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Posts Tagged 'eem'
UPDATE: I have received numerous submissions and currently in the process of reviewing them. I'm going to extend the deadline until Wednesday (2012-01-18). At that time all people who submitted working solutions will be awarded 100 tokens!
Recently I have been working with a large enterprise customer that is looking to implement a new change control policy. The main goal of the policy is to be able to track who is making changes to devices in the network, and specifically what those changes are. As opposed to using a full blown network management suite to do this for them, I suggested a simple solution of using TACACS for exec and command accounting (all devices are Cisco), and EEM scripting along with a TFTP server for tracking the actual configuration changes in case they need to roll back to a well-known good working config. The final result worked out very well, and I thought it would make a good CCIE level challenge as well.
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Tags: challenge, change control, eem, tftp
A discussion / introduction to EEM, and basic configurations.
Why EEM?
Embedded Event Manager (EEM) allows you to have event tracking and management functionality directly on the Cisco IOS device, rather than on an external device. By having the configuration locally, actions can still be taken, even if the connection to an external monitoring station is unavailable. Plus, it is a great topic that can be used to challenge (or torment) CCIE candidates.
Tags: ccie, CCIE R&S, CCIE Security, eem, System Management
And we're back for an exciting conclusion to the CCIE Troubleshooting series. Just what fate is in store for our heroes? Well, if we're anything like the Friday the 13th movies, you may need to wait about 20+ years to find out!
You're probably asking yourself, "With the amount of stuff we've gone through already, you're really telling me there's more to be concerned about?"
Yup, that's exactly what I'm talking about. So what next then? How about little unexpected zingers that may just confuse, confound and otherwise astound you?
Have you ever rebooted your router/switch and had it reply to you "Would you like to enter basic management setup?" Of course you have. All the time in practice labs! But what if it happened in the middle of your actual lab exam? You DID save your configuration, right? You didn't see any error messages pop up did you? Well, how about that?
How about a bit of preventive medicine? When you start the day, in SecureCRT that you'll be using in the lab, I would click on the Session Options and then on the Emulation (under Terminal in the left-hand pane). See the part about Scrollback buffer. Set that to AT LEAST 5000 lines. Gives you the ability to review things you've typed or what the router has said, or recreate your steps in case of an emergency.
But back to this dilemma. What do you do? Run in circles, scream and shout? While that may be entertaining, it would scare everyone else in the room and not be overly helpful to your cause! Whatever you do, DO NOT enter the setup mode. Before completely panicking, just do a "show start" and see whether your config was really saved or not!
If it did not save, go check your scrollback and see what error you missed. Then hope you have enough scrollback to reconstruct your configuration. THEN run in circles, scream and shout!
Tags: eem, event-manager, help, strategy, troubleshooting


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Our Frequently Asked Questions are broken down specifically for engineering undergraduate students both prospective and current.
Undergraduate Students and Parents
(Average SAT, cost, interviews, AP credit, minors, online degree, part-time, tutoring, computers, career guidance, athletics / extra-curricular activities, change major, study abroad average class size)
- New Freshmen
(Login information, email ID / password, Wildcard photo ID, AP credit, class schedule / advisor, minors, tutoring, computer software)
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(Dean's List, credits for class status, change name / address / email password, Novasis login, Student ID number, Wildcard, AP credit, minors, change major, B.S/M.S. program, study abroad)

subset: commoncrawl


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Microsoft Lumia 535 DS (Black, 8 GB) (1 GB RAM)
If you are the kind that uses Skype a lot, the Microsoft Lumia 535 is what you need. With a wide angle front lens of 5MP, the phone makes Skype video calls clearer. You can also easily access your documents from your phone as it comes with a built-in Microsoft Office. With the free Onedrive storage, you can share private folders of pictures with friends.
For an otherwise awesome phone, touch issue is a major turn off
Parth Dave
Certified Buyer
17 Dec, 2014
Review after 3 week use
Tanmoy Ghosh
Certified Buyer
25 Feb, 2015
Awesome features but...........
Ramprasad M
Certified Buyer
9 Dec, 2014
Touch issues!!
Certified Buyer
6 Dec, 2014
A true no-compromise budget phone.
Nilesh Kashyap
Certified Buyer
9 Dec, 2014
touch not good even after update
sonwilliam vasupalli
Certified Buyer
6 Feb, 2015
santanu nath
Certified Buyer
6 Dec, 2014
Microsoft Lumia 535 Is Worth Buying
Sumana Brahma
Certified Buyer
21 Jan, 2015
Microsoft Lumia 535
Pallav Kabasi
Certified Buyer
11 Dec, 2014
Bug fix for Lumia 535
Pawan Kumawat
Certified Buyer
26 Dec, 2014
This phone comes with a 5 MP secondary camera which lets you take bigger, clearer selfies. The Lumia 535 also comes with a Lumia Selfie app for easy access to the secondary camera. You can add and enhance filters to make your photos look better. You can easily share your photos through other apps easily from this phone.
Get the complete Microsoft experience with the Lumia 535. This phone comes with the latest Windows operating system with regular over-the-air updates. It also has OneDrive which gives you up 15GB of free OneDrive storage.
Skype with your friends and family from across the globe from your Lumia 535.
Get more fun apps on your phone thanks to Windows' new phone store. This store has a number of incredible apps and games that will be handy on your phone.
With the Lumia 535, you will meet Cortana, the most talked about assistant with a personal touch. Cortana gives you the latest scores and reminds you when to pick up a gift for your girlfriend's birthday.
The Lumia 535 comes with up to 8 GB of internal memory which can be expanded up to 128 GB through a MicroSD card slot. It also has 1 GB of RAM which ensures quicker multi-tasking between apps and games. You also get up to 15GB of free OneDrive cloud storage.
Internal Memory
This phone has a 1905 mAh battery which gives you up to 11 and 13 hours of talk time on 2G and 3G networks respectively.
Talk Time (2G)
Talk Time (3G)
The Lumia 535 is Wi-Fi enabled, allowing you to connect to wireless internet networks. It is also Bluetooth enabled, allowing for quick peer-to-peer transfer.


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Instructors: Dr. Stefan Maubach
Course Name Abbreviation:
Hours per week:
Min. | Max. participants:
- | -
Partial Grades: Final Grade
Official Course Description:
Second semester Engineering and Science Mathematics is offered in two parallel classes that cover a common set of core topics at approximately the same level of difficulty. However, style of exposition and selection of additional material will vary slightly to meet the needs of different groups of majors.
ESM 2A is recommended for students majoring in Life Sciences or Chemistry. It covers the following topics: Linear Algebra (equations of lines and planes, matrix algebra, system of linear equations, matrix inverse, vector spaces, linear independence, basis, dimension, linear transformations, change of basis, eigenvalues and eigenvectors, diagonalization). Probability (basic notions of set theory, outcomes, events, sample space, probability, conditional probability, Bayes' rule, permutations and combinations, random variables, expected value, variance, binomial, Poisson, and normal distributions, central limit theorem). Statistics (one-sample hypothesis testing, two sample hypothesis testing, chi-square hypothesis testing, analysis of variance, bivariate association, simple linear regression, multiple regression and correlation).


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School transmutation; Level ranger 3, sorcerer/wizard 2
Casting Time 1 standard action
Components V, S, M (either a pinch of dried carrot or an agate)
Range touch
Target creature touched
Duration 1 hour/level
Saving Throw Will negates (harmless); Spell Resistance yes (harmless)
The subject gains the ability to see 60 feet even in total darkness. Darkvision is black and white only but otherwise like normal sight.
Darkvision can be made permanent with a permanency spell.
Report a Problem
©2002-2016 Paizo, Inc.®
Paizo Inc., Paizo, Pathfinder, and the Pathfinder logo are registered trademarks of Paizo Inc., and
Pathfinder Roleplaying Game and Pathfinder Campaign Setting are trademarks of Paizo Inc.
Open Game License.


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Friend's Email:
Subject: I have found a DVD that I think you would enjoy
|The Great Texas Dynamite Chase
Actors: Claudia Jennings, Tara Strohmeier, Jocelyn Jones, Miles Watkins, Nancy Bleier
Director: Michael Pressman
Genres: Action & Adventure, Comedy, Drama, Mystery & Suspense
R 2001 1hr 30min
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Movie Details
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Similarly Requested DVDs
Movie Reviews
Claudia Jennings Lives!
J. Barbee | Los Angeles, CA United States | 02/22/2002
(5 out of 5 stars)
"If anyone out there besides me watched "Thelma and Louise" and wondered why they had to drive off that stupid cliff at the end, and how exactly that denoted a "happy" and "satisfying" ending, you're gonna love this movie. Funny enough, "the Great Texas Dynamite Chase" got it just right about 15 or so years earlier.Yes, yes - the title is quite ridiculous, but do not (I repeat, DO NOT) let this scare you away. Women robbing banks with nothing but dynamite? Genius. It's filled with the kind of... female empowerment that was strangely only tolerated in the context of a cheapie exploitation film. It's loaded with what I've dubbed "Charlie's Angels" feminism -- that is to say, the women may appear to be tantalizing packages, but try to unwrap them on anything less than their terms and KA-POW! Duck and cover baby! Besides, in this day of sexual taboos, it's pleasantly refreshing to see a movie that treats sex as fun and inconsequential. (Ahhh, those were the days, eh?) Plus, it stars underrated drive-in superstar Claudia Jennings, who gives a typically fever-pitched, ballsy performance despite suffering a back injury midway through filming.It's high time this film was re-released after long being unavailable. Hey, Corman - how about following suit with "Unholy Rollers"?"
"Where'd you get this honky dynamite, man?"
cookieman108 | Inside the jar... | 10/30/2005
(3 out of 5 stars)
"Seems many of the women who appear in a certain men's magazine have the same aspiration, to make it big as an actress in the movies...some have made the transition (to some degree), but for most, their dreams remain unfulfilled, most likely due to an actual lack of talent. As I said, some did manage to cross over, one in particular being Miss Claudia Jennings, Playmate of the year for 1970. She had a great many qualities, including and easygoing naturalness is front of the camera, attractive features, and a willingness to shed her clothes, this last one particularly handy given the roles offered to her in such exploitive B films like Deathsport (1978), Moonshine County Express (1977), 'Gator Bait (1974), Truck Stop Women (1974), Unholy Rollers (1972), and this film titled The Great Texas Dynamite Chase (1976) aka Dynamite Women. Sad thing is, right about the time when she seemed to be rising above her exploitive beginnings (and getting her life back under control from substance abuse issues), her career was cut short after she fell asleep behind the wheel of her car and an accident ensued. Directed by Michael Pressman (The Bad News Bears in Breaking Training, Doctor Detroit), the film stars, as I've mentioned, Claudia Jennings, along with Jocelyn Jones (The Other Side of the Mountain, Tourist Trap). Also appearing is former Mouseketeer Johnny Crawford ("The Rifleman", Village of the Giants), Christopher Pennock ("Dark Shadows", "General Hospital"), Tara Strohmeier (The Student Teachers, Candy Stripe Nurses), and Oliver Clark (A Star Is Born, Doctor Detroit, Ernest Saves Christmas).
Jennings is Candy Morgan, a recent escapee from a Texas federal women's penitentiary, whose first act upon self parole is to rob a local bank by threatening to blow the place up with some dynamite (seems Candy learned how to use dynamite in a prison work/reform program, and subsequently used it to aide in her `early' release). After successfully liberating some funds, she passes the dough on to her family who were in peril of losing their dirt farm, and then takes it on the lam. Soon she runs into Ellie-Jo Turner (Jones), recently fired bank teller (the manager didn't like her modern i.e. loose lifestyle), the two become friends, and decide to team up and pull off more jobs together. After a botched robbery attempt and a brief stop at a nearby mining operation to get more boom boom sticks (giving Candy a chance to get her groove on with a strapping, shirtless workman), the girls take their show on the road. The begin hitting podunk banks all throughout southern Texas, eventually picking up a hostage named Slim (Crawford) who ends up throwing in the girls and the threesome continue on their merry way. By now their antics are widely known (they're labeled by the media as the `dynamite women'), and the authorities are mounting a full scale manhunt (or womanhunt, whichever you prefer), taking a `shoot first, shoot again, ask question later' attitude, so what does our thieving trio do? They get themselves a fancy white Rolls Royce...romance blooms between Ellie-Jo and Slim, the latter beginning to worry about the very likely possibility of getting shot dead, but the girls want to make one, last giant haul before heading south, that is if the Candy and Ellie-Jo can only manage to keep it in their pants long enough...
Originally released through Roger Corman's New Concorde company, the film has all his signature markings in that it's cheap, fast, and slightly sleazy. But that's not to say it isn't any fun, because it is...hey, any movie where I get to see two sets of bazooms in the first three minutes ain't all bad (one should set their expectations accordingly to the material). Corman may not have won any Oscars for his films, but few directors/producers knew their audiences better than he, and were able to give them what they wanted so consistently. The film is pure drive-in hokum, released at a time when there was no such thing as a home video market...there's a seemingly female empowerment quality to the story, but it was really just `faux' feminism perpetrated by the filmmakers to allow for the ladies to run around braless, pop their tops, and bed male characters at any given opportunity, as also seen in other films of the time like The Student Teachers (1973) and Candy Stripe Nurses (1974). The women audience members were supposed to identify with the strong female characters, while the male audience members got to gawk at jooblies...something for everyone. The story moves along at a pretty good clip and features some decent, but not stellar, car chase sequences, along with silly hi-jinks and what not...the movie's listed as a drama/thriller, but there's a comedic undertone throughout much of the story, a breezy attitude highlighted by a whole lot of twangy, good old boy music, whose repetitiveness got old as the movie progressed. Picture the Dukes of Hazzard with nekkidness and a bit more violence, with the main characters being women instead of men. It did seem very odd that the girls should go out and purchase a big, old, white Rolls with their ill gotten booty, as it was conspicuous as hell, but whatever...if you're looking for some slick, high quality action, stick to the recommended releases on the shelves of the local video store, but if you're looking for some cheap thrills, the kind produced exclusively for indiscriminate drive-in audiences, then you're in the right place.
The picture, presented in fullscreen, is decent, but does feature quite a few noticeable flaws. The DVD case claims to present a `digitally remastered' print, but I'm guessing that means using whatever copy they utilized in the past for VHS releases for the DVD release. It is watchable, and after awhile I tuned out all the little imperfections on the picture and enjoyed the film. I'm unsure what format the audio is in, but it does sound good and come through clearly. Special features include an original trailer, along with various bios. Also included are previews for other DVD releases like Caged Heat (1974), The Big Doll House (1971), The Big Bird Cage (1972), and The Arena (1974).
One of the Great Guilty Pleasures
J. Barbee | 04/11/2004
(5 out of 5 stars)
"Ever since my dogs ate my VHS copy, i have been looking for The Great Texas Dynamige Chase to be reissued on DVD. I was not disappointed. The picture is clear. GTDC is just a great cheesey movie. Yet it is totally enjoyable. Great action an nudity for a low budget Roger Corman flick. Suspend disbelief and enjoy."


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BATON ROUGE, LA — The Louisiana High School Athletic Association (LHSAA) announced Tuesday that it has appointed Gary
Duhe as Director of the Louisiana High School Coaches Association (LHSCA).
Duhe previously served as a high school teacher and coach at St. Amant High School since 2000. Prior to 2000, he held positions as teacher/coach/athletic director at Central High, Plaquemine High, Bishop Sullivan, Trafton Academy, Central Private and Redemptorist. Duhe has served on the LHSAA's executive committee from 2004 - 2006. He was also founder and first president of the Louisiana High School Basketball Coaches Association and was the first inductee into its hall of fame.
In his new role as Director of the LHSCA, Duhe will be responsible for the oversight and direction of the sanctioned sports of boys' and girls' swimming, boys' and girls' soccer, boys' and girls' tennis and boys' and girls' golf. In addition, he will serve oversee football, volleyball, basketball, soccer, baseball and softball all-star games, the summer LHSCA Coaches' Clinic, the LHSCA January business meeting as well as coaches' calendars, directories and cards.
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Good afternoon, I'm Robin Bronk, executive director of the Creative Coalition, and welcome to our annual Sundance sushi stars and society panel with Heineken, and we are delighted to be here. I first wanted to open up by telling you a little bit about the Creative Coalition, we are the membership organization of the entertainment industry can we cut the music? I mean, I like it. Because we're going to have our panelists dance up here. We are the nonprofit, nonpartisan, public advocacy arm of the entertainment industry, we walk the walk, we talk the talk and we bring issues to the forefront of the national agenda by shining the spotlight of the entertainment industry on those issues and moving it forward. We have a very exciting event for you today, and sneaking up behind me are some of the panelists, but before we introduce them, I'm going to introduce Dan Tiernel of Heineken who is a great support of the Creative Coalition, a great mentor, and we're delighted to be here again. Thank you, Robin. Thank you. Once again, it's great to be able to sponsor this event with the Creative Coalition, this is I think the third year? The third year we've done this out here, it seems like ten. At Sundance. And we've done a number of other events with the Creative Coalition. Social and events that are more thought-provoking, we've got some celebrity panels about alcohol issues in Washington and Chicago, and I can say to you that the weather here is a lot nicer than it was in Chicago, kind of foggy. But we're happy to have all of you here today, I'm glad you could all, if any of you were here last night, it was a very late night, and a lot of fun, and if you were there you rarely get up to come to this, so we appreciate that, and I'd especially like to thank our panelists for being here with us, we have a great group of folks of varied backgrounds all tied in with entertainment or public policy issues, and I think we'll have a very lively discussion on today's topic. So I'm going to hand it back to Robin and once again we thank you on behalf of Heineken USA for being here today. Thank you. Thank you. So, just to introduce the drill today. And thank you all for getting up and coming here. Lawrence O'Donnell, who is our moderator, will open up the discussion, and we have on our panel actor Daphne Zuniga, next to her is Rita Prosyak, who is the Vice President of 20th Century Fox Filmed Entertainment-- It says Rita Drucker on my list. Joey is on Prozac. How would you like to be addressed? Rita Drucker is fine. The honorable Miss Drucker. Her Royal Highness. Then we have Joey Pompliano, who is actor and co-president of the Creative Coalition, Eric Alterman from The Nation, Tom Ortenberg, president of theatrical releases of Lion's Gate, and Cara Seymour, who also is an actor and who also has a film here in Sundance. And now I'm going to turn it over to Lawrence O'Donnell, he's going to open it up, he's going to talk, he's going to get people riled up, and then we're going to get a couple, we're going to have some time for questions from the audience, and we remind you, I'll be walking around with a mike, we know you're all in the entertainment industry and we know you have a lot to say, but keep it as a question. And then afterwards, when we have sushi and lunch and lots of fun, then you can talk. Oh! So we're going to questions, at some point? Right. Joey, let's start with you as a are you busy? No, keep going. As one of the many presidents of the Creative Coalition, and this being a discussion of... He just likes to yell. I was going to ask as long a question as necessary for you to get a microphone. And this being a discussion in general of social responsibility and moviemaking, what is the Creative Coalition's general position on this and what are you trying to get the creative community to think about this? Well actually, we use the creative community to educate the general masses out there whoa it's too hot this way, there's an echo. So we take on initiatives, things that are important to the board, that deal specifically with creative arts. And it's always our intention because we are nonpartisan organization, that we would be able to being up things that both the left and the right could agree on, children, education, free speech, and we know the power of the movies and television to be able to bring that forward is always a really important. So we're always looking and we love bringing people out on these panels who totally disagree with each other, and in a heated discussion everybody can have a point of view and see all sides. Uh, let's go to the non movie maker on the panel. Eric Alterman, you're a Washington insider and a Hollywood outsider. How does it look to you, what is your sense of Hollywood's sense of responsibility in moviemaking and are you disappointed in the outcomes, or do you have higher hopes for it, or what is your hopes or expectations from Hollywood. Lawrence, I left Washington right around the time you did because I felt there was just no reason to live there anymore. So you're more of a New York insider. Yeah, I asked actually to go last in this panel, maybe... You've got to tell me that. See, someone has to tell me. Otherwise... Uh, here's what I think. Um, I mostly defend Hollywood in the political realm, because the thing I like about Hollywood is that Hollywood is really the only lobby that puts its money behind its ideological agenda, and its ideological agenda doesn't serve its own interests. In other words, people are always making fun of these rich, pampered, Hollywood elitists with their personal assistants caring about poor people and caring about global warming and so forth. But it's really the only big money outfit out there, it's one of the three pillars of the democratic party, financially, that is not lobbying for something to help itself. I mean there is a Hollywood lobby that's sort of copyright law and they have their lobbies on that kind of thing, but when Democrats go out to Hollywood to raise money, they're just sort of saying the right things about the world, they're not saying to these people, "I'm going to give you what you need so that you can be more selfish in the political process." You know, there's a famous dinner that David Geffen once had, where he got like the 13 richest guys together in Hollywood to lobby Clinton not to lower the capital gains tax. They said, "We're so rich, we don't mind paying a little more in our capital gains," and Clinton gave it to them anyway, it didn't work. So the idea that there's something dishonorable about lobbying on behalf of clean air and healthy children and so forth, as opposed to lobbying for oil rigs for the oil industry, I think it's ridiculous. The problem with Hollywood is that it's so damn sanctimonious about it that it won't admit to what it's doing. And if people would just own up to the fact that look, this is what we believe in, this is what we're giving, if we don't have any particular expertise in these issues some of us do, most of us don't but we just want to live in a better world, then fine, that would be the end of it. But there's so much sanctimony about it, there's so much, you know, we're so wonderful, people in Hollywood need their egos stroked, that I think it grates on people and gets them a lot worse press than they really deserve. Daphne, there is one issue that has concerned the Creative Coalition and certainly the creative community, that is in their interests, and that is in the whole world of FCC fines that's developed since the Janet Jackson incident at the Superbowl, the Creative Coalition's been very active on that, and now there's some real legal challenges that the networks are bringing to these FCC fines. Is that something that you find the creative community getting unified behind in a self-interested way, as opposed to the more general kind of advocacy that Eric was just talking about? Um, I think what you're talking about is that they're changing the law, they're trying to change the law, so that whoever the artist is that says something that might be offensive or break some FCC rule, they're now going to be personally liable for it. So if I said something and I was doing a Lion's Gate movie I'm free by the way, after pilot season it wouldn't be you gotta love Hollywood, deals everywhere but it would now be up to me that could be sued or fined. And I think it probably depends on the context, but no, as an actor, you know, actors, it's amazing, I've been doing this 23 years, I'm just recently learning that I'm a commodity, that I have a currency and there's all these things that go along with being in a business where you know, I love to act, I love to bring human emotions and stories to screen so that the audience can relate and feel somewhat seen and understood, but it also is a business, so no, overall I would, you know, Joey was working on the hill for this issue, overall I think that if I'm working on a film or if there is a studio that is paying me that for the most part, they should be responsible, well I should be responsible human being, but I don't think that they should come after me to fine me a million dollars for speaking my mind if it offends them or-- It's only 500,000. Or trust me, I'm never going to be showing anything, they can't even pay me enough to do that but I think that if the studios that are making all the money off of my 14 hour days, if they're going home with most of the money, and the producers, there's a responsibility that comes with that, basically, I think. Rita, there's a lot of movement now in the area of product placement in the area of television and movies, it's very difficult to do in television because when we were doing the West Wing, we wanted to make a deal with one of the airlines, United or American, that flew nonstop to Washington because we used to shoot there a lot. The trouble is, the studio, although it wanted the money, couldn't do it. Because you'd be syndicating the show out there and selling ads out there in a world where you might want to get an American Airlines ad but they won't do it if United is already in the tv show. In movies it's different because you have a closed environment, and you can do a certain amount of product placement in movies that won't in any way harm where you're trying to go. But is there some sense that you have to bring to that, of the social responsibility issues involved in exactly what you have people using and doing in movies, smoking being the big example that everyone's really seen a change on in the last decade in movies. Musical microphones. Uhh, yeah, I would definitely say so, I think about one of the that we're confronted with, you know my responsibility at Fox is to generate awareness and excitement and drag the film properties into the culture, and doing so I am working with brands and kind of given other brands in corporate America and leveraging their media dollars to do that. And most of the time, there are product placement and product integration opportunities in the film, and sometimes there aren't, and I think that from my standpoint is for example, especially these days, in the child obesity issue which has really gained so much traction in Washington and lobbying groups and Disney recently announced that they weren't going to tie in with, at the end of their McDonald's relationship they weren't going to tie in with fast food partners anymore, there is definitely a social responsibility that we need to take into consideration when we're placing certain brands or working to promote certain brands, but the thing that frustrates me the most, and this is purely a personal point of view, is that there is no individual responsibility. When did Hollywood and when did all these lobbying groups all of a sudden become our parents? And that's what frustrates me, is that there's individual responsibility first, and then of course social responsibility by these media companies and the producers and the filmmakers who have, who place the product, and who create messages and have characters smoking on screen and so forth, but there comes down to pure and simple individual responsibility, which I think is really not being discussed enough, and somehow the burden is placed on these other organizations and individuals to sort of baby-sit. Who do you mean, individual responsibility? I mean parents. I mean the idea of parents not allowing their kids to watch certain shows that they don't find responsible or going to the movies. I mean, there's a rating system in place for a reason, I don't necessarily think it does a good job of describing the content in the films, but there's a rating system in place. Parents need to be responsible about what they allow their children to go see. And the same for television and the same for music. There's a lack of individual responsibility. Tom, do you feel that too much is asked of movie studios from both sides, meaning say from the liberal side that's interested in social responsibility, getting nervous about how many cigarettes are smoked in a movie, to the conservative side that worries profusely about which words of profanity are used in movies at what time, from where you are, in the center of moviemaking, do you feel just kind of besieged by both sides about what is essentially a work of art being interpreted as a work of politics when that isn't even necessarily intended? Absolutely. I would like to say something quickly about the last couple of comments, I agree with Rita, simply there are such things as off-switches and things like that that are available to most tv sets and choices when you're walking into a movie theater, so I do think a little bit more personal responsibility instead of always the blame game whether it's blame Hollywood, blame something, personal responsibility, would go a long way towards making the country a better place, but also making entertainment better and making it easier for us to bring more choices to people. I also have to say with what Eric said, there's a fair amount of sanctimony in Hollywood, but I think the media exaggerates it and I don't think it's necessarily fair to say that they are so sanctimonious, there are certainly some big examples, but I think the media gets great play out of exaggerating the sanctimony and parodying it and that's fun for people to watch on the tabloid shows or Fox News or something, but to answer your question, it is. It can be stifling. When you're trying to make creative decisions, whether you're reading a script, deciding whether to green light a movie, deciding how we're going to market a movie, and always having to think who's going to attack us for this. You know. If we do this, are we going to get it from over here, if we do that, are we going to get it from over there, it really is stifling. I do think that not much should be expected from studios in terms of social responsibility, I think anybody, I think you can say studios should have a level of social responsibility, it's easy to say and it's probably right, but I don't think anybody should expect it. Studios are in business for one reason, and that's to make money. And for whatever reason the people involved in the studios have chosen the movie business for their personal ways to make money, or part of a larger multinational corporation, part of that business, but I do think that it's really up to creative types like actors, directors, writers, the occasional enlightened studio executive to try and push the studios to try and push those large corporations that we work for, and as Daphne said, even actors that are at the base, they're commodities and are treated as such anyway, that it's our responsibility to try and push the studios and show them there are ways, there are socially responsible ways, to make money. And to make broad entertainment that is also socially aware, we're a company at Lion's Gate that kind of made our name with socially conscious art house films at the beginning - pictures like Monster's Ball and several others, and then we became known for being the horror movie company, I'm sorry to say that that's what we're best known for, even though it's fun to do, which makes doing movies, when you do a movie like Crash all the more rewarding, you know, a) because it's a great movie and has a great message of tolerance, but also personally speaking, just for my people, that some of us at the company actually still like doing good work and not just soft core Hostel 17 or something. But it is. It is. To answer your question, it is stifling, it is very difficult knowing that almost everything we do, having to measure everything we do by how much flak we're going to get from one side or another, if it's a horror movie, how far can we push. Can we do a blood drive for Saw III without getting these people up in arms, you know, even though, for the blood drive persona, we got over 10,000 pints of blood. We actually did good work with it, and yet you have the hate emails and letters that I got about it, you know, were nasty. You know we donated tons of you know, it's hard. It's really hard, I wish it wasn't that way, but I think it's always going to be that way. By the way, I want to congratulate you on the snowfall that occurred in Los Angeles last week, because one of the big criticisms I heard about Crash, which I didn't take very seriously, was that, you know, come on, snowing in LA, that's ridiculous, I was on Sunset Blvd watching the snow accumulate last week, it was pretty great. Yeah, Paul's thrilled. It snowed pretty close to Paul's house. Cara, actors are the last thing added to a movie project, the very last thing. And so they are, in many ways, in the worst possible position to determine or to influence the direction of the project, and to raise issues like what are the social responsibilities we have in making a movie like this. Do you find yourself and your friends in the acting community thinking about that much, talking about that much, or is there so much general career desperation about getting the next job that it's hard to even get that into your thinking as one of the factors? Well I think from what inspires you and makes you passionate about your work, is your connection with the world and your concern about it. And also as an actor, we've all probably trained in studying drama anyway, and we care about the quality of the writing, and we care about how the human condition is explored in drama. And most of all, I'm getting a little sick and tired of the sex and violence obsession. What about our obsession with the quality of the drama? You know, we owe it to our kids to give them good quality stuff, we owe it to them good writing, good acting, you know we have warnings on the beginning of television and films about swearing, what about bad acting or bad writing. We, and the world is in a slightly desperate position outside of our privilege here, and how are we responding to it? If we really care about our kids, do we care about the world that we're giving them? And how are we as artists, as dramatists, as writers, as movie producers, how are we exploring that? I'm not being a prude here, at all, we shouldn't be entertaining, but let's give it a go at doing something good with all respect, not at popsicles, but give them something, put the money into, you know, getting this I am a bit of a prude, aren't I? Joey, you have kids. Did that change, when you had children, did that in any way change some of the decisions you made about what kind of roles you do and what kind of work you do, when you're, do you think, I can't let my kids see this, so how am I going to handle that, or I'm really glad that this is something my kids can see, how does it affect those choices? Well I'm, in terms of the food chain, most of the time there's a lot of projects I take because I need to put food on the table. So when I do movies like Bound or the Matrix, I just don't allow my kids to go see it. And what we do at home now is, with the advent of TiVo, it's become a lot easier. But my, I have my daughter's 21 in college and my son's 26, so he's out. Can they see the Matrix now? Marco just saw it, he liked it. But the 8 year old and the 14 year old are still in the house, and so our tv in the kitchen, which is the kid's tv, is just TiVo and videos. Or dvds. And what they watch on a loop is Gilmore Girls and Grey's Anatomy. Which I think is pretty good, so, and my daughters they always ask, is it R-rated, because they won't watch it. And then I think that that education is important. You know, it's easier to censor your kids if they're going to a movie, because you know where they're going. The big problem, I find, is in television, and the vertical integration of all these studios owning everything. Where I think that the network television business in the next ten years is going to be like AM radio. And everybody's gearing their way to the cable because they can give them more and we become, as an organization, a lot more popular over the last two years because of our vertical integration, because of piracy, because of indecency, you know, we can go up there and say, you know, teach the parents, teach the parents, don't sue, if a guy saw a truck go though a plate glass window and a live news team said, "What'd you see," and he says, "I don't know, I was walking down the street and this fuckin truck just you know," he would be fined. It's not just artists, it's the man on the street. Eric, you were signaling me when you were listening to Tom talk about don't expect studios to exhibit a social responsibility, what's your reaction to that? Well, I think there's a little bit of unreality about the conversation about personal responsibility, because it's just, with two parents working, and with the internet, everything's on the internet now, you can't control what kids see, it's just impossible. You can convince yourself that you are, but you're not. Kids can see whatever they want. They know how to use the internet better than you do. And so to say that it's up to the parents to prevent all this gratuitous violence from coming to the house, particularly violence toward women, I'm personally shocked and offended by what I see on television. I just think that the studios have a the people who work in not the studios themselves, those are corporate entities that are responsible to shareholders, but I do think it's entirely fair to shun these people, in fact it's moral, it's the right thing to do, you're a bad person if you don't do it, if someone is making a living by glorifying cutting up women, screwing women and then cutting them up, or any variation of that, I think it's fair to say, we in Hollywood don't believe in that kind of thing. We have different values. But the fact is, it's my impression, and I'm sure there's an exception for every person in this particular room, what Hollywood seems to respect above all is money. So if Mel Gibson makes $400 million with the most blatantly anti semitic violent snuff film, in my opinion, that's great. He only gets in trouble when he calls a woman sugar tits. You know. So-- Well, he said more than that. No, but what I mean is, is that the comments that he made as a drunken crazy person were a lot more offensive to people, were a much bigger deal, than this vicious violent movie that transmitted these insane anti semitic stereotypes, and by the way, we're washed out a little bit in the American version in the subtitles, but they're still there in all the foreign version, which is really where the problem is. So I think that Hollywood has an ethos that if you're successful, and if success is defined by money, then that's the answer to everything. That sort of shuts everybody out. And I would just, I don't know how you do this, but I think there ought to be some sort of community standard within Hollywood, that sure you can make your money on violence or on exploitative porn, you know, we're not going to stop you, we're not in favor of censorship, we're a business where we need to be creative, but you know, you're not in our community, we don't want anything to do with you. And I think that will have a lot to do with it. Because once you make enough money, what you want is the respect and admiration of your peers. And you won't get it if you do this kind of thing. That would be my illustration. Tom, is the industry defense to that sort of angle on it simply that look, there's a violent crime every few seconds in the United States, and that all of the behavior we're putting on film is all out there and it all exists and we aren't really inventing anything, and we don't really have any responsibility beyond that, holding up this mirror to this society. It's not my defense. I don't know, but they're tough issues. In many ways I don't believe Hollywood is a lot different than most other industries, which is that the dollar is the bottom line. For better worse, that's the society we have chosen to live in. I don't think that it always means that we're always coming up with the best product, I share Eric's outrage at some of the product that is developed by Hollywood and is embraced, whether it's violence, whether it's sexual violence, whether it's anti antisemitism, whatever it might be, any level of intolerance, so it's an important issue and honestly I don't know what the answer is, but I don't think everybody on this panel, everybody in this room, we're at a movie festival so we're talking about Hollywood, but I think that it's a problem more emblematic of society than just pigeonholed in Hollywood, and I certainly don't mean to imply that the answer to keeping, to protecting our children from images which are not appropriate for them, is to say, don't watch it, and then hope that they don't. The world's changing faster than a lot of us are adapting, and so I think there's important questions that are raised. I don't know what the answer is. I do believe, as I said before, that whether it's actors, writers, directors, crew people, studio executives, yes, people do have personal responsibility to push the people that are paying our checks, signing our checks, to do more socially responsible work like that, but whatever the solution is to protecting the kids, and those are the ones I'm certainly most concerned about, I'm less concerned about adults making their own decisions, because they are capable and they make good decisions or not, we have to allow them to be capable to make their own, I don't know what the answer is, I do think that Hollywood is capable of doing better work, and more better work, I think Eric's suggestion is noble, I also think it's probably not practical in the present day. I don't know what the answer is. Joey? You know, I think that art and commerce has never gotten along, and you can't really make them be friends, and the business model is, maybe you have to regulate entertainment, and so that you have, we were talking about this earlier, you have a moral responsibility to force some of these important issues down America's throat. It's getting to a point where executives and heads of studio and CEOs don't see the difference, or care to see the difference between, a show like Gray's Anatomy and American Idol. As far as they're concerned is, on American Idol you can be more vicious and more mean, as long as it's getting ratings it's a great show. In fact it's better than Gray's Anatomy. I mean, back to Crash, I mean isn't it true that Crash took about two years, I mean a movie was just floating around, and probably it was to Paul's success with Million Dollar Baby and that it got interest again, and I take my hat off to you for picking the movie, but they had a hard time selling that movie, didn't they? Paul had a really hard time raising the financing to get it made. Lion's Gate and I'm sure Fox, among every other studio in Hollywood passed. At script stage. Everybody loved the script, execution-based, tough concept, what was most interesting to me was, a little bit off the point, but the picture premiered at the Toronto Film Festival September 2004, we did not make the movie, we all loved it, we all went out and bought it right away, but I was shocked that there wasn't a bidding war for it, and maybe that does speak to your point, you know, whether Lion's Gate were the only ones who got it, who saw it, I don't know, once it was done, but I was stunned when the movie ended there were several of us in the theater who turned to each other, we're all shaken, we're looking at each other, we huddle, as acquisition people always do after the screening and going to find the corner and huddle, and we're just amazed that we went out and bought it. We paid a fair price, but nobody else was chasing it, and I don't know whether that speaks to some of the points of should some of the others in Hollywood have gotten it, that there was no other competition to buy that film shocked me. Daphne, you wanted to get in here. I think the good news is that this business model that you guys are talking about is changing, and in fact compassion, and what we all know innately as human beings and as citizens of this globe that's getting smaller and smaller as we all know, is now becoming a commodity, and that corporations are making money by doing what they know is the right thing, because they know that the consumer is wanting that now, especially today. I was at, with my friend Ted here, at a house just yesterday, and it was these filmmakers making these films about their issue, what was important to them, I saw one on an orphanage in Africa, I saw one about child abuse, and I saw one about AIDS, and USA Today was there as a sponsor, the UN was there, Stars picked up the distribution of these, and Netflix was there, and trust me, they were all happy to be there, because these kids are not waiting for Hollywood to catch up, the old business model to catch up, they're making their movies now, and they're getting distribution, they're online, and they're being handed cameras and making them and you and everyone else will be clamoring to get their materials, so I really think it's important. The good news is that the tide is turning. I mean, we're such, the bad news is that we're, the world is in such tremendous, horrible place right now that uhh, it can only get better, that people can only look inside and see their own way that they can give, and I think personal responsibility, meaning each one of us, and the parents, and the studio heads are people too, so I think all of that is now changing, and we'll be able to make money at it.


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2017 Recipient: Kimberly Gordon
Our alumni are the best, and we are proud of you! You are out there representing us well, making an impact in nurse anesthesia and taking great care of your patients.
We are excited to have had six of our alumni serve as President of the AANA.
Including faculty members, 9 AANA presidents are associated with our program.
To help recognize the alumni who are taking on leadership roles, we have recently established the Alumni Progressive Leadership Award. This award recognizes an up-and-coming alumnus/a who has demonstrated leadership accomplishment and the potential to continue in their development. If you know one of our alumni (or if you are an alum) who fits this bill, please make a nomination.
One way we set our self apart from other programs is through the many nice "extra" experiences we afford to students to enrich their education. Facilitating service learning projects, mission work, and professional development through attendance at association meetings are some examples of these unique opportunities. These and many of our classroom and skills lab resources are made possible by the generosity of our alumni. If you are one of our many generous donors, thank you for your support.
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Read some of the things alumni and employers have to say about our program:
"Yesterday, I talked with the chief CRNA at UWMC in Seattle. As it turns out, another Baptist grad is working out there. The chief said that if he is any indication of the types of graduates that the Baptist NAP is producing, she'd like to hire all her CRNAs from here. It's nice to know that this program's name carries weight even on the other side of the country." 2012 graduate
"I want to thank you for giving me an opportunity to attend your program and giving me a new career for which I am so proud, and a new exciting life. The intensity of these past years has helped me to become stronger and wiser and to have set high standards for education and being a role model for my children. I am truly blessed in so many ways and have met so many wonderful people in these last two years. I am proud to be a graduate of Baptist." 2003 graduate
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Get 25% off K-drama-inspired jewelry at BaubleBar when you sign up for DramaFever Premium
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While offering many splendid views, this is primarily a "player's course". On paper, its high slope ratings would seem to be out of proportion with its total distance (5929 yards from the middle tees). Part of the reason is that there are five par-3's all under 150 yards. But mostly, the course's "spookiness" has to do with side hill lies, semi-blind shots, and brutal green complexes. Good scoring requires local knowledge and a zeal for handling the precariously steep shoulders and deep bunkers protecting the greens. Disappointingly, the "sand" contained in these bunkers is more like a mixture of small rocks. This will grind down the grooves of your wedge and your nerves at the same time. Once on the green, debris clearing often has to precede putting.
Elevation changes at Las Sendas can be initially baffling. Tee shots often disappear over a rise. Approach shots are often strikingly uphill and have a look that was not anticipated. To make the course more user-friendly, carts are fitted with the most trendy GPS devices. They illustrate hole routings, green profiles, pin locations, and, most importantly, yardages. Normally, I pay little attention to these persnickity gadgets, but at one point, when the device in our cart went off line, the feeling of disorientation was immediate.
Las Sendas saves its best surprise for last--the signature 18th?an intimidating 503-yard dogleg right par-5. The drive must be hammered directly at Camelback Mountain in the distance and find a safe, diagonal ribbon of fairway bisecting two lakes. A bold second shot requires strength and daring to reach terra firma beyond the second lake.
Las Sendas is definitely quirky, but as everyone in our group concurred, quirky in a good way. I cannot say enough about the efforts of the staff to meet our tee time requirements, maintain the speed of play, and interpret the course's topographic nuances. Major kudos all around.
Yardages range from 5100-6874, and slopes from 128-149.


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Myers reports on state laws affecting the pensions of Chicago Public School teachers. He discusses the politics behind unions involved in the decision making process and their important role in determining a balanced budget. According to Myers, the Caucus of Rank and File Educators (CORE) is a recent contender "whose members say the Pension Board needs better...
Trouble Brewing: The Disaster of California State Pensions
"California has promised its public employees lavish pensions and retiree health benefits without setting aside nearly enough money to pay for those benefits. As a result, California already admits to a $75.5 billion shortfall in paying for these promises to public employees—$40.5 billion for the teachers' retirement plan (California State Teachers' Retirement System, or CalSTRS) and $35 billion for the California Public Employee Retirement System (CalPERS).
This shortfall has grown so large because elected officials preferred the hidden cost of higher retirement benefits to the visible cost of higher wages. For instance, a recent report from the Reason Foundation noted that thanks to a 1999 pension bill radically increasing benefits, 'there are 9,111 state and local government retirees in California, such as police officers, firefighters and prison guards, who receive pensions of at least $100,000 a year (through CalPERS), and an additional 3,065 retired teachers and school administrators who receive pensions of over $100,000 a year (through CalSTRS).' As a California pension recipient told Forbes last year, 'It's just taxpayers' money, so nobody cares.'
Unfortunately, the situation is actually far more dire than is currently admitted. The actuarial valuations mentioned above took place as of June 30, 2008 and both pension systems have had substantial losses in their investments since that date. As of the most recent information available, CalPERS' assets had dropped to a reported $200 billion, and the teachers' retirement system's assets had dropped to $134 billion; these losses would add another $44 billion in unfunded liabilities.
But it gets even worse. When the California pension systems set aside money for future pension payments, they rosily assume that their investments are going to earn a steady 7.75 percent or 8 percent return year after year. But that assumption is clearly too optimistic—especially after a decade of zero stock market growth—and does not match the bond-like nature of pension obligations. Financial economists generally agree that pension obligations should not be measured with such optimistic assumptions.
In this paper, I re-estimate California's pension obligations using a discount rate approximating what private pensions are allowed to use. With this more realistic assumption, California's unfunded pension liabilities—i.e., the gap between existing plan assets and the present value of benefits accrued by participants—actually reach $282.2 billion, a figure that rises to $326.6 billion when current market values are taken into account. On top of that, the California Controller estimates that retiree health benefits are currently underfunded by $51.8 billion. The total of these actuarial obligations thus reaches $378.8 billion.
This is a staggering figure. For comparison, as of July 1, 2009, the California state government had approximately $67 billion in outstanding state bonds. Thus, shortfalls in state pensions and retiree health benefits are more than five times the existing state debt. All of this is money that California taxpayers may eventually have to cough up to pay for someone else's retirement. Other crucial state services—from bridge repairs to teachers serving in the classroom—may be shortchanged because state retirees are receiving so great a portion of the state budget.
California politicians can either continue hiding their heads in the sand, or else face up to these looming obligations by ceasing to promise overly lavish benefits and by increasing the required contributions from salaried employees. In addition, California may consider changing the structure of its pension system so that it depends more on employee savings, rather than promising a guaranteed financial payment regardless of how much a given employee saved."


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Inside you will find 22 beautifully textured papers and 47 highly detailed elements. Also included is a cute alpha with just a hint of glitter that reminds me of sunlight glinting off the water. It has a full upper and lower case alpha, the numbers 0-9 and some punctuation.
Smooth Sailing can be found at any of the 4 True North Scraps Stores:
Take a Look at some of the North Stars creations using Smooth Sailing.
North Star poki
North Star Kandiced
North Star Jennifer
To keep up with all of True North Scraps latest news, sales and releases you could follow her Facebook page. While your there check out her freebies. You also can sign up for the True North Scraps news letter you never know what surprise she will put in the news letter. Have a Wonderful Week and stop by on Friday for the Friday Favorite and Freebie. See you then.


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OOTD...by night
28 comments
Love this outfit! And yeah, it has been so mild in Toronto this winter - yes, not complaining - but I hope this doesn't mean that we are in for a brutally cold end of Feb and March. EEEK!ReplyDelete
Cute motorcycle jacket paired with the leopard shoes! It's been really warm here too in Jersey and I can't wait for spring :) Have a great weekend Lily!ReplyDelete
The Tiny Heart
Love the pants paired with the shoes!ReplyDelete
Glitter and Glaze Blog
So pretty :) Love this outfit! xoxoReplyDelete
LOVE this outfit!!! Those pants are my fav!ReplyDelete
I love the color of your jeans is the color peach? They look very spring time.ReplyDelete
The weather is so up and down here in California. Some days it's hot, other days it's chilly. And it cools down drastically at night! You look wonderful here, I love those skinnies!ReplyDelete
oooh I love the coral coloured jeans with the leopard heels!ReplyDelete
I wish it would warm up a bit here. It's seriously cold at the moment :(
Amelia @ UGLY DUCKLING x
The leopard shoes are SO hot! Loved the tan and red color scheme you have going on with your accessories!ReplyDelete
Ohhh, I love the colored pants and the chambray shirt.. I've been looking for both of them that fits my body type!ReplyDelete
Our Marshalls never gets good pants. Love them! I think I have that same Target faux leather jacket too.ReplyDelete
Perfection as always! You always mix items so well and inspire me mix more often. :)ReplyDelete
I really adore this look!ReplyDelete
So pretty! We love, love your shoes here!!ReplyDelete
PS. We've a DORIS giveaway on our blog! Check it out!
ox from NYC!
Such a cute and cool outfit. Love the jacket with the shoes. Nice pick.ReplyDelete
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Chocolate microfiber sectional sofa set with chaise
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Chocolate microfiber sectional sofa set
This sofa is upholstered in a durable, attractive and soft Microfiber fabric. Microfiber is very easy to maintain and clean. Just to moisten a soft cloth with mild soapy water and scrub, wipe the stained area. This material is ideal for a family with children and pets.
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- Sunday Service - 10:30 am 404 W Brundage Lane
- Connection Hour - Sunday 9:15 am Sheridan, WY 82801
- SPLASH Kids Mid Week - Wednesday 6:30-7:45 pm (Sept - May)
- TransFORMED Youth - Sunday 6pm (Sept - May)
MID-HIGH CAMP: July 17th — 21th THEME: ONE: "United in Christ" "...May they be brought to complete unity to let the world know that you sent me and have loved them even as you have loved me." — John 17:23
Please download, print, and complete the camp registration form. If you are attending camp with your youth group, please return the form with payment to your local youth pastor. If you are registering for camp individually, please register online in addition to the paper form. LINKS to Online Registrations
All students must bring their paper form with them to camp, and all payments must be made by the start of camp.


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Wauconda — Confessing to a major crime is a time-honored manner used to get back to the "comforts" of prisons in the United States to avoid going to prison in a foreign land where much harsher treatment is generally the rule.
The only thing that can be done to this distressed person that would bring a measure of payback for the false hopes and incredible grief John Mark Karr has caused would be to send him back to Thailand for trial. Of course that would raise a hue and cry of cruelty by all sorts of do-gooders, of whom we seem to have a considerable overabundance.


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Finished June 21, 2014
Here are some stills that show the process some of these shots went through where I did some relighting stuff. To make the Stormtroopers at the door match, I simulated the color and cadence of flashing that was going on in the dance shots. The mountains outside the window in another shot were too blue, and there was some relighting to do on another shot where they all appear at the door to the studio, but the lights are supposed to be out. The last one from during the dancing shows some dynamic highlight bursting I pulled and tracked to the camera movements in a few shots. Anyway you can click through these and see what I'm talking about.
General before and after stills:


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Some of the many elegant Heermann's Gulls that frequent Rocky Point.
Yellow-footed Gull one of the real highlights of the northern Sea of Cortez.
This amelanistic Yellow-footed Gull stood out in the masses. Looking all the world like a white-winged gull, its massive proportions helped indicate its real identity.
Another white-winged gull in the crowd was this second cycle Glaucous Gull that put in a brief appearance.
This first cycle Thayer's Gull was one of a few seen over the two days of birding.
A first cycle Western Gull stands next to a first cycle Yellow-footed Gull. At one time these two were considered the same species.
This first cycle California Gull sports a band it received at Mono Lake, California this past summer. Mono Lake has the second largest colony of this species.
Small numbers of these tern-like Bonaparte's Gulls were evident at the sewage ponds.
A third cycle Olympic Gull (Western X Glaucous-winged) was present at the landfill.
A first cycle Lesser Black-backed Gull that was present for two days at the sewage ponds.
The first of two Mew Gulls found at the landfill during workshop scouting.
The second Mew Gull that was briefly at the landfill during scouting.
Group scanning through masses of gulls in the late afternoon.


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"The new Tru-Grip V Stretch feature completes the massage experience. The addition of the shoulder airbags with the swivel seat offer a stretch unlike I've experienced in any other massage chair", says James, Massage Chair Specialist at Emassagechair.com.
(PRWEB) November 14, 2012
With over 50 percent of Americans reporting that stress is negatively affecting their health and their relationships, it's the perfect time to introduce the Infinity IT-8500 massage chair with intriguing new features designed for relaxation therapy.
As massage chair experts, Emassagechair.com is excited to add the Infinity IT-8500 massage chair to their exclusive massage chair line-up. The IT-8500 offers tried and true massage therapy tricks used by professional masseurs but not yet seen in massage chairs. Keeping all of the popular features found in the Infinity IT-8200 such as Inversion Therapy and therapeutic Foot Rollers, the 8500 adds Seat Sway, the Tru-Grip V Stretch function, Accu-Roll Shoulder Massage, Spinal Correction, Intersound Technology, and adds an additional Zero Gravity Position.
The Infinity 8500 was designed to alleviate stress by employing techniques to release tension, loosen muscles, correct and adjust the low back, and stretch the body, improving the body condition overall. A new favorite is the Spinal Correction feature added to mimic the low back adjustment that the user would receive from a chiropractor. As the massage rollers move up and down the spine the air bags place pressure on either side of the low back causing the seat to swivel from one side, gently to the other. This will both stretch the low back muscles and realign the spine.
Customers are also buzzing about the new Tru-Grip V Stretch feature only found in the IT-8500 Zero Gravity Massage Chair. This function will grip the shoulders, arms, and low body using airbags while the chair ottoman and the chair back raise and lower providing a comprehensive full body stretch that is unmatched.
When sitting in the new Infinity 8500 massage chair the user will also experience the new Accu-Roll Shoulder Massage. The shoulders are enveloped in airbags that firmly grasp the shoulder joint providing massage to an area usually not reached in massage chairs.
While music therapy may not be a "need" for some, the new Intersound Technology provides the optimal healing space for relaxation. The high quality sound system positions the speakers inward to provide the soft therapeutic sound towards the user for a truly intimate massage session. With the addition of the USB port the user can play their favorite music through the sound system or use the headphone port with their favorite headphones to completely block out the outside world!
Now for those that are not yet familiar with Infinity Massage Chairs, Inversion Therapy is one of their exclusive features. Inversion is where the user is positioned feet above the head. Essentially this massage chair will recline back while grasping at the feet to allow for decompression of the spine. This position is also fabulous for stress relief as it moves blood through the body increasing circulation and blood flow to the brain, relieving the signs and symptoms of depression. The brain the largest consumer of oxygen in the human body which means that the extra circulation gives the user an extra boost, resulting in a feeling of well being. This is yet another example of the therapeutic benefit of the Infinity IT-8500.
Many massage chair companies are including the popular position developed and named by NASA, the Zero Gravity position. Now if the name doesn't explain it all, you are reclined to where your knees are elevated above the heart creating a torso-to leg angle of about 128 degrees for optimal weight distribution. This position gives the user a feeling of complete weightlessness and lifts all pressure off of the spine. The Infinity IT-8500 now has two Zero Gravity positions that are used with ease at the press of a button.
With the new features the Infinity IT-8500 is quickly becoming a fan favorite and best seller at Emassagechair.com. After the positive feedback from customers, the most common statement about the new chair is "I love the Tru Grip V Stretch". Customer service representatives at Emassagechair.com are also enjoying the new addition to their product line frequently using the chair on breaks!
If you're in need of some stress relief, the Infinity IT-8500 is the massage chair for you! If you have questions or would like a comparison of the best massage chairs, call the knowledgeable customer service team at Emassagechair.com at 888.360.9996 or visit their website at emassagechair.com


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Children's Programs
We bring fun to the classroom
From lesson to lunchroom, our expert-trained staff ensures supervision and security are the number one priorities throughout all youth activities. We use fun and entertaining tools that engage your child's cognitive, emotional and physical needs.
Terrain Scaled for Size
A dedicated learning zone with specially designed terrain allows your child to start small and naturally progress to more terrain across the mountain, eliminating fear and accelerating the learning process.
Progress Reports
You'll receive a post-lesson report card that tracks your child's skill- and cognitive-based progress and offers suggestions on areas of improvement


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With mortgage rates rising — and unnerving investors — Federal Reserve officials have swung into damage-control mode, trying to reassure Wall Street that they won't abruptly withdraw the stimulus that has kept long-term borrowing costs at record lows.
Freddie Mac's latest survey of lenders, released Thursday, showed the average rate for a 30-year fixed home loan had leaped to 4.46% from 3.93% last week — the biggest one-week jump recorded by the survey since 1987.
The benchmark 30-year rate is up more than 1 percentage point from the record lows that began last fall, including one reading of 3.35% just last month. Analysts said the increase would smother a long boom in mortgage refinancing and probably would slow down fast-rising home prices.
The markets seemed to be listening. The yield on the 10-year Treasury note — a proxy for fixed mortgage rates — fell to 2.47% on Thursday, down for a second day from a close of 2.61% on Tuesday. Stocks moved higher for the third day in a row.


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2347 Bayberry Lane
Long Grove, Illinois 60047
Florence Lee847.849.0149
Listing Office: RE/MAX Showcase
Disclaimer: The data relating to real estate for sale on this website comes in part from the Broker Reciprocity Program of Midwest Real Estate Data, LLC. Real estate listings held by brokerage firms other than @properties are marked with the Broker Reciprocity thumbnail logo and detailed information about them includes the name of the listing brokers.
Long Grove
The village of Long Grove is located 35 miles northwest of Chicago in Lake County and encompasses almost 13 square miles. Settled in the early 1800s by German farmers, Long Grove was the thriving home to two general stores, two…Learn More
School Assignment Data provided by the National Center for Education Statistics
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Divorce and Solicitors
Do I need an attorney?
Browse the following circumstances to be sure whether you should have legal counsel or not.
You and your partner have been wed for at the very least 5 years
You and your spouse have young ones.
Either you or your partner is the breadwinner while the other may have difficulty finding on his/her own two feet economically speaking, after the divorce is finalized. I discovered divorceattorneyiip's Profile | Armor Games by searching Bing.
You or your spouse has come upon inheritance while married together.
Either you or your spouse is in debt.
Where can I obtain a divorce lawyer?
There are always a many ways to get a divorce lawyer. Also attempt asking your marriage counselor or therapist for a recommendation. Needless to say you may ask your family relations or friends too. Other attorneys can recommend those attorneys which concentrate on divorce also.
It is also possible if you may even go right to the court to look at if a particular divorce lawyer strikes your fancy. Wherever you seem, might it take the yellow pages or in directories on-line, you should assess their qualifications.
Meeting a lawyer for consultation
After getting a promising lawyer, the next thing would be to meet him/her for discussion. This may be described as a indication that you may have a hard time getting back in connection with him/her after you retain him/her as your divorce attorney if he/she is hard to reach then. Find out how much he/she may demand for consultation. Visiting charlottencdbd :: COLOURlovers maybe provides cautions you could use with your boss. Precisely what is his/her focus? Its important that he/she specializes in divorce, for one to have the very best represe


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You can post a new question from the country page to which the question is relevant to, or at the bottom right hand of this page.
to post a new question or answer excisting ones
Please don't spam this forum with your new surf camp / charter / villa / surf school. Go to SurferDream.com and list your business there for free.
The GlobalSurfers forum has been the leading surf travel resource for over 18 years, so keep it friendly and relevant. Happy posting!
Local surf guide wanted« on: October 16 2010 11:10:00 »
hi i will be in portugal for ten days 11/19 till 11/30. while I am pretty sure I can find a otn of spots on my own the locals always know the bext less crowded spots. I would like to rent a surf guide and pay them to drive around and surf with me (not a bad job). send me an email if your a local portuguese surfer and want to do a surf trip from lisbon down to the algarve. thanks
RE: Local surf guide wanted« Reply #1 on: October 28 2010 14:10:00 »
hello, im from peniche and i have a surf camp, if you wont i can have some guide for you surfing in peniche.


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Pacific Lumber Gives In To Exclusivity Termination
The debtors filed a proposed order that would terminate their exclusivity with respect to three prominent creditors, including the official committee of unsecured creditors, on Wednesday in the U.S. Bankruptcy Court for the Southern District of Texas.
If the order is signed by presiding judge Richard S. Schmidt, it would allow the official committee, indenture trustee the Bank...
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Sifu Chung Kwok Chow
was born in Hong Kong on 1951. At age of fifteen he studied body building under Mr. Koo Fone who was a Kung Fu star under Run Run Shaw. A year later, Sifu Chow began studying Chinese Karate under Master Carter Wong, who was best known for his role as Thunder in the Kung Fu movie "Big Trouble in Little China (1986)". A ray of styles has touched Sifu Chow's curiosity but he continued looking for a style best suited for him. He had studied the Hung Ga from an elderly man next door. He had studied Dragon Style from Master Choa Sum. On the weekends he would go to local parks and watch grownups practice their Kung Fu. At the age of seventeen, Sifu Chow finally found Sifu Ng Wah Sum and began his traditional training of Wing Chun. He was fascinated by Wing Chun's economical techniques. He especially liked the Sticky Hand Sensitivity training. It allowed your techniques to go with your opponent's power. It fits Bruce Lee's go with the flow concept "be like water".
Hong Kong in the year of 1967
Grand Master Yip Man lived only a few blocks away from Master Ng Wah Sum in Mong Kok, Kowloon, Hong Kong. Every week Yip Man would stop by Sifu Ng Wah Sum's Kwon School to have tea. Sometimes Yip Man would give advice to Master Ng and his class. Sometimes they would go out and watch movies. Sifu Chow found Yip Man was a humble, carefree, but extremely confident person. At that time, Yip Man already had over hundreds of students. One evening, Yip Man and Ng Wah Sum took a stroll in the neighborhood, Ng Wah Sum was fascinated by a display in a store's window. As he picked up his pace he saw three men approaching him and asking for money. Yip Man spoke calmly to the three men and said, "Why don't you guys come back with some weapons, because just three of you guys are not enough to handle me". The three men got scared and immediately ran away. In 1970, Wing Chun Athletic Association (WCAA) organized a grand birthday party for Yip Man's 70th birthday. One night, Sifu Ng Wah Sum brought Sifu Chung Chow to attend the meeting in WCAA where Sifu Chow had the privilege to watch other Yip Man student's display their martial art skills. He saw disciples like Jei Wan's (Jason Lau & Francis Fong's Sifu) closing gap footwork. Also, Koo Sun's Chum Kiu Form and Leung Ting's Sticky Hand For more information about Master Ng Wah Sum, log on www.wingchunchapter.com
Sifu Chow's Wing Chun Genealogy
Three generations of Wing Chun: Master Leung Sheung, Sikung Ng Wah Sum, and Sifu Chow appear on the first spread in the book of Yip Man Wing Chun Genealogy.
New York in the year of 1972
Sifu Chow came to New York in 1971. He visited many different martial art schools. At times he would demonstrate some of his Wing Chun moves to the schools. During the same year, Grand Master Yip Man made his first appearance in Black Belt Magazine, following the success of Bruce Lee's film, 'The Big Boss (1971)'. The art of Wing Chun got into a big demand. All of which motivated Sifu Chow to open up his first Wing Chun School in New York City in 1972. New York Wing Chun Kung Fu Club was set on 224 Lafayette Street, New York City. The school was an instant success. Later, Sifus like Moy Yat, Duncan Leung, and Jason Lau also came to New York and started their Wing Chun teaching. In one incident, Sifu Chow was challenged by one of the Sifus who wanted to test Sifu Chow's Wing Chun skills. Sifu Chow was forced to engage in Sticky Hand combat with one of the Sifu's top students. In the first challenge Sifu Chow used a "Lop Dar Chung Kuen" to his challenger's face, causing the opponent's face to swell up like a melon[c3]. During the second challenge, after a couple of moves Sifu Chow used his Sifu's famous lightning fast Fat Sao and landed a chop on the challenger's neck and stunned him. The challenger gave up quickly. Then, came the third challenger who was a much bigger Spanish fighter. After a couple of spars, surprisingly the fighter started to ask questions about how Sifu Chow executed his techniques. Sifu Chow patiently explained his approach to his opponent. Soon after other students also gathered around Sifu Chow to watch his demonstration.
In 1973, Fu Jow Pai Master Ng Wai Hong invited select individuals to help him form the Eastern US Kung Fu Federation (EUSKFF). The initial members included Tai Chi Master William Chen, Eagle Claw System Master Shum Lleung, Praying Mantis Master Chan Pei, Hung Ga Master Frank Yee, Wing Chun Sifu Chow other individuals. Master Wai Hong was the chairman and Sifu Chow was the secretary. EUSKFF gave Sifu Chow many opportunities to travel the country to promote Kung Fu and Wing Chun and to meet many other martial art masters. In 1974 Sifu Chow was asked by Master Ng Wai Hong to join him in Puerto Rico to assist in making the documentary film, "Warrior Within (1974)". Later that year Sifu Chow along with Master William Chen, Aikido Master Yamada, and Goju Karate Sensi Chaka Zulu joined in demonstrating the "Handbook of the Martial Arts and Self-Defense" by Punk & Wagnalls Publishing Co.
Sifu Chow is the founder of Integrative Wing Chun which carries not only traditional Wing Chun of Yip Man's linage, but also bring Wing Chun to a new level of martial arts. His passion of Wing Chun grows stronger as everyday passes. A big believer of Bruce Lee's "Take whatever useful". Sifu Chow has reached out to many masters like Ip Chun, Ip Ching,Francis Fong, Kenneth Chung for his Wing Chun but also to boxing, kicking boxing, BJJ, MMA. Sifu Chow has been teaching Wing Chun in New York area for over 40 years. He has total of 13 videos and a Wing Chun 8 Theories poster. Just the Mok-Jong (Wooden Dummy) alone, he has three videos covering this form. You can browse his video list by clicking here videosale.html. He conducts seminars on premise for national and international locations regularly. For details of on-premise seminar by Sifu Chung Chow, you can send an E-mail to email@example.com
Sifu Chow's Integrative Wing Chun is one of the curriculums at Westport Boxing MMA Gym
Left to right: Terry Southerland of Gleason's Gym. 3 times national boxing champion with record 23-3, ranked 2nd in the world. Alex Nechaev, AKA "Drago" 2007, 2008 and 2009 NAGA World Champion. Idris Price, former NFL linebacker and Superbowl Champion. Now a "Sports Boot Camp" coach. Adam Colberg, Owner, trainer and promoter of Westport Boxing MMA Gym. Marcio Stambowsky, one of first Black Belt under Rolls Gracie Jiu-Jitsu and owner of Gracie Sports. Sifu Chow, founder of Integrative Wing Chun, has teaching his art all over the world for 40 years.


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HERE BE DRAGONS doc 81min
director Mark Cousins
executive producer Don Boyd Genc Permeti
Hibrow Productions Ltd. SKA-NDAL production
Here be Dragons is an innovative and poetic feature length documentary film about a foreign filmmaker, Mark Cousins, encountering, and becoming passionate about, Albania.
The film starts with Cousins in Scotland, his adoptive home. He says that before he went to Scotland, he had tourist images in his head, but then he lived there and these were replaced. He says that we learn by looking. And so he goes to Albania and looks and learns. As a filmmaker, he will learn in particular through looking at Albanian films and paintings.
Day 1, dawn. Cousins walks the streets of Tirana. He films the Italian buildings and intercuts them with old archive footage of them. He comes to the Enver Hoxha pyramid, films it, notices that it looks exactly like the Giza pyramid near Cairo anda dream sequence in Alfred Hitchcock's film Spellbound, that kids use it as a ski slope and that wildflowers have seeded themselves in it. It has a chain of meanings. Such chains are very Albanian. Cousins quotes from Ismail Kadare's novel The Pyramid (Kadare has given his personal permission for this).
Cousins then films at the Marubi film school, and at the Albanian film archive, showing the problems of fungus growth on its walls and reflecting on the importance of cultural memory, film as memory, film as light from a distant star.
Day 2.Cousins begins to look at aspects of Albanian history and at the restoration of the film Nentori I Dyte; the latter is a kind of activation of the former. Cousins travels to the outskirts of Tirana, where his shots become more visual, more like a landscape painting. Then as we watch a single, unbroken 8 minute shot, Cousins writes a letter directly to EnverHoxha, telling him what has happened since his death. There's rage in the letter, and poetry too.
Day 3.Cousins travelsinto the hills with members of the Albanian Cinema Project, to look at bunkers which might be suitable for housing aspects of the film archive. The trip is beautiful but also thought provoking. The bunkers might change their meaning. Creative re-use. A chain of meanings again.
Day 4.Cousins films the Onufri icons in the National Gallery of Arts. He visits XhanfisoKekostreet, and shows how distinctive her filmmaking was. This leads him to a sequence on Viktor Stratoberdha.
On his way home, Cousins imagines that he sees XhanfiseKeko. He draws together the images and themes of his trip. A decaying pyramid, some decaying films, gorgeous films, concrete bunkers, glorious icon paintings that themselves have decaying surfaces. Images full of meaning and feeling in Albania which now have great feeling for him too. He has learned by looking in Albania, and loved looking. Cinema is an empathy machine. He now has, in his head, a "thousand coloured pictures to the eye." He intercuts images of faces from Onufri's paintings with similar shots from faces of Albanians in film history. They are beautiful, they flicker. They are light from a distant star.
Mark Cousins
For about a decade now I have been exploring the poetic, emotional and communicating potential of documentary film. I've rejected the TV style of documentary for something which I hope is more cinematic and imaginative. My recent films have won the Prix Italia, the Stanley Kubrick award and have been shown in more than 100 film festivals, including Berlin, Toronto, Telluride Hong Kong, Karlovy Vary, Moscow, Palm Springs, Seville, Kosova, Rio de Janeiro, etc. They have received rave reviews (see attached) and have been shown at the Museum of Modern Art in New York City, in the Academy cinema in Los Angeles, etc.
Here be Dragons is, I hope, my most thoughtful film in this direction. It's a road movie – the account of a journey - and so is told in the present tense. It has a distinct visual style – cinematic framing, no reverse angles or pans. I care a lot about the frame, the image, so choose it carefully, then let everyday life do what it does best – unwind, unpredictably. The film is observational – I really looked at Tirana, walked its streets from dawn, visited its outskirts, tried to understand its feelings and history.
But Here be Dragons isn't journalism. It's a film essay in the tradition of the great filmmaker Chris Marker and writers like Jean Jacques Rousseau. Its storyline is told through commentary but it "takes an idea for a walk". We see and hear me learn about Albania, and notice connections between unexpected things (a dictator's pyramid, renaissance paintings, bunkers, dogs, wildflowers, film archives, etc). I have tried to write it with real care and a degree of poetics and insight.
Film is, I believe, a great message in a bottle. It is wonderful at capturing the elixir of a place. Through careful shooting, framing, writing and editing (my editor Timo Langer is acclaimed and awarded), I hope that Here be Dragons captures some of the thoughts and feelings that are moving through Albanian life in the 21st Century, and which, with the great assistance of my hosts, I was able to see.
I have tried to make a film that is honest (including being honest about how much a foreigner can understand) passionate, curious, engaged and brainy (there are lots of ideas in it!) I have tried to make a film that is a fine piece of cinema and which will travel widely and be seen around the world. People who have seen images from it have said that they are beautiful. This is because I found Tirana's distinctiveness beautiful.
Mark Cousins
Filmmaker Mark Cousins goes to Albania for five days, and films what he sees. He discovers that the movie prints in the country's film archive are decaying. In investigating this, Cousins begins to encounter bigger questions about the history and memory of a place. Perhaps a country whose 20th Century, dominated by its authoritarian ruler Enver Hoxha, was so traumatic, should allow its film heritage to fade away? Perhaps a national forgetting should be welcomed? Influenced by the films of Chris Marker, Cousins' film broadens to consider the architecture of dictators and the great icon paintings of Onufri. In the past, when cartographers knew little about a country, they wrote on it Here be Dragons. Albania was, for decades, one of the least well know countries in the world. Cousins' road movie meditation takes the advice of Goethe: "If you would understand the poet, you must go to the poet's land."
Mark Cousins is one of World Cinema's rare directors who integrates talents as a writer, broadcaster and critic into highly individualistic 'essay' films which have given him international status. He followed his 15 hour seminal history of the movies, The Story of Film: An Odyssey, with A Story of Children and Film officially selected at Cannes 2013.