobile Security Incidents Cost More Than $100,000 for Almost Half of Businesses Surveyed
Mobile Security Incidents Cost More Than $100,000 for Almost Half of Businesses Surveyed
SAN CARLOS, CA--(Marketwired - Jun 5, 2013) - Check Point® Software Technologies Ltd. (NASDAQ: CHKP), the worldwide leader in securing the Internet, today published its second mobile security report, revealing the majority of businesses (79%) had a mobile security incident in the past year, and the costs are substantial. The new report found mobile security incidents tallied up to over six figures for 42 percent of businesses, including 16 percent who put the cost at more than $500,000.
For a full copy of the new report, The Impact of Mobile Devices on Information Security, please visit:
From smartphones to tablets, mobile devices continue to cause ongoing concern for IT teams responsible for information security. Sensitive corporate information can be easily transported, leaked, or lost while the Bring Your Own Device (BYOD) movement has dramatically increased the number of expensive security incidents. Even so, corporate information, including sensitive customer information, are increasingly stored on personal mobile devices and not managed by corporate IT.
Based on a survey of nearly 800 IT professionals, the report quantifies the dramatic growth of BYOD, exposes the frequency and cost of mobile security incidents, and identifies the main challenges faced by businesses of all sizes. Key findings include:
"Without question, the explosion of BYOD, mobile apps, and cloud services, has created a herculean task to protect corporate information for businesses both large and small," said Tomer Teller, security evangelist and researcher at Check Point Software Technologies. "An effective mobile security strategy will focus on protecting corporate information on the multitude of devices and implementing proper secure access controls to information and applications on the go. Equally important is educating employees about best practices as majority of businesses are more concerned with careless employees than cybercriminals."
Check Point has been a leader in mobile information protection for more than twelve years. As organizations continue to face challenges with mobile threats, the Check Point Mobile Access Software Blade provides a safe and easy solution to connect to corporate applications over the internet with smartphones, tablets, or PCs. The solution provides enterprise-grade remote access via both Layer-3 VPN and SSL VPN, allowing for simple, safe and secure connectivity to email, calendar, contacts, and corporate applications.
For more information about Check Point's complete range of mobile and information security solutions, visit: http://www.checkpoint.com/products/index.html#endpoint
About the Report:
The report, The Impact of Mobile Devices on Information Security, surveyed almost 800 IT professionals in the United States, Canada, United Kingdom, Germany, and Japan. This is the second survey on this topic, and the report evaluates differences in responses to similar questions asked one year ago. The goal of the survey was to gather data to quantify the impact of mobile devices on corporate information security.
To read the full report, please click here: http://www.checkpoint.com/downloads/products/check-point-mobile-security-survey-report2013.pdf
About Check Point Software Technologies Ltd.
Check Point Software Technologies Ltd. (www.checkpoint.com), the worldwide leader in securing the Internet, provides customers with uncompromised protection against all types of threats, reduces security complexity and lowers total cost of ownership. Check Point first pioneered the industry with FireWall-1 and its patented stateful inspection technology. Today, Check Point continues to develop new innovations based on the Software Blade Architecture, providing customers with flexible and simple solutions that can be fully customized to meet the exact security needs of any organization. Check Point is the only vendor to go beyond technology and define security as a business process. Check Point 3D Security uniquely combines policy, people and enforcement for greater protection of information assets and helps organizations implement a blueprint for security that aligns with business needs. Customers include tens of thousands of organizations of all sizes, including all Fortune and Global 100 companies. Check Point's award-winning ZoneAlarm solutions protect millions of consumers from hackers, spyware and identity theft.
©2013 Check Point Software Technologies Ltd. All rights reserved.
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This is not my first blog. My first blog was a cupcakes only blog. Well, about 90% cupcakes.
I had a few other baked goods I would make and post. Like cookies or muffins. And all had awful pics of them. Like taken with my old blackberry, under flourescent kitchen lighting, with stuff piled on my kitchen counter in the background. Food styling – what's that? Natural lighting – huh? I ran the blog when we lived in our old house which had a ton of incredible natural light – that I never took advantage of. Ever.
Instead I took pics on the kitchen counter. Sometimes I used my speedlight aka flash. Directed right at the cupcakes. I broke ALL food photography " rules". That I was completely unaware of at the time.
I stopped my cupcake blog a few months before we moved. It was getting harder to keep up with it with having a second kiddo in the house as well as getting ready to move several states away. So I let it just sit there idle. I still got lots of comments. Lots of " are you going to add the recipe for these cupcakes? They look so good!" I started going back and adding recipes. But then it was time to move and get settled into our new home. So the blog got put on hold again.
I started to miss blogging. I read food blogs every day. I LOVE reading food blogs. I have a huge list I read and I keep adding to them as I discover new ones and make friends with the blog owners via social media and get to know them better than by just reading their blogs, which makes me love their blogs even more. I have to say there are some incredibly talented bloggers now. And a lot MORE bloggers now than when I first started my blog. I have discovered blogs that write about how to take better food photos ( which mine are still far from award winning but WAY better than they used to be) and there are so many different styles of food photography that I can't pick on style I like best – I really like it all.
So I decided last year I wanted to blog again, but I wanted a fresh start. New name ( which you can read about why this blog is named what it is in my about section) and I started blogging about more than just cupcakes. I still blog a lot of sweets because the lighting isn't the best in the house I am in right now and its easier to make something that doesn't have to be photographed immediately, BUT the lighting is amazing in our new house we will be moving into in a few months. So hopefully there will be even more variety here and even better photos. Practice makes perfect!!
One last thing before the jump to the recipe; this is my GO-TO cupcake recipe when my husband asks me to make something for a work potluck. Everyone seems to either like the chocolate/peanut butter combo or the chocolate/salted caramel. I prefer the chocolate/salted caramel. So I have been making this recipe for years now. Not always the same exact one – but same combo and it always gets rave reviews. They first appeared on my old blog in 2010. HERE if you must ( the pics are bad…oh so bad) and I didn't take pics of them every time I made them which was like once a month at one point, they were really that popular with the potluck crowd. So these were made for a potluck at my husband's work recently for a co-workers retirement party. I have a feeling I will be making them often. I might not wait another 3 years to take pics of them – I hope my photography skills vastly improve before that much time passes.
Dark Chocolate Cupcakes
Best Chocolate Cupcakes Ever Makes 28 cupcakes (or more or less depending on how full you fill the cupcake tins)
Dry Ingredients
- 3 cups all-purpose flour
- 2 cups granulated sugar
- 1/2 cup unsweetened cocoa powder ( Dutch process like Droste or another GOOD brand)
- 2 teaspoons baking soda
- 1/2 teaspoon salt
Wet Ingredients
- 1 cup whole milk
- 4 ounces dark chocolate melted and cooled (cooled for about 15 min make sure its still melted though don't want it to harden back up)
- 1/2 cup plus 1 tbsp water, heated to boiling ( have a kettle of water on the stove boiling ready to go)
- 3/4 cup vegetable oil
- 2 large eggs room temp
- 2 tablespoons vinegar (not wine vinegar)
- 1 tablespoon vanilla
- This can be done with a stand mixer or by hand with a hand mixer or whisk but it is more of a 2 bowl method than one if going the hand mixing route
- Preheat oven to 350F with rack in the center.
- Place paper baking cups in regular sized muffin tins, spray edges around
- cups lightly with cooking spray. If you have a small 6 cup muffin tin and you only
- get 27 or 28 cupcakes fill the rest of the wells halfway with water and no baking
- cup
- Whisk together the dry ingredients (sugar, flour, cocoa powder, baking soda and salt)
- in a large bowl.
- In a large bowl or bowl of stand mixer whisk eggs till slightly thickened and a pale
- color
- Add in the milk, vanilla, oil and vinegar and whisk/beat well
- Add in the melted and cooled chocolate and whisk/beat until combined well
- Either add the flour mixture into the wet ingredients OR the wet into the flour and mix
- just to combine. Add in the boiling water and mix again just to combine. Scrape
- down the sides of the bowl with a spatula to make sure all the dry ingredients are
- incorporated
- Divide the batter evenly among the muffin cups
- Bake 15-18 minutes or until toothpick inserted in the middle comes out clean and free
- of crumbs or the cupcake tops bounce back when lightly pressed. Mine baked for
- minutes.
- Let cool for 5 min in pans and then remove carefully to a wire cooling rack. Cool completely before frosting
Recipe Notes
Salted Caramel Buttercream
Salted Caramel Swiss Meringue Buttercream
For the caramel
- 1 cup sugar
- 4 tablespoons water
- 1/2 cup heavy cream
- large pinch sea salt
For the buttercream
- 6 egg whites
- 1/2 cup granulated sugar
- 1/2 teaspoon cream of tartar
- 4 sticks of butter, at room temperature (I use Straus Family Creamery salted butter)
- For the Caramel:
- Add the sugar to a small saucepan and pour the water over it. With the heat on low, swirl the pan around until the sugar has nearly dissolved. Be careful not to let it boil — if it starts getting too hot, remove it from the burner for a few seconds, continuing to swirl.
- Once the sugar has mostly dissolved, raise the heat to medium-high and bring the mixture to a boil. Cover it immediately and leave on boil for 2 minutes.
- Uncover and continue swirling the mixture until it becomes dark amber. (Be careful — you want it to be dark, but it can go from dark to burning in seconds.) Take it off the heat immediately.
- Slowly pour in the cream, stirring with a whisk. Again, be careful as the caramel will start splattering, and will splatter even more if you add the cream too fast. Whisk until combined and set aside.
- For the Buttercream:
- Combine the sugar, egg whites, cream of tartar in the stainless steel bowl of an electric stand mixer. Bring a large pan of water to simmer, Set the bowl in the pan of simmering water and whisk constantly until the mixture reaches 160 degrees on an instant-read thermometer. Be really careful not to curdle the egg whites– simply remove the bowl from the heat for a bit if it feels like that's happening. Also, you'll know when it's getting close to 160 degrees; the mixture will get foamy and be slippery to the touch.
- Remove the bowl to your stand mixer and beat on high speed for 5-7 minutes, until the mixture holds glossy peaks and the bowl is cool to the touch. Lower the speed to medium and add in the butter one tablespoon at a time until all is added in. It may look soupy and or curdled at this point but don't worry, just raise the speed until it comes together. Add in the caramel sauce and mix well. Taste and add a little more sea salt if desired.
Recipe Notes
My old blog is called A Cup Full Of Cake. I am not sure if I will keep it up for nostalgia, or take it down eventually. Take a look around if you want, the pictures are horrible, but I have fond memories of each cupcake I wrote about. If I had kept it up and was more serious about it then, who knows where I would be today in the blog world, but I love blogging again and can't wait to see where this blog goes!


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Watch how to make this recipe.
Special equipment: 2 large cast-iron or other heavy skillets; 2 bricks wrapped in foil
For the salsa verde: Put the parsley, tarragon, cornichons, garlic, anchovies, vinegar, capers and some salt and pepper in a food processor. Pulse a few times to coarsely chop the herbs. With the machine running, drizzle in the olive oil to make a thick but pourable sauce. Taste and adjust the seasoning as needed.
For the pressed chicken: Heat a charcoal or gas grill to medium-low.
Season the chicken on both sides with salt and pepper. Line up the breasts skin-side down on the grill and lay a piece of foil on top to cover; do the same with the thighs. Set a heavy skillet on top of the breasts and a second skillet atop the thighs. Weight each skillet with a foil-wrapped brick. Cover the grill and cook, checking for color once or twice, until the skin is deep golden-brown and crisp, 15 to 20 minutes. Remove the bricks, skillets and foil and set aside. Flip the chicken, cover the grill and cook until the chicken reaches an internal temperature of 160 degrees F, another 5 to 10 minutes depending on thickness.
Remove the chicken to a cutting board and let rest for 5 minutes. Cut each breast through the bone into 3 or 4 pieces and transfer to a platter along with the whole thighs. Drizzle the chicken with some salsa verde. Serve the remaining salsa verde on the side.
The salsa verde can be made 1 day ahead and refrigerated, covered. Just remove it from the refrigerator 1 hour prior to serving to allow it time to come to room temperature.
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text: MORE THAN EIGHT in 10 drug abusers now combine cocaine with alcohol, marijuana, tranquilizers, sleeping pills or narcotics, a survey of callers to the drug hot line 1-800-COCAINE shows. This is a 19 percent increase over 1983, said hot line officials at Fair Oaks Hospital in Summit, N.J. ''The hazards of any one of the drugs alone may not be significant,'' said Dr. Mark Gold, research director, ''but when combined, the effects can be severely toxic or even lethal.'' Liver damage, sex problems, psychiatric hang-ups, brain damage and death are more likely when two or more drugs are used.


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Maps of the state of Illinois, including cities, are available online at MapSales.com or in person at any interstate rest stop or tourist information stand in Illinois. Additionally, many hotels in Illinois offer free copies of state maps to aid their customers.Continue Reading
The most cost-effective way to obtain a map of Illinois and its cities is to print a copy of a free online map. Geology.com offers a set of maps detailing Illinois' cities, interstate system, topography, elevation and numerous other characteristics. For a small fee, Illinois rest stops also provide state maps, offering travelers an easier and higher-quality option.Learn more about Geography


text: What speaks to your soul? Posted on June 4, 2013May 18, 2015 by Eon Reed What whispers to you and excites you more than anything else? Is it music? Is it writing? Is it reading? Painting? Dancing? Drawing? Singing? What makes your emotions jump and swirl and move around as... Read More


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I liked the service since day 1. Within a week I was almost ignoring Facebook. But it wasn't until about a week ago that I really understood why it was that I checked Google+ more religiously than I ever checked Facebook. And as if by magic people seemed to start sharing the same thoughts in my stream which only validated what I'd discovered. Google+ is far more about content than it is about friends. I think the critics just don't "get" Google+…..yet. But a comment on yet another article missing the power of the service sparked me to think and respond so strongly with the following that I decided to bring it to my blog.
How many people do I know in my friends list on FB. All of them. How many of them post content that I actually find interesting? Hardly any of them. Why? Because the list is built almost solely on physical contact from some point and time in life. None of it is based on interest in the content that they are posting or that I am posting. My stream is therefore a bunch of random noise about peoples lives. Sometimes there's something interesting in there but most of it I could do without. I don't exactly want to remove these people because it gives me a general idea of where they are in life and an easy way to contact them. But on a day to day basis I don't care to see what they are saying.
Now contrast that to Google+. How many people do I know in reality on G+? Very few. How many of them post content that I actually find interesting? Almost all of them. This is because I have added people and have had people add me based on what they/I have to share rather than knowing me personally. I find chains of like minded and interesting people, NEW people, through conversations in comments. I add them and they add me without feeling awkward because there is no imposing idea of "friends" or any other association outside of sheer interest in content. Even if someone says something interesting in a comment on FB the tendency is for people with mutual friends to not add each other if they don't know each other personally. It's because of what it tends to imply and the information that is shared by default with "friends". With G+ Circles there is no fear of adding someone and being added. You control who sees what off the bat and can target content to people that may be interested. Therefore my Google+ feed is filled with content that interests me from people I'm meeting and networking with over my interests.
So basically if you want a place to share and view content with a network of rather intimate friends who you already know then FB is for you. If you're looking for a place to find people that share your interests whether you know them or not then G+ is for you. But I believe Facebook has a problem. They do alot of talking about "social search" and turning to friends for information. But honestly outside of the closest circle the "friends" that people have may not have that much in common besides having associated with each other in reality for reasons beyond their control. The "friends" on G+ however are being hand picked out of an interest in content and because of that may provide far more relevant information. And as I discovered this week more and more people are starting to "get" that.


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Reuters Staff
1 Min Read
Aug 21 (Reuters) - New Sports Group Ltd
* HY profit for the period attributable HK$208.3 million versus loss of HK$186.3 million
* HY revenue HK$27.5 million versus HK$65.8 million Source text for Eikon: Further company coverage:
All quotes delayed a minimum of 15 minutes. See here for a complete list of exchanges and delays.
© 2018 Reuters. All Rights Reserved.


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Ungarala Rambabu 2017 Watch Online HD Download,
Watch Ungarala Rambabu Telugu Full Movie Online 720p Dvdrip mp4 3gp youtube dailymotion,
Synopsis – Sunil's career has been marred with flops for the past 2-3 years and he is patiently waiting for a decent hit to bounce back. Ungarala Ramababu is being directed by Kranthi Madhav, who has earlier directed serious yet acclaimed films like 'Onamalu' and 'Malli Malli Idhi rani Roju'. How well he can direct a comedy film starring Sunil is worth waiting.


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Kim Kardashian Wears Metal Chain Mail Dress for Dash Opening
Kim Kardashian rocks a metal chain mail dress while attending the grand opening of the new Dash store on Wednesday (March 12) in Miami Beach, Fla.
The 33-year-old reality star was joined by her older sister Kourtney and younger sister Khloe for the opening event.
That same day, Khloe posted a blog entry about her favorite new nail trend.
"I LOVE the matte nails trend that I rocked a couple weeks ago and I'm obsessed with all the creative ways people are incorporating this style into their mani and pedi designs!" Khloe wrote on her website. "It's such a sleek and classy look and you can still play around with unique details! Stripes, polka-dots, leopard print, and rhinestones give the trend even more of a va va voom factor. Contrasting matte with regular polish makes your nails look even edgier. This is definitely a trend I'm honing in on this season. Here are just a few of my faves if you need some mani inspiration!! XOXO"
Earlier in the day, Kim showed off her bikini body in a swimsuit she borrowed from her half-sister Kylie Jenner.


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While there will be some games released exclusively for the Xbox One, many of the games for Microsoft's next generation came console will be ports of games made for other platforms, such as the current Xbox 360. Today, GameStop announced a special upgrade offer that will allow a few Xbox 360 games to be traded for the same game on the Xbox One for a much higher credit amount.
GameStop's press release states that members of its PowerUp Rewards program can trade in those select games and get a minimum of $50 credit towards purchasing the same game for the Xbox One. The list of eligible games includes:
- Activision: "Call of Duty: Ghosts"
- Electronic Arts: "Madden NFL 25," "FIFA 14" and "Battlefield 4"
- Ubisoft: "Assassin's Creed IV: Black Flag"
PowerUp Rewards members have to purchase the games that are part of the offer within 30 days of their initial release to be eligible for the offer. The Xbox 360 game can then be traded in for the same Xbox One version of the game GameStop says, "Following the purchase of an eligible current generation title, members will receive the guaranteed $50 trade-credit coupon via email and in their PowerUp Rewards Active Offers." The coupon must be used by Dec. 31; in 2014 the coupon will no longer be valid.
Source: GameStop | Image via Northfoto / Shutterstock.com


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The Michel family have been cultivating their passion for tradition and the Chablis terroir since 1850. The winery is situated in the heart of the village, with the 25-hectare vineyard spread over the very first slopes that were discovered by Cistercian monks in the 11th century. Forty years ago, the family decided to stop making the wine in wooden barrels, preferring to create clean, pure and precise Chablis without adding artificial woody tastes. Through this philosophy, combined with the limited yields inspired by organic winegrowing techniques, the domaine has developed a worldwide reputation for fine winemaking in stainless steel tanks. Today it's Jean-Loup Michel and his nephew Guillaume Gicqueau-Michel who uphold the family tradition and further its reputation.
Pale medium yellow. Pungent aromas of pineapple and wet rock. Concentrated, spicy and firmly built, showing more obvious supporting minerality to its fruit element than the Grenouilles. Lovely texture and finishing grip here; ends with a youthfully bitter edge in a positive way, and sneaky length. The best and longest of these 2013s, seemingly in a much cooler, more classic, less "yellow" style. Rating: 92 Points; Stephen Tanzer, Vinous
|Louis Michel
|Shipping Weight
|Unit Of Measure
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Other Requirements
Electives in the Knowledge Domains
You choose one elective course in each of the three knowledge domains. Look for courses carrying the attributes ALV, CSI, and NQR.
Creative and Performing Arts Requirement
You choose at least two credits in a course that teaches a creative or performing art. This requirement is satisfied by a course at any level that carries the designation ARTS in the Undergraduate Catalog. Examples include: music, dance, theatrical performance or other creative expression.
If you started at W&M in 2014 or 2015, this is the Active Learning Requirement. Look for courses designated ACTV.
Foreign Language Proficiency
You must demonstrate proficiency in a foreign language at the 202 level at William & Mary. See the COLL Planning Guide for details.
Mathematics Proficiency
This one-course requirement can be fulfilled in several ways. See the COLL Planning Guide for details.
Pre-matriculation Credits (AP/IB)
AP/IB credits are accepted toward the 120 credits to graduate, but they can't be used as a substitute for COLL courses. If you have pre-matriculation credits, you can plan to apply them to elective courses - including the three electives in the knowledge domains, to some courses in the major (this varies by major), and to satisfy proficiencies.
A Few Other Things
Various other rules and requirements (e.g., ten semester rule, credit hour residency) come into play as you complete your requirements for graduation. These are described in detail in the Undergraduate Catalog.


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Special Projects and Endowement
Special Projects and Endowment
All support of any nature to Carson Long Military Academy is deeply appreciated and helps enable the school to fulfill its life changing educational mission.
The projects listed below though are prioritized areas of school life where we are requesting help in order to make an immediate difference to the delivery of our program in support of the Corps of Cadets.
Gifts in Kind
Gifts in Kind
Another way to support Carson Long is with a gift of goods and services. From classroom supplies to vehicles to professional marketing advice, there is no limit to the type of in-kind gifts that will help Carson Long maintain its facilities and enhance its programs.
One recent in-kind gift of note came from George Warren Schiele '49, who donated LED lights for the entire campus. His initial gift, valued at $80,000, will save the school almost a quarter million dollars over its lifecycle.
Another gift came from Dean Hankinson '64, who designed, created, and installed two stained glass transoms, one in Centennial Hall and one in the Maples.
Andy Mayo '70, a newly elected trustee, has been providing professional advice to facilitate the installation of a fiber optic network to ensure consistent high-speed internet access for all.
If you have something in mind - a gift or a service - please contact the school. There may be others with similar intentions, or a way to work your gift in with others to leverage even greater results.
Carson Long Heritage Society
The historic 1840 Maples is the administrative heart and welcome center of Carson Long Military Academy. It houses, the President and Vice President, Business Manager, Director of Advancement, Academic Dean, College Counselor, Admissions Director and Associate, Registrar, and Receptionist. Its community space is used for faculty meetings, teaching, Parents Association gatherings, Open House receptions, and on numerous occasions, local organizations that include the Chamber of Commerce, Rotary Club, and Perry County Economic Development group.
A $1,000 gift will not only help preserve this historic building for many future generations, but secure you membership of the Carson Long Heritage Society.
Chapel Flag Sponsorship
Although Carson Long's COL Edward L. Holman Chapel is not nearly as large as the one at the Citadel (pictured above), thanks to the vision of MSG (RET) Roy F. "Rocky" Chandler, we have the opportunity to emulate one of one of that facility's hallmark features: the flags that adorn the side walls. While Rocky - who passed away on December 24, 2015, after a heroic battle with cancer - was working with master craftsman Rex Krugman on the Honor Rostrum, he envisioned hand-carved, native wood flag holders that would line the walls of the Holman Chapel. He explained his vision to Mr. Krugman, and in true Rocky style, put the plans into motion so that his goal would be achieved even if he did not live to see it through.
Rocky, who attended the Citadel after he graduated from Carson Long before enlisting, especially appreciated the the color and detail the flags brought to the chapel, and wanted the same for his beloved Holman Chapel. He also wanted a way - another way - to support Carson Long financially. The result is the Holman Chapel Flag Initiative.
There will be a total of only 20 opportunities to sponsor a flag - the hand carved flag holder and the flag itself - at $1,000 per sponsorship. Here are the guidelines:
1. Only 20 flags are available for sponsorship.
2. The $1,000 sponsorship includes the flag holder, the pole, the flag, the installation, and a display commitment of at least 10 years.
3. Traditional US military flags, flags of any of the United States, and flags of nations represented by former or current Carson Long students are automatically approved. Creative or original flags must be approved by a committee consisting of Carson Long's President, Vice-President, Director of Advancement, and Senior Alumni Trustee. Carson Long also controls placement/location.
4. Sponsors will be recognized here on the website, on Facebook, in the newsletter, with a news release, and with signage or a chart in the Chapel.
5. Flags will be dedicated annually at the Alumni Association Annual Meeting or during June Week.
Carson Long Endowement
Building on a legacy gift from longtime glee club director and trustee Frank Magee, donations to Carson Long's Endowment Fund build principal that generates interest to be used for current projects and ongoing needs. A gift to the Carson Long Endowment will always be the gift that keeps giving.
Are my contributions tax deductible?
Yes, donations to Carson Long are tax deductible pursuant to current IRS regulations.
Can I specify how my donation is used?
Yes, just let us know at the time you make your donation what your preferences are.
Can I make an anonymous gift and still get a tax deduction?
Yes, just inform the Office of Advancement. We will issue your acknowledgment/thank-you letter but will not publish your name.
Can I make a gift in memory or in honor of someone?
Yes, just let the Office of Advancement know.
How can I publicize my gift to encourage others to suppor the school?
There are a lot of ways to publicize your gift, from having a building or program named for you to sending news releases to featuring your gift on social media and in publications.
Can my tuition payments count as donations?
Sorry, no. If you receive a benefit, then it's a payment, not a donation.


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The Jackson (Miss.) Police Department has begun using Genetec's AutoVu license plate recognition system to help officers identify criminals and scofflaws, according to the company.
Jackson PD equipped several vehicles with a Genetec AutoVu mobile LPR system. AutoVu automatically collects vehicle license plates, runs them against a computerized hot list, and if there is a match alerts officers about issues and infractions without interfering with their duties.
The ruggedized laptops are loaded with AutoVu Patroller software that's designed to automate the verification of vehicle license plates. Two AutoVu SharpX IP-based LPR cameras have been mounted to the body of each of the cars. The SharpX IP on-vehicle camera is one of the smallest high-resolution LPR cameras in the world. It delivers extremely accurate license plate read rates even in bad weather, at poor angles, and at high speeds, according to the company.
The Jackson PD has been running Genetec AutoVu systems since 2011. Jackson PD's LPR-equipped cars were originally tasked with locating motorists with multiple unpaid moving violations, but the department soon found many other benefits and uses for the technology.
A few months ago, during a routine patrol, the AutoVu system flagged the car of wanted narcotics dealers, which led to their arrest. Jackson PD plans to increase the number of vehicles equipped with AutoVu to support their narcotics and K9 divisions.
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FMI Guild Alumni on the Scene - Are you Next?
Testimonials from our previous LIVE EVENTS
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I enjoy attending the fitness business conference last fall. It was a conference filled with fitness professionals and experts that taught about the business of fitness- blogs, online training, YouTube channels, eBooks & so much more PLUS there were sessions with photographers to help build a professional fitness portfolio. If you're in the fitness industry and want to learn how to make a business out of your interest check out FMI Guild.
Michael WatersOwner, Phase 1 Sports Las Vegas
Definitely having a great day. End of the first day of the event and I am already learning so much and the brain is already over worked so definitely looking forward to the next two days.
Kylie BurnsideOnline Personal Trainer, Fitness Writer, Entrepreneur
Despite each session lead coming from completely different backgrounds and having unique stories, the same "blueprint to success" was repeated time and time again during our three days together: work hard + never give up. Having the opportunity to hear candidly from industry leaders was truly motivating and deeply inspired me to become someone who could speak at the front of that room one day.
Jodi FrazierNASM CPT & Nutrition, Personal Trainer
It was such a great weekend! Learned so much about being a successful entrepreneur in the fitness industry. I have pages and pages of notes, a camera full of pictures, and a mind full of ideas right now... There is nothing like spending several days with a room full of like-minded people, who have genuine intentions of helping others... Something big is coming in my future and I cannot wait!
Shana LeighPersonal Trainer
Met some super inspiring people at FMI Guild this year! Already started implementing some of the tools they have given me at this conference. Anyone considering attending next year GO FOR IT! I'm so grateful for the value that's provided here. It's been life changing!
Rachel SchwartzNutritionist, Athlete
FMI Conference is sadly over! Such an amazing experience! I learned so much and had the opportunity to see old friends and meet new ones. Until next year!!! Big thank you to Natalie Minh and gary Augustine Warren for putting this POWERHOUSE conference together! Learning from the best
Camy KennedyNutrition & Fitness Coach
This weekend at FMI Guild was inspiring, motivating and gave me the kick in the *ss I needed to DO what I said I'm going to do. If you know there is something more out there for you, then you need to keep investing in yourself and surrounding yourself with the right people. Thank you Natalie Minh and Gary Augustine Warren for putting on the greatest business education conference for fitness professionals in Newport Beach this year! Every year there are new speakers and more info to help us grow. Thank you for being awesome!! See you next year!
Ana MirandaNPC Bikini Athlete, NASM Certified Personal Trainer
Thanks Natalie for putting this amazing event together, filled with so much substantial and absolutely indispensable information to anyone considering to take their fitness career to a higher level. All the speakers so far have been outstanding.
Kristia KnowlesProfessional Photographer, MS, Physical Therapy
I wish FMI had been around when I started in the fitness industry. To get valuable information to help you get ahead in the entertainment business under 1 roof is priceless! I would recommend it to anyone desiring to have a career in the fitness industry!
Frank Jones JrAgency Sports and Fitness Model
FMI "Is The one-stop shop" for all of your questions to become a brand or a working fitness model and talent. Not only are you gaining knowledge about the industry, you are right in the mix of the industry bumping elbows with top talents, photographers, magazines, editors and more. The networking is the best around hands down. I've made some of my best life-long friends through FMI.When I first learned of FMI, I made plans to attend the 2009 Fall conference. Somehow I had a mix up in my dates and missed the conference. I watch how careers of some of the attendees blossomed in short time after attending and that's when I signed up for 2010. I have never made a better investment in my career.I am very glad I chose FMI early in my career because I learned many things about the industry and more that not many people get to learn. This information and more comes from people who are doing and have done it (first-hand).


text: December 5, 2011 How Much Does It Cost to Print Magazines, Catalogs or Calendars? David Reimherr / Business, Native, Print, Publishing, Research / Calendars, Catalogs, Cost, magazines, paper weight, Pricing, Print, printer, Publications, San Antonio / 68 Comments Learn about all the factors that go into getting a magazine or publication print cost. Also included are some helpful cost-savings tips!


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Luxury new development set in the hills of the Nueva Andalucía Golf Valley Azahar de Marbella residential complex has unequalled panoramic views over the sea and golf courses. Within minutes of the complex you will find some of the coasts most prestigious golf courses, including Real Club Las Brisas, Los Naranjos, La Quinta Golf & Country Club and Aloha Golf Club.
Costa del sol
20 Bargain priced and repossessed properties for sale in Spain
The property market is moving again in Spain, at last. We are seeing a renewed interest this year in property sales across the country brought about by various factors such as an improvement in the Spanish economy – allowing the Spaniards to think again about buying their new home, an improved exchange rate between the
Live the life this summer in Puerto Banus, Marbella
Marbella is a centre of prestige and exclusivity on the beautiful Costa del Sol and it is considered to be one of the most luxurious holiday destinations in the world. Most extravagant of all is Puerto José Banús, 7 km from Marbella centre along the Southwest coast, often referred to as Spain's answer to St.
Foreigners continue to drive property sales on the Costa del Sol
Foreign demand for homes on the Costa del Sol was up 33pc in the first half of the year, according to figures from the notaries, reported by the regional authorities. Elías Bendodo, President of the regional Tourism body and the Provincial Council in Malaga province, has revealed that foreigners bought a total of 3,260 homes
Selling your home on the Costa del Sol and Costa Tropical
Are you struggling to sell or rent your home in Spain? A great many property owners are currently finding it difficult and frustrating to sell their home in Spain. This isn't to say that properties don't sell at the moment. Despite the last five to six years of depression in the market many properties do
Malaga airport inaugurates its second runway
Malaga airport's second runway has finally opened, which will increase the capacity to deal with 65 flights an hour instead of 37, with just one runway. The runway was opened on Tuesday by the government minister, Ana Pastor. She pledged that this investment in Malaga and the Costa del Sol was capable of generating 15
Trivago votes Nerja as 3rd best beach holiday destination in Spain
Nerja continues to appear in the top rankings for holiday and tourist destinations in Spain. Trivago, the online hotel booking website, has just published their latest ranking for the best 50 beach destinations in Spain. Nerja has come third with 78.29 points, only behind Conil (Cadiz) 79.34 points, and Marbella with 78.62 points. Trivago is
Swedes and Norwegians flock to buy property in Spain
A report published by Fastighetsbyrån, part of Swedish banking group Swedbank, suggests that Swedish and Norwegian buyers are taking advantage of the Spanish property slump. The survey, conducted over the last four years, shows that whilst UK buyers are down by 65% over this period, the Germans are up by 3%, the Norwegians by 108%


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Featured News - Current News - Archived News - News Categories
The YWCA of the Niagara Frontier has had a busy year in 2015 with a merger, 100th anniversary, awards ceremony and launch of its new website. While celebrating 100 years of helping women in Niagara County, the YWCA of Niagara and the YWCA Tonawandas merged in January to form the new YWCA of the Niagara Frontier.
"This was a tremendous year for us as we continue our never-ending mission to assist women throughout Niagara County," said Kathy Granchelli, CEO, YWCA of the Niagara Frontier. "Everything we accomplished this year has served to make us stronger and more of a force in the region."
Punctuating that strength was the recent "2015 Niagara Awards: A Tribute to Women" held at the Conference & Event Center in Niagara Falls Sept. 22, highlighting those who have made a difference in the community in a variety of ways. This year's winners, and their categories, included:
•Art: Dyan Mulvey-Balcerzak
•Education: Dr. Lillian Williams
•Entrepreneur: Ann Murphy
•Front line: Cheryl Confer
•Public Service Award: Mayor Anne McCaffrey
•Health and Human Services: Vanessa Scott
•Management: Bernadette Franjoine
•Lifetime Achievement: Glenna Sternin
And finally, the updated website (http://www.ywcaniagarafrontier.org/) is easier to navigate and provides quick access to all the information and programs that continue to help women be "strong alone, fearless together." Through all its varied programs, the YWCA of the Niagara Frontier is "dedicated to eliminating racism, empowering women and promoting peace, justice, freedom and dignity for all."
Anyone interested in learning more about YWCA of the Niagara Frontier can visit www.ywcaniagarafrontier.org or call or visit the following offices and services:


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Dakota Johnson & Jamie Dornan Pair Up For 'Fifty Shades Darker' Premiere in London
Dakota Johnson and Jamie Dornan continue to make the press rounds for Fifty Shades Darker.
The duo stepped out at the film's premiere at the Odeon Leicester Square on Thursday (February 9) in London, England.
PHOTOS: Check out the latest pics of Dakota Johnson
Also in attendance were author E.L. James and singer Rita Ora.
Also pictured below: Jamie stops by KISS FM studios to promote the film earlier in the day.
FYI: Dakota is wearing Alexander McQueen with Cartier jewels. Jamie is wearing a Louis Vuitton suit and Christian Louboutin shoes. Rita is wearing a Miu Miu dress.
15+ pictures inside of Dakota Johnson and Jamie Dornan at the London premiere…


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Detailed requirements will be sent to individuals who can prove their expertise with sample of their work in Java domain and especially building secured and a decent volume store front.
20 freelanceria on tarjonnut keskimäärin %project_bid_stats_avg_sub_26% %project_currencyDetails_sign_sub_27% tähän työhön
Can you provide a bit more details? I have worked on similar large volume projects.
I can do it as me and my team are experts in Struts(more than 1.5 year) if you want to finish it quick i can assign more resources.
We are professionals from different SOFTWARE DEVELOPMENT [login to view URL] have 3+ years of devlopent experience in the IT [login to view URL] you want further information feel free to contact us.
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Single Pit
The single pit is one of the most widely used sanitation technologies. Excreta, along with anal cleansing materials (water or solids) are deposited into a pit. Lining the pit prevents it from collapsing and provides support to the superstructure.
As the single pit fills, two processes limit the rate of accumulation: leaching and degradation. Urine and water percolate into the soil through the bottom of the pit and wall, while microbial action degrades part of the organic fraction.
Design Considerations
On average, solids accumulate at a rate of 40 to 60 L per person/year and up to 90 L per person/year if dry cleansing materials such as leaves or paper are used. The volume of the pit should be designed to contain at least 1,000 L. Typically, the pit is at least 3 m deep and 1 m in diameter. If the pit diameter exceeds 1.5 m, there is an increased risk of collapse. Depending on how deep they are dug, some pits may last 20 or more years without emptying. To prevent groundwater contamination, the bottom of the pit should be at least 2 m above groundwater level (rule of thumb). If the pit is to be reused, it should be lined. Pit lining materials can include brick, rot-resistant timber, concrete, stones, or mortar plastered onto the soil. If the soil is stable (i.e., no presence of sand or gravel deposits or loose organic materials), the whole pit need not be lined. The bottom of the pit should remain unlined to allow for the infiltration of liquids out of the pit.
As liquid leaches from the pit and migrates through the unsaturated soil matrix, pathogenic germs are sorbed to the soil surface. In this way, pathogens can be removed prior to contact with groundwater. The degree of removal varies with soil type, distance travelled, moisture and other environmental factors and, thus, it is difficult to estimate the distance necessary between a pit and a water source. A minimum horizontal distance of 30 m is normally recommended to limit exposure to microbial contamination.
When it is not possible to dig a deep pit or the groundwater level is too high, a raised pit can be a viable alternative: the shallow pit can be extended by building the pit upwards with the use of concrete rings or blocks. A raised pit can also be constructed in an area where flooding is frequent in order to keep water from flowing into the pit during heavy rain. Another variation is the unlined shallow pit that may be appropriate for areas where digging is difficult. When the shallow pit is full, it can be covered with leaves and soil, and a small tree can be planted (see Arborloo).
A ventilated improved pit (VIP) is slightly more expensive than a single pit, but greatly reduces the nuisance of flies and odours, while increasing comfort.
If a urine-diverting user interface is used, only faeces are collected in the pit and leaching can be minimized.
Treatment processes in a single pit (aerobic, anaerobic, dehydration, composting or otherwise) are limited and, therefore, pathogen reduction and organic degradation is not significant. However, since the excreta are contained, pathogen transmission to the user is limited.
Single pits are appropriate for rural and peri-urban areas; in densely populated areas they are often difficult to empty and/or have insufficient space for infiltration. Single pits are especially appropriate when water is scarce and where there is a low groundwater table.They are not suited for rocky or compacted soils (that are difficult to dig), or for areas that flood frequently. .
Health Aspects/Acceptance
A single pit is an improvement to open defecation; however, it still poses health risks:
- Leachate can contaminate groundwater;
- Stagnant water in pits may promote insect breeding;
- Pits are susceptible to failure and/or overflowing during floods.
Single pits should be constructed at an appropriate distance from homes to minimize fly and odour nuisances and to ensure convenience and safety.
Operation and Maintenance
There is no daily maintenance associated with a single pit apart from keeping the facility clean. However, when the pit is full it can be a) pumped out and reused or b) the superstructure and squatting plate can be moved to a new pit and the previous pit covered and decommissioned, which is only advisable if plenty of land area is available.
ARGOSS (Editor) (2001): Guidelines for Assessing the Risk to Groundwater from On-Site Sanitation. Keyworth: British Geological Survey. URL [Accessed: 30.09.2013]. PDF
BRANDBERG, B. (1997): Latrine Building. A Handbook for Implementation of the Sanplat System. London: Intermediate Technology Publications.
Graham, J.; Polizotto, M.L. (2013): Pit Latrines and Their Impacts on Groundwater Quality: a systematic Review. Advance Publication. In: Environmental Health Perspectives.URL [Accessed: 09.04.2013]. PDF
PICKFORD, J. (1995): Low Cost Sanitation. A Survey of Practical Experience. London: Intermediate Technology Publications.
ROBENS INSTITUTE (Editor) (1996): Simple Pit Latrine. Guildford / Geneva: University of Surrey, World Health Organization (WHO). URL [Accessed: 31.01.2014]. PDF
Further Readings
ARGOSS (Editor) (2001): Guidelines for Assessing the Risk to Groundwater from On-Site Sanitation. Keyworth: British Geological Survey. URL [Accessed: 30.09.2013]. PDF
Many people in developing countries rely upon untreated groundwater supplies for their drinking water (e.g. from drilled boreholes, tube wells, dug wells or springs). The introduction of on-site sanitation systems might lead to groundwater contamination. The purpose of this manual is to provide guidance on how to assess and reduce the risk of contamination of groundwater supplies from on-site sanitation systems and is aimed at those responsible for planning low cost water supply and sanitation schemes.
Graham, J.; Polizotto, M.L. (2013): Pit Latrines and Their Impacts on Groundwater Quality: a systematic Review. Advance Publication. In: Environmental Health Perspectives.URL [Accessed: 09.04.2013]. PDF
This study reviews empirical studies on the impact of pit latrines on groundwater quality and identifies knowledge gaps regarding the potential and consequences of groundwater contamination by latrines.
ROBENS INSTITUTE (Editor) (1996): Simple Pit Latrine. Guildford / Geneva: University of Surrey, World Health Organization (WHO). URL [Accessed: 31.01.2014]. PDF
This factsheet contains practical information on the simple pit latrine.
WHO (Editor) (1992): A Guide to the Development of On-site Sanitation. Geneva: World Health Organisation (WHO). URL [Accessed: 14.04.2010]. PDF
The publication presents appropriate technologies for sanitation and highlights socio-economic aspects of planning and implementing. Emphasis is given to household-level sanitation improvements for urban areas, as well as rural areas and small communities. Background information on sanitation, in-depth technical information on the design, construction, operation and maintenance and project planning and development processes involved in projects and programmes complement the book.
Important Weblinks
http://helid.digicollection.org/ [Accessed: 06.12.2010]
This digital document contains all important information about pit latrines.
http://www.flickr.com/ [Accessed: 01.10.2013]
This website contains pictures of different types of pit latrines.


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The standard slide size in Keynote ( version 6.5.2 ) is 1024 x 768 pts.
Wide screen slide size is 1920 x 1080 pts.
You can change the "default" slide size to some other value. To do so follow these steps: Keynote > Preferences > General tab > For New Documents: > Click on "Use theme:" > Click "Choose" > Select "Slide Size" at the bottom. The Slide Size options are available in the Document Inspector.
Standard slides (4:3 aspect ratio) will fill the screen on an iPad. This is a great choice when you know you will be playing your slides directly on the iPad to a small audience or you will be using a projector with a 4:3 aspect ratio. When presented using AirPlay to an Apple TV, these slides will fill the height of the display but not the entire width.
Widescreen slides (16:9 aspect ratio) will fill the width but not the full height of the iPad screen. Choose this size when you will be presenting your slides to a 16:9 video projector or using AirPlay to an Apple TV.
Mac Keywords and paper size in points:
US Letter size paper:
Letter – for 72 PPI
Width & Height: 612 x 792 Pixels (8.5 x 11 inches / 21.6 x 28 cm)
Portrait orientation
72 dpi monitor viewing: Letter 612×792 px
72 dpi monitor viewing: A4 595×842 px (8.3 x 11.7 inches)
Print Quality:
Letter – 300 PPI 2550 x 3300 Pixels
A4 – 300 PPI 2480 x 3508 Pixels
Letter size = Used in Canada and the United States of America.
A4 size = The rest of the world (United Kingdom, Australia, Germany, Turkey etc).
The paper size of A4 paper or Letter size paper in pixels at different Pixels Per Inch (PPI). Each pixel count is in 8 bits of color.
Pixels are not used for measuring size.
One pixel is a small dot of illumination on a display screen.
Multiple pixel dots compose an image.
Pixels are most standardized as 8bit in color in 24bit displays each pixel can achieve over 16 million colors.
References: https://support.apple.com/en-us/HT202931


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Transform your photos into one-of-a-kind, hand painted masterpieces!
Bowl Of Fruits by Srilata Ranganathan - 8.000" x 7.880"
Wood Print
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Wood Print
Bowl Of Fruits wood print by Srilata Ranganathan. Bring your artwork to life with the texture and added depth of a wood print. Your image gets printed directly onto a sheet of 3/4" thick maple wood. There are D-clips on the back of the print for mounting it to your wall using mounting hooks and nails (included).
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2 - 3 business days
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Bring your artwork to life with the texture and depth of a wood print. Your image gets printed directly onto a sheet of 3/4" thick maple wood.
All wood prints ship within 3 - 4 business days and arrive "ready to hang" with mounting hooks and nails.
Wood prints are extremely durable and add a rustic feel to any image.
For additional product photos and information, visit our wood prints product page.
Average Rating (4.86 Stars):
Clarice Marchena
August 17th, 2018
Koptie Steven
August 15th, 2018
Good Evening, It is August 15, 2018 and I have yet to receive this item. I am still very interested in seeing this great picture and wanted to order a picture of Mohawk Ironworkers working in New York City. My address is 403A Forest Avenue, Orillia, Ontario Canada, Postal Code: L3V3Z2. Please track order. Thank You Steven Koptie
Brett Wilkinson
August 15th, 2018
Kaela Rose
August 12th, 2018
As a artist I love to paint. I produce portrait paintings in addition to still lifes, landscapes, or whatever subject matter attracts my attention. I earned a Bachelor Degree in Textile Design, and also I studied arts in the Arts and Crafts college in India. I have joined in Beaux-arts brampton a non-profit visual artists co-operation. The pleace where I exhibit and receive support from professional and experienced artists. I draw and paint in a realistic representational style. I do try for photo realistic effect. The style and quality of my artwork have evolved and improved over the years. I prefer oil on canvas, but I enjoy working with watercolour and soft pastels. For me "art" is a language, that describes it...
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If you're not happy with a purchase that you made on FineArtAmerica.com, for any reason, you can return it to us within 30 days of the order date. As soon as it arrives, we'll issue a full refund for the entire purchase price. Please note - Fine Art America does not reimburse the outgoing or return shipping charges unless the return is due to a defect in quality.
Fine Art America sells thousands of pieces of artwork each month - all with a 100% money-back guarantee. We take great pride in the fact that hundreds of thousands of artists have chosen Fine Art America to fulfill their orders, and we look forward to helping you select your next piece!
All wood prints ship from our production facility within 2 - 3 business days of your order.