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We never expected them to get so close. Leonard says there was a large school of fish near his boat that suddenly scattered. It was just chaos out there, he said. All of sudden the fish got nervous. Just moments later, the humpback whale popped up from the water only a few feet from Leonard, his brother Mike and his dad, Bob. I didnt think we were in danger. I think they know what they are doing, Leonard said. They know where the boats are. I think they are smart enough to know that. The close encounter was one he says hell remember for the rest of his life. And as it turns out, its not his familys only brush with the local whale population. A couple of years ago, a live pilot whale washed up on the shore, Leonard said. My brother just lives three blocks down from me, and he raced out there when he heard, and saved the whale. He helped it get back out to sea. While whale sightings so close to the shore are rare, theyre not totally unprecedented. A marine environmental scientist told CBS New York that the whales were likely in the middle of their annual migration toward waters in the Caribbean.
New York creates state-wide court system to help prostitutes
NEW YORK — Andy Pettitte was the co-star of the most emotional moment seen at either Yankee Stadium in many years tonight, when he and Derek Jeter went to the mound to get Mariano Rivera with two outs in the ninth inning of the Yankees' 4-0 loss to the Rays. It was a special moment for all three, but especially for Pettitte and Rivera, because over the past 19 years, Mo has saved 72 of Pettitte's 255 career wins, the most productive starter-closer tandem in baseball history. That is why, when Pettitte reached the mound, Rivera pulled him into a bear hug and wouldn't let go, the tears streaming freely from Rivera's eyes, an incredibly intimate moment shared with nearly 50,000 live spectators and who knows how many more in front of televisions around the country. Pettitte's Place Rank 'Em "I dont even know how to explain it because I wasnt expecting it," Pettitte said. "There was so much emotion running through him, I guess, and I felt he didnt want to let go so I just kept hugging him, so I just stayed with it. I was just gonna go with it as long as he wanted to stay out there." Pettitte said he wasn't entirely on board with manager Joe Girardi's plan to have him and Jeter, both teammates with Rivera since 1995 and all members of five Yankee World Championship teams, remove Mo from the game — "I was like, 'Oh, man, I don't know if that's a good idea, it might be a little weird" — but changed his opinion when the reality of what happened on that mound washed over him. "But it was so cool, just so cool. It was a great moment," Pettitte said. "It was something that obviously I'll never forget." Pettitte said that while Rivera was weeping, he was telling his longtime friend and teammate that he loved him and that it was an honor to have played alongside him. And, he admitted, an internal film loop of the highlights of his own distinguished Yankees career began playing in his own head. "It all was going through my head," he said. "Everything weve done, all weve been through. Its all been so special. Its crazy how fast it went by, you know? Its been really cool." Pettitte, who is heading into retirement himself and will make his last career start Friday against his former club, the Astros, in Houston, had his own moment of tribute when the crowd began chanting his name and his teammates urged him to take a curtain call.
"It is in every sense a form of modern-day slavery," Lippman said at a forum hosted by the Citizens Crime Commission in New York City. "We have come to recognize that the vast majority of children and adults charged with prostitution offenses are commercially exploited or at risk of exploitation." The announcement came on the same day that U.S. advisers released a report calling for tougher laws to prevent children and teenagers from being sold for sex and recommending that youthful sex workers be treated as victims, not criminals. The report, issued by researchers at the National Academies, said the United States is still "in the very early stages" of addressing the issue. The New York initiative is intended to serve as a model for other states, Lippman said. By the end of October, 11 human trafficking intervention courts will be operating throughout the state. Some 3,700 individuals were charged in New York State with prostitution and related crimes last year. Every prostitution case not resolved at arraignment via a guilty plea or dismissal will be transferred to the special courts, where judges will determine with prosecutors and defense attorneys whether individual defendants are in need of services. The courts will link defendants with shelters, healthcare and drug treatment services, job training, education and other resources, and charges will be dismissed or reduced based on compliance with court-directed programs. In recent years, New York has passed a series of laws aimed at shifting the focus of prosecutions from sex workers to the pimps that employ them and the johns that hire them. The state made sex trafficking a crime in 2007, giving prosecutors a new tool to go after those who profit from prostitution. The legislature also passed a law allowing prostitution defendants under the age of 18 to enter into diversion programs and avoid jail time. The average sex worker first enters the industry in the United States at age 12 to 14, Lippman said. There is no clear data on how many young Americans are sold for sex. Estimates range from 1,400 to 2.4 million, according to the National Academies report, and experts say any tally is likely low because such crimes often go unreported.


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> Biography
> New Audiences and the Photobook Renaissance
> Obsolescence, Recognition, Stability and Change?
> Beyond Production: The Photobook as a Collaborative Opportunity
> Commercial Realities and the Screen Experience
> I want people to see the work
> A new Era for the Screen-Based Photobook
> Slow Down, Truly Believe and Experience
> Culturally Relevant and Critically Stimulated
Dewi Lewis established his publishing house in 1994.
Internationally known, its authors have included photographers such as Martin Parr, Simon Norfolk, William Klein, Frank Horvat, Paolo Pellegrin, Sergio Larrain and Bruce Gilden. He works in close collaboration with a number of European publishers and is a founding member of The European Publishers Award for Photography, now in its 20th year.
Dewi Lewis began working in the arts in the 1970s. He was the founding Director of Cornerhouse, one of the major UK Centres for Contemporary Visual Arts and Film, which he ran for ten years. In 1987 he established Cornerhouse Publications which achieved recognition internationally for its ambitious and imaginative publishing programme and was a winner of the Sunday Times Award for Small Publisher of the Year.
An Honorary Fellow of the Royal Photographic Society, Dewi Lewis was awarded the Society's inaugural RPS Award for Outstanding Service to Photography in 2009, and in 2012, the Kraszna-Krausz Foundation presented him with an award for Outstanding Service to Photography Publishing.
New Audiences and the Photobook Renaissance
NFS: What is really fascinating at this moment is the rejuvenation of the image online and how that in turn is manifesting itself as artefacts and in particular the physical photobook. It isn't a time of print versus digital but more what happens when those things come together. This is an exciting time for you coming into your 20th year as a photobook publisher, what is your perspective on the photobook in this new landscape?
DL: I would say that at the moment there is a renaissance of the photobook, very much at the same time, as things have developed in the digital world. I think one of the key things is that aspects such as digital printing have allowed photographers to do short run books, small editions of perhaps 50 or 100 copies. Often those have come from projects that might even have been developed online.
I think there's a real tie-in between the two; I would say digital has expanded the audience and interest in photography. By that I mean essentially online, that the more images, the more projects that are out there, then the more that people seem to be picking up on ideas for new projects.
I think it's all very positive. I don't see any negatives. I don't see any squeeze on publishing in print as a direct result of things happening online.
NFS: Do you think the online surge is bringing in new audiences as well as increasing the engagement and level of investment in the photobook then?
DL: I think it's very much bringing in new audiences. One of the comparisons? I think it's not dissimilar to the way in the 1970s, 1980s and 1990s that there was a great interest in film, in movies. In a strange sort of way photography has almost supplanted that.
Twenty years ago you were supposed to have an awareness of key directors, what was happening, etc., in movies. Now it's almost as if photography has become something that people are supposed to be aware of. It's a much more central position that it holds in culture generally.
NFS: Okay. That's quite fascinating. In the conversation with Francis Hodgson, he talked about his reservations and concerns that these things aren't necessarily pulling together. He's concerned with the… almost the lack of culture, I think in a sense that's taking place in photography with the dominance of digital consumption. Or maybe from the point of view of a publisher you're suggesting there is a greater understanding of the value of both the image and the photograph generally in the context of the photobook?
DL: No. I think Francis is right in lots of ways although – I think as a cultural artefact, photography has become much more significant. It's also become much more throwaway. In terms of the broader understanding of what photography can mean, I'm not really sure that that's developed very much.
I would say that people's view on photography is still pretty instant really in the way that they are responding. I mean from conversations I've had with him (Francis), I think one of the things that he's very aware of, and I am as well, is that if you go into most colleges, for example, the awareness of any historical background is pretty slim with a lot of the students. In a way, you tend to think that that's a real negative. But at the same time, I think essentially there's a very new and separate form of photography which has been developing over the last few years. I would still say it's important to have a knowledge of what has gone before. But in many ways the references are of things from other cultural areas in terms of whether it's fashion, music, theatre – it's other experiences. It's not just about relying on photographic heritage. I think there is that change.
Obsolescence, Recognition, Stability and Change?
NFS: Is that where you see the photobook, positioning itself in this digital space fusing experiences into a single commodity? Are the rules changing for the production of photobooks?
DL: The rules are certainly changing. I think one of the things with the photobook is that it does provide a line, a route through things. It becomes almost a historical marker. If you look at the work of people like Martin Parr and Gerry Badger, exploring the history of the photobook, then you can follow a line of how photography is developing and changing. That is important.
The great problem with the Web, with the Internet, is the built-in obsolescence in a sense that there's so much out there. We respond to things very quickly. We move on from them very quickly. The photobook gives some stability and certainty to things.
NFS: The volumes by Gerry Badger and Martin Parr are fascinating as they provide an opportunity to observe the changes in photography and witness perhaps the trends in photobook publishing. In this space the publishers are the gateholders but in the self-publishing arena this control is flipped. You've talked previously about the dangers of self-publishing, the ease of producing your books online, perhaps means books come into reality which aren't quite ready for production. I think there is an interesting dynamic between the books that traditionally aren't quite ready to be made, but the ability of pushing and exploring different ideas, without having to go through the establishment, frees the photobook from the commercial reality – it exists as a commodity doesn't it?
DL: Yes. I think there are a few elements in that. One, and something I always say to younger photographers, is that their great, great grandchildren can go along to the British library and ask for a copy of that book in 100 or 200 years time, at least in theory.
That actually means that when you're making a book, you're doing something which has an immense longevity to it. As a photographer, wouldn't you want it to be something that those great, great grandchildren would be proud of when they look at it in 200 years time?
There's that element that the true photobook should really be something which is a culmination of a lot of thought, a lot of time, a lot of consideration.
The big problem about it is cost. In many ways it becomes a financial problem, so that those photographers who have access to money can do as many books as they want. They can keep producing small print runs, small editions. Those photographers who are harder pressed financially can only work on the Internet. They can't afford the thousands of pounds that would be needed to put every new project into print form.
I do think it is valuable to see almost instant books, to see something that's coming through very much as a concept, as an idea, as something which is almost throwaway.
I suppose the other thing is that the book has for a long time been effectively a portable portfolio. It's something you can send around the world. You can get your work seen by curators and others far more easily than going off to meet people or showing them your proper portfolio. Those who have the advantage of having things in print have an advantage in terms of getting exhibitions.
It all goes towards creating a strength for those photographers who have that opportunity. It's not as democratic in that sense.
Beyond Production: The Photobook as a Collaborative Opportunity
NFS: Equally, it is the recognition of the relationship that the photographer has with a particular publisher. Fundamentally, as much as the potential to have work shown in galleries, surely there should be the acknowledgement of the craft in the edit, construction of the narrative that you're exploring that becomes a recognised entity in terms of the book as the product of that process.
DL: Yes, definitely. The book is also a collaboration. I think the role of publisher is often misunderstood. It's often seen as just someone who puts a photographer's work out into the marketplace. For me, it's considerably more.
I think our role is very much challenging the work. It's clearly working on the edit. It's trying to give it a design concept that feels right for that body of work. It's a number of those things. Actually, a photographer who self-publishes will often be working with a group of people. The best books involve a real relationship between a number of people, not just the photographer doing it by himself or herself. Sadly, a lot of designers are not really recognised for the input that they make into a book project.
I think the credibility that you can get from having a book can be significant, I don't doubt that. But I think again it's actually ultimately down to the photographers themselves. If you give five photographers the opportunity to have a book, one of them will use it in a different way to the others. One will be very proactive in getting the work out there, meeting people, persuading an audience to be interested in the book, etc. At least one of those five will sit back and do nothing. It's not just a matter of having the book, it's actually then thinking about what they do with it and how they use it properly.
NFS: It becomes a vehicle for something?
DL: It becomes a vehicle, yes.
NFS: We have talked about how a photobook has become something different and now has different opportunities associated to it, but how do those behaviours associate within the digitally social environment? Are the reading habits of a technologically driven audience impacting on the construction of the narrative of the books that you're producing as well?
DL: I'm not convinced they do really. I think in a sense, the way that the book has moved over the last 5 to 10 years is that the book has become essentially much more an object, an art object. The focus has really been on creating a tangible artefact – this is something that people seem very concerned about.
If you look at recent designs you'll have lots of inserts in a book, the placing of images in strange relationships, so some might be on the side and some landscapes might be effectively printed the wrong way around so you're turning and moving the book. You'll have objects inside. You'll have techniques like embossing and inserting different papers, all those things. It's very much the development of the book as object, rather simply the book as content.
NFS: So that would seem to suggest that books are going beyond simple production values? In Michael Mack's commentary for TIME's Best Photobooks of 2013 he states we're, "at a time when photobooks are overloaded with diverting tricks."
DL: Exactly.
NFS: Fundamentally, it is about understanding the potential of the photobook form which is a piece of technology in its own right. Which today one would expect of the image on the screen, requires active engagement from its audience in order to convey its message.
DL: That's the ideal, when it works. That's certainly the reason you would approach things in that way, thinking about it as the object and having various devices inside. But I think Michael is absolutely right, that there's been an increasing move towards "trickery" in his terms.
But as I say, I think the best photobooks become a means to interpret the work rather than simply a container for work.
Commercial Realities and the Screen Experience
NFS: Yes, absolutely. I suppose the question then really is how much the commercial viability of a photobook informs the decision around freeing a narrative from those conventions for you then?
DL: Right. That's a very interesting point because there is a real difference between a book which is produced essentially as an art object and a book which has to work within a harsh commercial environment.
One is that the reason that most books look the same in the larger commercial bookshops is because they have to survive certain things. They'll get moved around, bashed and severely handled.
All the commercial bookshops work on the basis of sale or return, damaged books will be returned to the publisher.
The publisher is supposed to fully reimburse the bookshop.
If you're looking at a design concept of a book and you feel that it's physically vulnerable in any sort of way, as a commercial publisher you have to be very nervous.
If you're a photographer doing something where you're producing perhaps 100 copies and they're all going to go to specialist shops, then you can be much more relaxed about that. There is a difference; commercial rules don't apply in quite the same way in terms of the physicality of books.
NFS: Is that the space where multi-platform outputs or print-on-demand can offer a hybrid opportunity? Can these processes still deliver a treasured object?
DL: Print-on-demand, I think, is still so much in its infancy. The quality of digital printing is considerably better than it was ? the Indigo presses can produce some very good work ? but rarely are they as good as proper offset printing. The on demand facilities that are available in various book shops for text books and maps, etc. can't cope with the demands of imagery properly. We're still in very early days there.
I think one of the reasons that books have become so object led is almost a reaction against this on demand approach. The books almost become personalised. Many photographers will do things where, if they're doing a small edition, they'll perhaps try and individualise each copy of the 100 print run –
not simply by signing but perhaps by some sort of differentiation on the cover, perhaps doing a handprint of some sort. They're trying to create a difference.
NFS: It is becoming clearer that the physical artefact and digital publication aren't in opposition to one another, they're…
DL: They are very complimentary to each other. I think the digital book, is again something very much in its infancy. I still think that the designers who will really solve how to make fascinating e-books are probably in their late teens, probably just about to go to college and will surprise us in five years time.
At the moment I still think we've got designers who are trying to adapt their skills, their techniques into the digital world. I don't come across many who really start from that digital point of view, from the e-book point of view. When they do it will be fascinating.
NFS: True, especially with the move away from terms such as interactivity or multimedia, to 'experience' and 'touch'. We now have small and medium touch devices where physical interaction is enabled by a gesture through a screen.
I think you're absolutely right, we're only a few years in to that type of technology becoming as large scale as it has. But there is the sense that you clearly see those things will exist alongside each other and perhaps provide a different interpretation of that same information.
DL: I think the great problem – I mean if you look at the iPad for example and you look at the books that are being produced for that, there's a real problem in terms of converting existing print books to iBook's. If, for example, you're working on a large format book where you have a double page spread which involves a number of images, then once that's reduced down in size to the iPad, you're not seeing enough of the detail to make that double page properly work.
There are all sorts of tricks and techniques that you use in terms of the sequencing of the book. You may be trying to create echoes from one page through to a page which is five or six further on. That's very hard to replicate on the iPad. You can't easily close half a dozen pages together and look at what was before and what's after it, you have to scroll through. You get a visual background noise when you're scrolling through. There are all sorts of techniques that you'll use in the book form that you can't adapt into the iBook form.
I want people to see the work
NFS: Given the multiplicity of photo publishing, do you think the role and status of the photobook is changing then?
DL: It's much more subject to fashion. It's much more throwaway. It's going to become increasingly like that with photobooks, that they're going to come out, they're going to get attention for some months and then they'll totally disappear.
Some will be revered and feature in books such as Martin (Parr) and Gerry's (Badger), but a lot will simply be turned into recycled paper. I can certainly see that happening. I think the role of the book has also changed in that, certainly with younger photographers they don't see it in terms of longevity that I was talking about before. They do see it as something which is almost a calling card, something that they'll work on for frequently a very short time and then move on to something else.
But I still hanker for books which I want to look at in 10 years time. I'm torn between both, really. I do see a value in the quick, the instant, the throwaway, but I wouldn't want to be just doing that.
NFS: But the hybridity of the photobook in the digital landscape means that it can be inherently iterative. It doesn't necessarily have to conclude instead it remains fluid, constantly in motion.
This perspective seems to be something that you are touching upon with 'The Reluctant Father' project?
DL: In a sense 'The Reluctant Father' is 'open' on the Web. We have taken the view that there is a real difference between the experience on screen and the experience of the book. Therefore it's fighting the fear that if you put everything out there in the public arena, then that will mean that no one will buy the physical object.
The website features everything in the book, it's in a slightly different form really to fit the medium. Then it opens up to allow people to comment, to contribute their thoughts and ideas about it. In that sense it has a collaborative element to it.
NFS: Is that a rare thing for a publisher to be open and interested in different approaches?
DL: It is interesting, I would say just about every publishing contract would stop a photographer reusing that work in any extensive way without the publishers permission. For any given book we'd be concerned if the photographer wanted to use a third of it in another book. If they wanted to use half of it on a website, we'd also be concerned. So yes, it is a departure in this way.
NFS: Would you say it is that desire to find new and different ways to do things that motivates you still?
DL: I suppose it's a mix of things. At its base it's probably boredom. It's actually very boring to do the same thing. If you read about or look at various new and different things they often become interesting to you.
I've been looking at doing e-books for round about a year or so, we'll be starting that this year. I've gone full circle on other things. At Cornerhouse I was involved in running galleries then I decided, "No, I don't enjoy that anymore – I want to focus on other things". Now I would rather like to be running a gallery.
NFS: Would you approach that differently now?
DL: I've always started from the basis that the reason I'm publishing photobooks is that I want people to see the work. Essentially, I suppose a democratic approach really.
I've never wanted to produce 100 copies of a book at £1,000 and just have 100 people have access to the work. I'd much rather have lower priced books and more people seeing them. These days it's a balance – there are lower numbers produced for most books but there are more books being produced. It is hard to get out to the audience that we'd like to.
We will produce limited editions and special editions to help finance things but it doesn't really appeal. Again, if I was running a gallery I would want to be doing it to get an audience in, not to sell prints at extremely high prices.
A new Era for the Screen-Based Photobook
NFS: The e-book development will be in addition to the print?
DL: Yes, initially it's relatively straightforward. It will look at our backlist of titles, things that we believe should be available and things that are out of print. But also some new titles that we think will work very well as e-books.
The thing I'm grappling with at the moment is that there's no way that I would expect to pay the equivalent of a physical book price for an e-book. Yet lots of e-books are being sold at these very high prices. I actually want to be able to price them at really quite low figures.
The ideal would be the same pricing as Angry Birds. It would be great if you could do things at 69p. The reality is we're probably going to be able to do things around about the £4.99 mark, something like that, around about £5. But I want to make them accessible. I want people to take a risk on things.
I'll also take the view that as an e-book buyer you don't really want to make a big financial investment in them because again, it's the longevity question. You're not going to be looking at them regularly in the way that you might a physical book. I can't imagine that if I bought an e-book today, that in 20 years' time I'd track it down off a hard drive and look at it again.
NFS: So you could say you see it as the perfect opportunity to capitalise upon the potential of these new ecologies, exploring new narratives and work with a new breed of photographers?
DL: Yes, I think it's all of those things. Firstly it certainly opens up the possibility of doing things with less risk. There are projects which you think are worth doing but the cost of putting them into print is just impossible. There are projects where you feel they need extra layers of information. Of course, the e-book is ideal for that.
That's particularly true when you're looking at reportage-based projects, where you want people to have the opportunity to see those links out from the project to the greater world. The problematic area still seems to me to be those quieter photobooks where essentially it's really about the image. Books that you could compare to poetry I suppose, quiet, calm, where it makes no sense to have external links, where it's about the aesthetics and placement of the image on the page. Those I still can't see how they work as e-books.
NFS: Is there a concern for the traditional print-based photobook in the future though?
DL: No, I think printed books will be around for a long time. It's not that people will stop wanting to buy them.
The problems are going to come because ? will there be enough commercial printing out there? Will the commercial printers be able to survive on reduced numbers, reduced numbers of books being produced, etc.? What will happen to the brochures and catalogues that commercial organisations print now? If they stop printing them, where will the printers get the work which allows them to do the books? It's that end that I think has the problems, not the finding of customers for printed books.
NFS: Recently, publishing has seen some major shifts, disrupting the status quo of power for the publisher and associated gatekeepers in favour of todays informed consumer.
DL: There are major shifts I suppose. Amazon certainly was really important. I can't see that we would still be publishing today if Amazon didn't exist. It's partly because the major book stores who, until very recently, had quite a stranglehold on the whole publishing industry.
They were never really that interested in visual books, they still aren't ? you'll only ever find a very small selection of photobooks.
But what's happened in the last few years is that with the growth of the photobook, you've also had increasing numbers of small outlets, specialist outlets, and specialist online booksellers. Not just Amazon but people, the Photo Book Store in the UK, Beyond Words, a number of people like that who have their own small audiences, their small group of customers but manage to work to very high standards of customer service, who are very well informed about things.
We now sell a lot of books through those smaller suppliers. That's been a big shift. But distribution has always been a problem and it's a problem for any publisher, large or small. We all feel that distribution is not good enough ? but I can't see any resolution to it.
Slow Down, Truly Believe and Experience
NFS: The photobook today increasingly seems to have become part of the process for photography as much as an end product. It would be wrong to say that self-publishing is something that's only happened as a result of the new landscape and its associated tools. But the independent photobook scene with specialist shops and online communities certainly seems to have increased the presence and audience via a combination of both live and digital events.
DL: I know. That's definitely true. The self-publishing route, as you say, is not new. Martin Parr, Paul Graham, many photographers, their first books were self-published. I think the key difference now is that generally the print runs are much lower than they historically were.
But set against that, you can produce a book where you may only sell 400 or 500 copies but you can almost guarantee that considerably more people will know about it. That's through the online networks, people see the book, they'll talk about it. They may not buy it but they're aware of the book, of the photographers work. They'll see reviews about it.
When I started publishing photography, getting reviews of photobooks was almost impossible. There was no online system then. In the UK the national press didn't review any photography books so you were really just down to the handful of magazines. Now there are blog sites, there are just so many ways that you can get information about a book out there. It doesn't mean you'll sell more, but it does mean that people will know about it.
NFS: So how can we best help the upcoming image-maker or people who have that desire to understand, engage and capitalise upon the opportunities for publishing in the new landscape?
DL: I wish I really knew that, I think the key is preparation, even though we're saying, "Yes, it's fine to publish work in progress, to get it out there quickly," but, I think one of the key things to say is to get them to slow down, to actually get them to find a project that they really believe in.
The big problem is that so many feel they've got to do something quickly so they grab at anything, even whether it means something to them or not. You get a sense very quickly from talking to a photographer or looking at their work whether they believe in what they've done.
There are some projects done by young photographers which are extraordinary and have enormous depth, but most tend to be a bit throwaway and really they need to spend time.
I think of photographers like Tom Wood and his book 'All Zones Off Peak' that took 15 years of work. I'm not suggesting photographers wait that long, but I do suggest they take a bit longer in working through a project.
NFS: I remember being in awe of Tom's dedication, but if I remember correctly he also sought to increase engagement through exhibitions as the body of work evolved? Which would seem to mirror the approach of contemporary photographer's such as Rob Hornstra with his 'Sochi' project. Creating an assemblage of experiences through photography and using the Web to amplify that message.
DL: Sure. I think Rob is an interesting example. I think you have to appreciate that he's already a well-established photographer who's done some great projects. With the
'Sochi' project he's feeding out, releasing elements of it over time. That's partly a strategy to help with fundraising and all sorts of things. But I think that's absolutely right, I don't have any problems with that. Photographers have done that for a long time.
I just think the problem really is there's no reason why work can't get out there quickly. There's no reason why a project can't be really very small. Some projects might be six images, photographers shouldn't be afraid of that. They shouldn't try and overblow something that hasn't got substance. But I think the key thing is, it's about finding your subject.
NFS: It is also about working with the form itself, whether it be a book, an exhibition or a website. In each of these strands the photographer needs to consider both the subject matter and the experience as combined elements that will unfold and unravel revealing the narrative of the project.
DL: I think that's a very good point actually, thinking about the format for everything. For me there are too many examples of photographers who are thinking in terms of their book, their website, everything that they do, their exhibitions, in the same way.
I think actually the hardest thing to work on is the Web. The hardest way to present your work interestingly is there. I think that photographers today have to be multi-skilled. They have to be thinking in terms of, not just the images they're taking or why they're taking them, but how they want them then to be used. Often there's not enough thought being given to that.
Culturally Relevant and Critically Stimulated
NFS: A common factor with some of these ideas, seems to be a lack of self-criticism within contemporary photographers, as you're saying, patience…
DL: I think that self-criticism is so central and sometimes so missing. You don't want people to lack confidence in their work, but equally you want them to examine it from every possible perspective and really decide whether or not what they're doing is working.
It goes back to what we were talking about with Francis Hodgson's comments about a cultural context. Sometimes there are younger photographers who are replicating the work of people before them without being aware of it. They can be wasting an awful lot of time and sometimes they need that redirection.
NFS: What stimulates and drives you to plough new avenues in this evolving and new photographic terrain?
DL: Currently they're not so different to what they've always been really. It is trying to see as much work as possible. Then actually trying things out and really working through ideas. It really is a mix of going out to see things and talking to people. The networking thing is so critical, it's essentially the experience of it. It's not about expecting any tangible benefit. I think that's one of the things that I would say to anyone really, that when you approach it simply from what's the benefit for you then it tends not to work.
Again, one of the things, it might be a negative for photographers, but they shouldn't try and work out a commercial project. They should work out a project that they believe in, that's of interest to them and that they feel could sustain that interest for a few years.
But in terms of influences, my influences are very much looking at what other people are producing. I look at Steidl books, Mack books and Here Press at the moment are doing some very interesting things. It's a mix of things like that.
NFS: How is the landscape of the photobook changing? Has there been an impact with the rise of independent publishers like Harry Hardie with Here Press?
DL: The first shift really was 20 years ago, when it became possible for smaller publishers and individuals to get involved in publishing. Once the new digital world came into effect really – then costs came down, the pace changed and all sorts of possibilities opened up. You started to see small publishers. Small publishers do things differently to big mainstream publishers. Our decisions are made by myself and by Caroline. We don't have to present things to a committee that looks at sales, statistics and the rest. Therefore you naturally produce different things as a result.
There are more people doing things. What you do tend to find is that those publishers, like Here Press, currently doing relatively small editions, relatively thin volumes initially, as they evolve, produce bigger and more substantial books over time.
It's very rare that publishers stay at the same level. It's not that one is better than the other, it's basically that they get more ambitious and become financially more stable and are more aware of distribution networks.
NFS: What will this mean for the new generation of image-makers and audiences of photography?
DL: As we touched upon earlier I don't believe the model for the large bookshop chains is sustainable. The market growth of the independent store, following a similar path to the specialist record shops, means there will be a real shift in that retail side of things. There will probably be no more than six or eight specialist photobook shops in the UK. This combined with the dominance of online retailers such as Amazon means that when the likes of Simon Norfolk or Martin Parr bring out a new photobook people are going to buy it – people know what to expect. However, the newcomers' photobook, the first time photographer, is not going to be seen and therefore no one is going to buy it. I fear new work is going to be really marginalised.

subset: commoncrawl


text: Objectives: End-stage renal failure is a growing disease worldwide. The renal replacement therapy of choice is a kidney transplantation. Due to a shortage of suitable kidney grafts, the mean waiting time for a transplantation in the Netherlands is over 3.5 years. During this period morbidity and mortality increase. To reduce the shortage, more vulnerable grafts are transplanted. Machine perfusion (MP) of kidney grafts is used increasingly to improve graft quality. There is growing consensus on the beneficial immunomodulatoiry and anti-inflammatory features of mesenchymal stem cells (MSCs) in organ transplantation. In this study our aim was to gain more insights in the excretion products and detection of fluorescent-labeled MSCs during normothermic machine perfusion of an ischemically damaged porcine kidney. Methods: Two experimental perfusion groups consisted of a kidney with 0 (N=6) or 107 (N=5) MSCs added. In the third group solely 107 MSCs were added to the perfusion circuit in absence of a kidney (N=3). Cytokine release and graft function were measured and compared at multiple time points in every experimental group. Homing and migration of MSCs were analysed in tissue, perfusate and urine by flow-cytometry and fluorescence microscopy. Results: Not-significant trends were found in reduced urine output, lower injury marker AST and more suitable pH-regulation in kidneys exposed to MSCs. MSCs are found to be viable in glomeruli and perfusate during 6 hrs. of NMP. Degraded MCSs may have been found in collecting ducts and urine. Cytokines were detected in all 3 groups, indicating cross-reactivity and excretion through solely NMP-exposure occurred. Significant differences were found in IL-6 and IL-8 excretion. Conclusion: We succeeded in measuring functional parameters, cytokine analysis and detection of MSCs using fluorescence microscopy and flow-cytometry. Using Luminex, insights in excretion profile were obtained. Most findings were not significant, but provide sufficient evidence for conducting further research.


text:
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Profound expertise on optical design and optical system fabrication also allow us to offer advanced solutions when VCSEL-based optical subassemblies are required. We also develop and produce Solid State Lasers and Visible Lasers with a direct frequency doubling with overall conversion efficiency above 20%.


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TAMPA — The Royals set the baseball world ablaze last October with enough flame-throwing relievers to populate a Nuke LaLoosh lookalike contest. This spring, the Yankees will deploy a bullpen replete with guys who light up a radar gun.
The Royals also stood out for fielding a lineup that neither homered nor struck out much. Ned Yost's group hit fewer home runs (95) and struck out fewer times (985) than any other American League team.
But the Yankees are not ready to follow the Royals down that road. If they meet their offensive projections in 2015, they will do so via a familiar route.
"I still believe in the power of the home run," Yankees general manager Brian Cashman said Thursday, before his team took on the Phillies at Steinbrenner Field. And yes, Cashman acknowledged, there often is a correlation between home runs and strikeouts, and that is a trade he is willing to make.
A story in the new issue of Baseball America, by Matt Eddy, points out, in the prior five seasons, the Cardinals (17.5 percent) and Giants (18.4 percent) have struck out the least frequently of all National League clubs. Those happen to be the two teams that have combined to win all of the NL pennants during that time span, with San Francisco reaching (and winning) the World Series in 2010, 2012 and 2014 and the Cardinals prevailing in the 2011 Fall Classic and falling short in 2013.
The thinking goes that teams which make contact possess a better chance of hitting elite pitching — the sort that often emerges in the postseason — than offenses which generally swing for the fences. The last two times the Yankees qualified for the AL Championship Series, 2010 and 2012, they fell short to clubs (the Rangers and the Tigers, respectively) that struck out less frequently.
When the Yankees got swept by the Tigers in the 2012 ALCS, Cashman stood in the visitors' clubhouse at Comerica Park and, looking forward, professed his love for "big, hairy monsters," guys like that year's October stud Raul Ibanez, who hit a lot of homers and struck out a lot, too.
The team hasn't qualified for the playoffs since, and we all know the primary reason: lousy offense. The Yankees went from leading the AL in home runs in 2012, with 245, to finishing 14th in 2013 (144) and back up to seventh last year (147). Their rank in strikeouts rode from eighth-highest (1,176) to seventh (1,214) to 12th (1,133), and last year, the improvement in contact only helped modestly. They placed 11th at .245, compared to .242, 13th place, in 2013.
Was this due to the increase in the shift, particularly against Brian McCann and Mark Teixeira? The overall improvement of pitching? Cashman offered no hypothesis. This past offseason, he said, faced with holes at second base, shortstop and third base, "You play the best guys you can get."
Added Cashman: "You try to improve individually on what you have. To say, 'Let's try to get contact guys,' that's so broad and general."
So at third base, the Yankees re-signed Chase Headley, who struck out 122 times in 470 at-bats last year.
And they brought back Stephen Drew, who whiffed 75 times in 271 at-bats last year, to play second base. At shortstop, they traded for Didi Gregorius, who fanned 52 times in 270 major league at-bats last year.
New hitting coach Jeff Pentland is working with Gregorius to cut down on his strikeouts, and the Yankees keep their fingers crossed that Drew's awful 2014 will be an aberration. They will take Headley's approach and accept the power and walks that come with it, and the same goes for the Yankees' hopes that Teixeira and Carlos Beltran will more resemble their old selves.
Keep in mind, too, that the Royals play their home games in pitcher-friendly Kauffman Stadium, while Yankee Stadium's right-field porch couldn't be more inviting. And that the 89-73 Royals won just five more games than the 84-78 Yankees did last year before surging in October.
At this juncture, faced with the possibility of a third straight failed campaign, the Yankees will try to ride their old formula back to the postseason and worry about the postseason, and its accompanying trend lines, if they're fortunate enough to get back there.


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2017 � allhairysluts.com. All Right Reserved. All models are over 18 y.o.


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Mechanical Engineering
Master (2 years) of Science in Mechanical Engineering, 120 ECTSEngineering
|Aarhus University (AU)
|Aarhus University School of Engineering
|2 years
|Tuition per term (Non-EU/EAA/CH)
|Tuition per term (EU/EAA/CH)
DescriptionHow do you design the blades of a wind turbine? How do you calculate the lifetime of a computer chip or a fuel cell? How do you analyse the dynamics of a racing car? These are just some of the questions you may be exploring on the MSc in Mechanical Engineering programme.
The programme provides students with the opportunity to apply theory to practical issues, with scope for interdisciplinary collaboration. You will gain a sound understanding of advanced calculation methodologies, such as the finite element method (FEM) and multidisciplinary simulation tools. You will study topics such as computational fluid dynamics (CFD), structural dynamics and modal analysis, and fracture mechanics and fatigue. The basis for these competencies includes continuum mechanics, elasticity theory and plasticity theory.
Career OpportunitiesGraduates from the Mechanical Engineering programme are currently working in a wide range of fields – from basic engineering or science research in joint projects with research institutes and the industrial sector, to R&D projects in industry. Many have moved into careers within R&D departments in industrial enterprises, while some have undertaken PhDs in Denmark or abroad.
About the DegreeThe first and second semester include a number of compulsory courses and elective course packages within the specialisations of applied mechanics, materials engineering, therm-fluid engineering and robot systems. The third semester includes elective courses, as well as a project that can be undertaken in collaboration with a company and/or a research group. As a student on the degree programme, you will be offered semi-annual student development interviews, in which you can discuss topics such as requests and plans regarding choice of courses, as well as choosing subjects from other departments at Aarhus University.
The Department of Engineering has a number of social spaces for meeting other students outside class, and these are an excellent basis for social activities. There is an engineering club for staff and students through which students can network with like-minded people. As in all departments, there is a popular Friday bar, and the Tågekammeret association organises celebrations and social events for all science and technology students across departments.
AdmissionTo find out more about admission to the MSc in Mechanical Engineering please visit the programme's website.
In addition, documentation may be required verifying that your proficiency in English is at a specified level.
Read about the language requirements of Aarhus University
Apply directly at Aarhus University with all relevant documentation.
To find out whether the level of your foreign certificate or diploma satisfies the general entry requirements, you should contact Aarhus University directly. A list of the most commonly recognized exams and diplomas can be found at the Danish Agency for Higher Education → http://en.fivu.dk/recognition
TuitionPlease read more about tuition fee here → http://kandidat.au.dk/en/admission/tuitionfees/
For Further InformationInformation from the Danish Agency for Higher Education can be located at http://en.fivu.dk/
You will find information about the Danish assessment of foreign qualifications in Guide to diploma recognition
About the Educational System in general visit the section The Danish Higher Education System


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The USC and Penn State football teams visited Disney California Adventure Tuesday, beginning a series of activities leading up to Monday's 103rd Rose Bowl Game.
The Disneyland Resort visit by the Rose Bowl Game teams continues a tradition begun in 1959, four years after Disneyland Park opened.
Among the USC players who participated were offensive tackle Zach Banner, quarterback Sam Darnold, defensive back Adoree' Jackson and wide receiver JuJu Smith-Schuster. Penn State players who made the trip included linebacker Koa Farmer, wide receiver Chris Godwin, defensive end Garrett Sickels and center Brian Gaia.
Players from both teams danced aboard Luigi's Rollickin' Roadsters and enjoyed the Radiator Springs Racers attraction in Cars Land.
The Nittany Lions will participate in Lawry's Beef Bowl on Wednesday, one day before the Trojans.
Both teams will be appearing in the Rose Bowl Game for the first time since 2009, when USC defeated Penn State, 38-24.
The game is sold out. However, ticket packages are available through PrimeSport, the game's official fan-to-fan ticket exchange, hospitality & corporate travel partner, Karen Linhart, the Rose Bowl Game's media director, told City News Service.
The Nittany Lions (11-2) received their Rose Bowl Game berth by defeating Wisconsin, 38-31, in the Big Ten championship game Dec. 3, rallying from a 28-7 first-half deficit.
Penn State missed the opportunity to play in the four-team College Football Playoff as the school finished fifth in the final rankings.
"Our team is blessed to have gotten either one" Nittany Lions linebacker Farmer, who was raised in Lake View Terrace, said in a recent interview on "Voices of the Game with Newy Scruggs" on NBC Sports Radio.
"It was a win-win situation for us, especially for me. Playing Alabama in the College Football Playoff is a once in a lifetime opportunity. Playing in the Rose Bowl in my home town is a once in a lifetime opportunity as well."
With Pac-12 Conference champion Washington being selected for the College Football Playoff rankings, the Tournament of Roses was forced to select a replacement from the conference.
While the tournament traditionally selects the next-highest ranked team from the conference, it is not obligated to do so, according to Rose Bowl Management Committee Chair Scott Jenkins.
At ninth, the Trojans were the next highest-ranked Pac-12 team, one spot ahead of Colorado which won the Pac-10 South Division and had a 10-3 record to USC's 9-3 mark. The Trojans defeated the Buffaloes 21-17 on Oct. 8.
USC has won eight consecutive games after a 1-3 start. Penn State has won nine consecutive games after a 2-2 start.
The game is being played on Jan. 2 because of the Tournament of Roses' "Never on Sunday" policy, which began with the Rose Parade, then extended to the football game.
Officials decided to move the 1893 Rose Parade to Monday, Jan. 2 to avoid frightening horses tethered outside of local churches, which would interfere with Sunday services, according to the tournament's website.
In 1922, the first time New Year's Day fell on a Sunday when a Rose Bowl Game would have been played, it was moved to Monday.
This will be the 14th time the Rose Bowl Game will be played on a Jan. 2 and first since 2012.
—City News Service
>> Want to read more stories like this? Get our Free Daily Newsletters Here!Follow us:


text:
IDS World Markets Tues 3rd March 09
Started by aussiebear, Mar 02 2009 07:53 PM
354 replies to this topic
Posted 02 March 2009 - 07:53 PM
Posted 02 March 2009 - 07:54 PM
Energy futures
Posted 02 March 2009 - 07:58 PM
Another hefty down day. All Ords -2.2% with REITS leading the selling, -4.8%, Gold -4.3% and Utilities -3%. There's a couple of greens, Healthcare +1% and IT +0.1%.
Posted 02 March 2009 - 11:07 PM
Australia�s Retail Sales Unexpectedly Increase 0.2%
March 3 (Bloomberg) -- Australian retail sales unexpectedly rose in January as households spent more on food and clothing after the central bank cut interest rates and the government gave cash handouts to families.
Retail sales, seasonally adjusted, advanced 0.2 percent from December, when they climbed 3.8 percent, the most in eight years, the Bureau of Statistics said in Sydney today. The median forecast of 19 economists surveyed by Bloomberg News was for a 0.5 percent drop.
Posted 02 March 2009 - 11:14 PM
Empty Containers Clog South Korea�s Busan Port as Trade Slumps
March 3 (Bloomberg) -- South Korea�s biggest port is running out of room to store shipping containers, said Park Jung Ho, an official at one of Busan�s nine operators. The bigger concern is that the boxes are almost all empty.
Container trade at Busan, the world�s fifth-largest port, has fallen about 40 percent in recent months, said Park, at Busan International Terminal Co. Even by stacking boxes five deep and leasing a nearby lot, he barely has room for the 31,700 containers that have piled up on his wharves.
Mitsui O.S.K. Halts Iron-Ore Ship Orders on Demand
March 3 (Bloomberg) -- Mitsui O.S.K. Lines Ltd., the world�s largest operator of iron-ore vessels, halted new orders for the ships as demand for steel drops.
The company is scrapping up to seven iron-ore carriers and may not renew long-term charter contracts, Masafumi Yasuoka, a senior executive officer at the shipping line, said in an interview in Tokyo yesterday.
Posted 02 March 2009 - 11:57 PM
I rent out a couple of spare rooms in my house not buildings per se but, yes there are loads of rentals available at the moment. No probs from my end as incoming workers are not keen to lock themselves into leases for one reason or another so rooms are still in demand. I've got a couple of Gen Ys at the moment; one is a Kiwi, motivated, works hard and saves his money but the other one is clueless...
A recent conversation with the latter ran something like this:
Wayde: I've got a headache so I don't think I'll go to work today...
AB: So take a painkiller, you can't afford to skip any more work days. There's
a recession coming you know....
Wayde: What does that mean?
AB: It means that jobs will become scarce and others will be only too keen to step
into your shoes should your employer tire of your unreliability...
Wayde: Nah, they'd have to train someone else...
AB: Trust me, Wayde, a shelf filler in a supermarket does not need a lot
of training....
Posted 03 March 2009 - 12:02 AM
If your portfolio has you feeling irregular, for fast, long lasting relief, take a subscribatory. And support your local Stool!
Posted 03 March 2009 - 01:27 AM
and so it goes
Posted 03 March 2009 - 02:57 AM
the calendar i use ends every 365 days or so, after which a new age begins and lasts about as long.
it's all purdy crazy, i know.
Long UFB.
Posted 03 March 2009 - 04:16 AM
and happy new revolution around the burning orb, jimi.
('scuse me while i kiss the sky.)
Long UFB.
Posted 03 March 2009 - 04:22 AM
It would not suprise me to see the girliebulls fill Ms. Russell's gap at 383-390.
After that, there's overhead resistance at 395 from the 7 day EMA and the top of the down channel.
If the girliebulls get to 395, think Ms. Russell has a surprise for them.
"Americans can always be counted on to do the right thing...after they have exhausted all other possibilities."
"You can fool some of the people all of the time."
"I believe that banking institutions are more dangerous to our liberties than standing armies. If the American people ever allow private banks to control the issue of their currency, first by inflation, then by deflation, the banks and corporations that will grow up around the banks will deprive the people of all property until their children wake-up homeless on the continent their fathers conquered."
Posted 03 March 2009 - 04:30 AM
Buyers came in after the initial fall but overall the action was fairly weak. All Ords finished -1% with the majority of sectors down to some degree.
Gold slid the most, -5.6% followed by Miners -3% and Materials -2.9%. At the other end, REITS did a bounce, +2.7% and Healthcare closed +1%.
The big miners were both down, BHP -2.4% and RIO -0.5% but it was the golds that took the brunt: Newcrest -5.9%, Newmont -6.9% and Lihir -5.7%.
Oils were reasonably stable: Woodside -0.1%, Santos -1.7% and Caltex +4%.
Asia mixed: China -1.1%, Honkers -2.3%, India +0.2% and Nikkers -0.7%.
Over to UK/Europe:
Posted 03 March 2009 - 04:38 AM
Australia Leaves Rate at 3.25% After Recent Cuts
March 3 (Bloomberg) -- Australia�s central bank left its benchmark interest rate unchanged for the first time in seven months, saying the lowest borrowing costs in four decades and government spending are supporting the economy.
The nation�s currency surged after Governor Glenn Stevens kept the overnight cash rate target at 3.25 percent in Sydney today. Only four of 18 economists surveyed by Bloomberg forecast the decision. The rest tipped at least a quarter-point cut.
Australian Current Account Deficit Narrows on Exports
March 3 (Bloomberg) -- Australia�s current-account deficit narrowed in the three months through December as the value of coal exports surged by almost a third. Shipments of raw materials to countries including China are supporting Australia�s economy as a global recession deepens and consumers cut spending on imported goods.
�This may be the last contribution from exports,� said Su-Lin Ong, senior economist at RBC Capital Markets Ltd. in Sydney. �It reflects the lagged effects of previous coal and iron-ore contracts.�
Today�s report suggests Australia�s fourth-quarter GDP may be positive, which �is going to look very resilient against all the major economies,� Ong added.
Posted 03 March 2009 - 04:47 AM
Provident Financial�s Profit Rises on Loan Demand
March 3 (Bloomberg) -- Provident Financial Plc, the 129- year-old lender to low-income households, said 2008 profit rose 14 percent as the U.K. entered recession, increasing demand for loans marketed by door-to-door salesmen.
Provident, the best-performing lender in the 249-member FTSE ASX Financials Index in 2008, has gained customers as high street banks, including Barclays Plc and Lloyds Banking Group Plc, tightened their lending criteria. The lender expects to weather the U.K.�s worst recession since 1980 because half of its 1.7 million customers are on some form of state benefit.
Posted 03 March 2009 - 05:54 AM
ES did lotsa work tonight in the 710-715 area, and formed what looks like a double-top.
So... short again from an average of 713.75. Hoping to pick up 20 points or so.
Europe started off green and is now drifting flat -- we may see something similar here tomorrow morning. I don't think this wave is quite complete yet... not sure if we head up or down first, but at some point soon we'll prolly see a bounce up to around 715 (although the futures may have been it tonight), then we'll head back down and finish off this wave around 675. THEN we should get one last good tradeable bounce (to 780ish?) before we head lower again (580 is my working target at the moment) and finally bottom.
That's my best guess anyway. Not sure though, 'cause the minuette count is somewhat hazy here, as is my brain (or what's left of it) -- I need sleep.
In honor of the times, back to the 2008 signature:
"When Black Friday comes, I'll stand down by the door,
And catch the grey men when they dive from the fourteenth floor,
When Black Friday comes, I'll collect everything I'm owed,
And before my friends find out I'll be on the road,
When Black Friday falls
you know it's got to be...
Don't let it fall on me." - Steely Dan, Black Friday
a subscribatory!
The Daily Stool - Stock Market Message Board


text:
'Shock' change at HSBC
Michael Geoghegan is to step down as chief executive of HSBC by the end of the year, according to sources close to the bank's board. Clashes at the top of the bank, described as out of character by bankers, followed the resignation of chairman Stephen Green two week ago. Patrick Jenkins, banking editor, discusses an unsettling moment for investors with Seb Morton-Clark.


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Frequently Asked Questions
How do I book a reservation?
First call or email (email@example.com) our office to check if a spot is available on the trip you've chosen. We request a 50% deposit to confirm the reservation. Once we receive the deposit we'll mail you a receipt. You may make payments in the form of personal checks, money orders, or cash to receive the cash-discounted trip prices listed on our schedule; we accept credit cards (Visa, MasterCard) at a 3% higher price.
To speed the check-in process, the balance of your trip should be paid one week prior to departure.
Mailing Address:
Vagabond Sportfishing
1403 Scott Street
San Diego, CA 92106
Please put the trip # on the memo line of your check. Make sure you include all names, addresses w/ phone #, birthdates, passport # and expiration date of ALL passengers in your party.
What is the cancellation policy?
If we receive your cancellation at least 180 days prior to departure, we will refund your deposit. After that, your deposit is non-refundable because we have lost other possible bookings for that spot in that period.
Do I need a passport?
We require passports or passport cards on all trips. You must bring your passport or passport card (you must use one or the other) to check in and it must be with you on the boat.
We must have your passport information to complete your reservation for manifest purposes. We will need full name (as on the passport/passport card), passport/passport card number, expiration date, and date of birth. You can fill out our passport form (available here) or call/email the information to our office.
What is the Mexican fishing permit fee? If I already have a Mexican fishing license can I use that?
The Mexican fishing permit fee is applied to all sportfishing boats that fish Mexican waters. We must purchase a permit for each passenger for each day of fishing on the boat (to be filled in with the passenger's name and city). The permit price varies according to the Mexican officials but it is included on the balance on your receipt.
The Mexican fishing licenses that you can purchase at Fisherman's Landing for $53.00 is only applicable on trips of less than 3 days. Those are mainly for private boats.
What gear do I bring?
Please see our comprehensive Suggested Tackle Recommendations on the website. You must bring a photo I.D. to board the boat and it will be verified. Trips of 5 days or longer require a passport. You must provide your passport number and expiration date prior to departure.
What if I don't have rods or reels?
The Vagabond loans, excellent quality rod and reel setups @ $10 per outfit. Please let us know upon check-in that you would like some put on the boat for you.
What else do I need to bring on the boat?
All meals and snacks are included in your trip cost. Additional beverages are available and not included in the trip cost. Our staterooms are comfortably equipped with sheets, pillow, and blanket and most have a sink and a vanity. Please bring your own toiletries and towels. Cash for tips for the crew are traditionally given to the captain on the way back into the dock and generally run approximately 15% of the trip price.
I'm at the dock, now what do I do?
Parking is available at the Point Loma Sportfishing Landing at a cost of $8.00 per day. However, parking can be full and the lot attendant can direct you to alternate lots.
When you arrive please check in at the Vagabond office upstairs at the middle landing, Point Loma Sportfishing. At this time you'll receive your stateroom assignment and your tag number. The tags with your number at applied to your fish and the number is also your rod rack assignment. Each passenger has 3 rod rack spots and add'l rods may be placed toward the bow of the boat. Please let us know if you need loaner rods at this time.
Once the boat has been cleared for boarding, you may load your rods into the assigned racks and place your tackle boxes on the tackle box racks on either side of the galley doors. Your staterooms are also available at this time.
What can I do with all the fish I catch?
Your catch will arrive back at the dock, Fresh and whole, however, we do feature RSW and are able to provide you with fresh fish. Various excellent fish processors will be there to meet the boat. Please check their websites for pricing. Five-Star Processing, Sportsmen's Seafood (Mario), Fisherman's Processing,www.fishermanscanning.com.
If I need to find lodging near the boat, where do I go?
Lodging close by the Vagabond
Comfort Inn at the Harbor 5102 N. Harbor Dr. San Diego, CA 92106 (619) 223-8171
Holiday Inn San Diego Bayside 4875 North Harbor Drive San Diego, CA 92106 (619) 224-3621
Vagabond Inn San Diego– Point Loma 1325 Scott Street San Diego, CA 92106 (619) 224-3371
Ramada Inn Limited 1403 Rosecrans St. San Diego, CA, 92106 (619) 225-9461
Best Western 5005 N Harbor Drive San Diego, California, 92106-2307 (619) 224-3254


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Parents urged to watch children as Riverton fire continues
As the fire at the Riverton City landfill in St Andrew continues to burn for a third day, a senior health official is this evening urging parents and guardians to pay special attention to young children especially those with respiratory illnesses.
Acting Chief Medical Officer Dr Marion Bullock DuCasse is also appealing to persons who suffer from asthma and other respiratory illnesses to use a clean damp rag to cover their mouth and nose in order to protect themselves from inhalation of dust particles from the fire.
Dr DuCasse says children should be kept indoors as much as possible and that windows and doors should be kept closed to prevent exposure to the smoke and dust that have engulfed much of the Corporate Area and parts of St Catherine.
She says persons with chronic respiratory illnesses or recent respiratory infections should not participate in any outdoor activity in affected areas.
And the health ministry says a number of health centres in the Corporate Area will be opened tomorrow to continue treating persons affected by the smoke.
Among them are the Maxfield Park, Glen Vincent and Edna Manley health centres, in St Andrew and the St Jago Park Health Centre in St Catherine.


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Classroom in the Corn
It's fun, farm fresh and easy for you to plan.
Classroom in the Corn curriculum packages are available for you to download. (please see below)
Teaching Resources
Hands-on learning experiences are always best when students have been prepared for what they are about to encounter and are able to then discuss what they learned afterwards.
We are pleased to offer our Classroom in the Corn learning series to make your field trip more exciting and memorable ... as well as a better learning experience.
These Teacher Resource Guides are broken into separate grade ranges and each include: activity goals, National Curriculum Standards, preparation required, materials needed, worksheets, and step-by-step instructions.
Resource Samples:
Youth Organizations Welcome to Register & Participate:
The Applestem Corn Maze makes for a great field trip opportunity. We provide recreational and educational experiences for your students! We invite you to bring your kids to get lost in our classroom in the maze.
Registrations for a school field trip or a school organization is required to participate. To discuss how we can meet the needs of your school or organization, call 406-965-3581
Copyright © 2018 All rights reserved. Website by Paper Moon Marketing


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Now I Lay Me Down To Sleep (NILMDTS) is a 501(C) 3 non-profit volunteer organization that assists families suffering an early infant loss with the gift of free professional portraiture. These services are available for infant loss as early as 25 weeks gestation, or at the discretion of medical personnel. Parents of critically ill or stillborn babies NILMDTS volunteer photographers, who then provide them with beautiful, heirloom portraits of their precious angel.
Visit their Website: http://www.nilmdts.org
Recently completed my on-line training and attended a training workshop in Winston-Salem, NC, getting first hand insight into what it means to be a NILMDTS Affiliated Photographer.
"these images that we create forge a precious link between parent, and child, giving them a tangible memory to cheerish. I am truly honored to chronicle those brief, final moments and assist grieving families through this difficult time"
Co-founder Sandy Puc'


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Communication Tool
Resource Properties
This four-page illustrated handout is a communication tool that health care providers can give to patients to help them express pain level, health conditions, and requests to staff. It combines the 0 to 10 scale with the Wong-Baker FACES Pain Rating Scale to help patients with limited English proficiency express their level of pain. It contains illustrations with corresponding descriptions of health conditions such as chest pain or nausea, and includes illustrations communicating requests for food and water, bathroom, and other needs. The document uses images and simple text to identify objects and persons, mark time, and make basic requests.
Unless otherwise stated, users may print or download this health information resource from www.healthinfotranslations.org for personal, non-commercial use only. All images, logos, trademarks and all other applicable elements are copyright of their respective owners: the Ohio State University Wexner Medical Center, Mount Carmel Health System, OhioHealth, and Nationwide Children's Hospital.
The English language resource was created or reviewed by a medical professional for quality and accuracy.
A qualified translation company performed an independent review by a second translator, and a client advocate.


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FAQ - Treatments
What is the minimum duration of treatment?
Ans: The minimum duration is 15-28 days.
Is there any admission time and discharge time?
Ans: The admission time is 12 Noon to 3 P.M. The discharge time is every day after 10 A.M.
What is the approximate cost for treatment?
Ans: The cost of treatment and medicine per day is INR 2300.00 approximately. But it may vary according to the condition of the disease and also based on diagnosis. This is excluding the room rent.
What do I need to bring?
Ans: (A). Your latest medical reports.
(B). All allopathic medicines at present you are taking.
(C). During your stay you can use casual wears , pyjamas, sarees etc.
(D). Warm clothing and Blankets.
(E). Comfortable foot wear and clothing for yoga.
(F). Flasks, glass and Plates for personal use.
How can I reach Vaidyaratnam Nursing Home? Do you have any Travel assistance?
Ans: (A). By Air : The nearest air port is Cochin International Air Port(COK) which is 50 Km from Vaidyaratnam Nursing Home and it will take only 50 Minutes travel by car/Pre-paid taxi available at Airport
(B). By Rail : The nearest rail way station Trichur (Thrissur) is 12 Km from Vaidyaratnam Nursing Home and it will take only 20 Minutes drive by car/Three wheeler.
(C). As per your request we will arrange pick ups and drops. Call taxi facility is also available.
Is it required to make any advance payment before admission? How can I make the payments?
Ans: (A). We accept the advance at the time of admission only.
(B). We accept cash.
(C). Demand Draft (In favor of Vaidyaratnam Nursing Home payable at Thrissur)
(D). Credit cards (Visa / Master) (Bank Charges will be extra).
(E). Will arrange foreign currency exchange facility at our front office.
What are the payment conditions?
Ans: (A). Advance payment at the time of admission. No advance at the time of booking.
(B). Final Settlement at the time of discharge. We will not accept Cheque.
Is there any particular diet during the treatment period?
Ans: (A). Yes, For the better result of treatment, we insist vegetarian food only supplied from the pure vegetarian canteen as per the direction of the doctor.
(B). According to your illness we will decide food items. Generally, it is less spicy and oily.
(C). Uncooked and unboiled items, citric fruits, curd, cold items are not generally allowed.
(D). Fruits – Apple, Pomegranate & boiled Banana are allowed.
What kind of accommodation do you have ?
Ans: We have Executive Cottage, A/c Cottages, Suite Room, Executive Room, Standard Rom, A/c Deluxe Rooms, A/c rooms, Panoramic View Rooms, Ordinary Rooms and also General wards (female / Male separate).
Are you advising to take follow up medicines?
Ans: At the time of discharge internal medicines and external applications are advised for minimum two more months and after review further advice is given.
Is it possible to review my condition after leaving Vaidyaratnam Nursing Home?
Ans: (A).Communicate through E-mail: firstname.lastname@example.com (Refer your Discharge date and IP No./MRD No.).
(B). Contact over telephone (Ph No +91 487 2432832, refer yourIP No./MRD No. and contact the floor Doctor)
(C). Personally visit the Doctor (Prior booking is necessary. Carry your prescriptions and discharge paper)
(D). Contact our treatment centers : See Branch Details
How we get the follow up medicines after treatment?
Ans: (A). You can purchase medicines form Vaidyaratnam Oushadhashala's (sister concern of Vaidyaratnam Nursing Home) Branches (see branch's lists) more than 1200 out lets all over India and over seas.
(B). By VPP and Courier service.
(C). You can purchase medicines at the time of discharge form Vaidyaratnam Nursing Home.
How can non Indian residents get the follow up medicines?
Ans: (A). Send your requests for medicine to email@example.com according to Doctors prescription.
(B). Don't forget to quote the duration or exact quantity of medicine.
(C). Make payments through our Axis bank A/c number 046010200009232, of Vaidyaratnam Nursing Home or you can deposit money at our office at the time of discharge.
(D). After receiving payment we will send you medicines within 1 working day.
(E). We will e-mail you the courier track No:
(F). Responsibility to comply with Govt. rules and regulations of destination land for getting clearance is yours. We will provide all supporting documents.
Shall we do the yoga during the panchakarma treatment? And is there any facility for yoga, prayer etc.?
Ans: Normally there is no restriction. However.
(A). Consult with the floor Doctor before starting any exercise and follow the directions of Doctor for better result of panchakarma treatment.
(B). Facilities are available for yoga & prayers
Basic facility in Vaidyaratam Nursing Home.
Ans: (A). 24 x 7 Medical team.
(B). 24 x 7 Reception, Security staff.
(C). All rooms have Cable TV, Telephone. Rooms are bath attached.
(D). Library, Veg. restaurant and Laundry services
(E). Internet browsing and Wi-Fi connection.
How to contact the Vaidyaratnam Nursing Home.? Whom to contact for reservation and other assistance?
Ans: (A). Telephone:+91 487 2432832 - Reservation
(B). Email: email@example.com
(C). website: www.vaidyaratnammooss.com
(D). Ashtavaidyan Thaikkattu Mooss
Vaidyaratnam Nursing Home
India PIN 680 322
Where can I meet Vaidyaratnam Nursing home physicians or Branch physicians? And how can I meet?
Ans: (A). Any day you can meet Vaidyaratnam Nursing home physicians at our Out Patient department between 11 Hrs -14Hrs on all days. To meet the chief Physicians prior appointment is required..
(B). Branch address and Ph No (See Branch Details)
(C). Bangalore treatment centre.
(D). Phone: +91 80 41507333, 41104359
(E). Email: firstname.lastname@example.com, email@example.com
(F). Mumbai Treatment Centre
(G). Phone: 02225290203
(H). Email: firstname.lastname@example.com, firstname.lastname@example.com
Do you have any publications or books?
Ans: (A). Quarterly medical journal on ayurveda " Thaikkattu Mooss Vaidyaratnam News"
(B). Chinthamanjary, a brief biography of Late Ashtavaidyan Thaikkattu E. T.Neelakadhan Mooss.
Do you have any wellness programs?
Ans: We are promoting curative treatments mainly. Please talk to a Physician(Ph:91487-2353610) for further doubts.
What do you mean by Ashtavaidya family?
Ans: Ashtavaidya's of Kerala were innovative physicians who had mastered all the eight branches of Ayurveda. The Eledath Thaikkttu family has reputation as the most elite and brilliant among the handful of Ashtavaidya families and have a lineage in Ayurveda that can be traced back to the days of sage Parasurama.(Hindu God)
What makes Vaidyaratnam Nursing Home different from spas, wellness centres, other healing centers and resorts around the world?
Ans: Traditional Ayurvedic treatments are conducted with well qualified and efficient Doctors, with the assistance of well qualified and experienced therapists under the direct guidance of none other than Ashtavaidyan E .T. Narayanan Mooss. Special care is taken by doctors to ensure that procedures followed are as per the instructions laid down in the ancient literature. Yoga & physiotherapy are also included in the treatment according to the nature of cases.
What else makes Vaidyaratnam Nursing Home unique?
Ans: (A). We are a model for ayurveda living, providing you traditional ayurveda treatment and taking care of curative cases only.
(B). The landscaped gardens include ayurveda and herbal plants.
(C). Our Eco-friendly approach makes use of solar water heating systems. We offer tobacco and smoke free zone and pure veg. restaurant.
(D). We have 'NABH' Certification.
Are there any restrictions during an Ayurvedic treatment?
Ans: (A). During an Ayurvedic protocol, in terms of exercise, one cannot indulge in jogging, brisk walking, and swimming sport or any kind of strenuous work. You can take a walk in our campus before 8 hrs and after 17 hrs only. Yogic breathing, Meditation and relaxation techniques are advised under the supervision of yoga instructor.
(B). It is good to indulge in light reading only to give rest to the eyes. Listening to the soothing music will allow your body to absorb the effects of treatments.
Are Ayurveda medicines safe?
Ans: Yes, when prescribed appropriately by qualified doctors. All Ayurveda medicines are made from natural sources All medicine compositions are referred from the text of Ashtangahrudhaya and all our medicine manufacturing factories are certified by GMP (good manufacturing practice) and ISO 9001-2008.
How early to do reservation/booking ?
Ans:Preferably 2-3 months in advance for stay in all category of rooms.
What kind of food do you serve?
Ans: We serve vegetarian food only. It is low fat, low salt and less spicy. Guests on a medical programme will be put on a custom diet.
I would like to travel in India while I am there. What do you recommend?
Ans: (A). Best recommend that you finish your India travel first and then stay at Vaidyaratnam Nursing Home as you can go home all recharged with health.
(B). If that is not possible, finish Vaidyaratnam Nursing Home treatment first and take the rest of your India trip.
(C). You are not allowed any short trips or to go outside the premises while staying at Vaidyaratnam Nursing Home.


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Homeschoolers' Support Association Membership
HSA is a local non-profit organization dedicated to supporting homeschooling families of all philosophical persuasions. Our goal is to provide opportunities, education and activities for families who are currently homeschooling or interested in beginning homeschooling.
You are welcome to attend meetings and outings with any chapter. Please choose one chapter as your main group, so that a portion of your membership dues can be allocated to your chapter to fund group activities. The other funds are used for HSA-wide programs that are open to all HSA members. The membership fees are $25 per family for one year which is renewed on an annual basis.
**** Questions??? Click Here! ****
Join by PayPal
Follow these three easy steps to join:
- Click on the PayPal button below for either a 1 year membership ($25) or for a 3 year membership ($65) at a savings of $10. This will take you to the PayPal transaction site where you can complete the payment. Be sure to select "Return to Homeschoolers Support Association" when finished with PayPal.
- Fill out the form page which you are directed to after the payment is completed. It is important that you fill out and submit the information before your connection to the HSA-Loop Yahoo group can be established.
- Congratulations, you are now a member. You will receive an email within several weeks requesting you to join the HSA-Loop. Once you accept the request, you will be able to send and receive emails on the HSA-Loop.
Join by Mail
If you do not have a PayPal account, you can still join. Just print out the membership form below, fill it out, and send it to the address on the form with the $25 membership fee.
You will receive an email within three-four weeks requesting you to join the HSA-Loop. Once you accept the request, you will be able to send and receive emails on the HSA-Loop.
**************************** Additional Information ****************************
Check out the Chapter pages and Contact page to find out how to meet up with us so you can learn more about us. We look forward to spending time getting to know you and your family and encouraging one another in our homeschooling journey.
If you have any difficulties with PayPal or the membership form, please contact our membership coordinator at the following phone number or email address:
- Jennifer Dean at firstname.lastname@example.com or 425-761-3211
We wish you all the best in your homeschooling experience.


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The importance of healthy feet and ankles
You may not think much about your feet and ankles, until there's a problem. Then, the importance of pain-free mobility becomes crystal clear. That's why we believe in giving you more…more doctors, more options, more flexibility and more one-on-one time. All so you can get back to doing more of the things you enjoy.
Center of Excellence
More than simply a group of physicians working under the same name, the Foot & Ankle Center of Excellence is a comprehensive team of medical professionals who are dedicated to providing exceptional care. Every one of our skilled physicians is highly-trained, responsive to your needs and committed to surpassing expectations.
Leading-Edge Treatment Options Including
Total Ankle Replacement
The Foot & Ankle Center of Excellence offers a wide array of treatment options. We use the latest medical advancements, proven methods, leading-edge therapies and innovative surgical techniques, including total ankle replacement surgery.
Giving you more
More Options. We believe there are more options than quickly jumping into surgery. We begin each case with a more robust offering, including non-invasive treatment options and rehabilitation methods.
More Flexibility. Because of the varied and extensive experience of our team, we're able to provide greater flexibility in treatment options for all types of conditions.
More One-on-One Time. All our physicians are committed to spending more time with their patients. Your physician, not a stand in, cares for you at every step through your treatment.
More Mobility. Regardless of the issues you're facing, our goal is always helping you maintain the highest level of pain-free mobility possible. So you can do more of the things you love.
Foot & Ankle Conditions
- Ankle Replacement
- Fractures
- Trauma
- Bunions
- Hammertoes
- Flat Feet
- Arthritis
- Diabetic Foot Complications


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Electrical and Electronics Retailing in Russia – Market Summary & Forecasts; Comprehensive overview of the market, consumer, and competitive context, with retail sales value and forecasts to 2019
"Electrical and Electronics Retailing in Russia – Market Summary & Forecasts" report provides a detailed analysis of retail sales from 2009 to 2019 across key channels in Russia.
Key Findings
Economic downturn impacts the growth of retailing in Russia
Weak economic scenario to impact sales of electronic appliances
Sales through online channel expected to witness robust growth
Medley of factors weaken consumer spending on retail
"Electrical and Electronics Retailing in Russia – Market Summary
& Forecasts" is a detailed sector report providing a comprehensive analysis of the emerging trends, forecasts and opportunities to 2019.
It contains:
A thorough analysis of consumer trends changing economic and population factors
Both qualitative and quantitative insights and analysis of the shifting electrical and electronics retail dynamics for communication equipment, computer hardware and software, consumer electronics, household appliances, photographic equipment from 2009 to 2019
The report further covers the sales of electrical and electronics products through the following channels from 2009 to 2019: Electrical and electronics specialists; Online; Hypermarkets, supermarkets and hard-discounters; Music, video, book, stationery and entertainment software specialists; Value, variety stores and general merchandise retailers; Department stores; Home improvement and gardening supplies retailers; Cash and carries and warehouse clubs; Other specialist retailers; Other general and non-specialist direct retailers; Convenience Stores (including Independents) and Gas Stations; Drug stores and health and beauty stores; Duty free retailers
An overview of key electrical and electronics retailers operating across the product segment and their presence across channels
Reasons To Buy
Get immediate access to:
Russia electrical and electronics market performance across key channels – accurate, reliable data for companies already operating in and those wishing to enter the market
Performance of individual product categories, across key channels from 2009, with forecasts until 2019 – pinpoint the fastest growing categories in a market witnessing robust growth
Vital economic and population trends, key consumer and technology trends influencing the retail market –explore novel opportunities that allow you to align your product offerings and strategies to meet demand
Critical insights into Russia shoppers - what stores do shoppers prefer? Have the right insights to beat off the competition by effectively promoting to lucrative market segments
Analysis of key international and domestic players operating in the electrical and electronics market – including store counts and revenues that give you a competitive edge - identify opportunities to improve market share
Learn how to effectively navigate the market research process to help guide your organization on the journey to success.Download eBook


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About Us
We are a passionate Australian family who love spending time outdoors but don't like getting sun burnt.
CapHat was born on the Far West Coast of South Australia on a stinking hot Summer's Day in 2004. I had a hat, but I was still getting sun burnt, so I made the first model from duct tape and paper towel.
My wife has recently had a Skin Cancer removed from her nose, so as a family we understand the importance of skin cancer prevention through protection.
In November 2014, we decided to have a go and launch CapHat.
We are humbled to see the support that we've received so far; we recently received a prestigious Bronze 2016 Edison Award at an awards ceremony in New York, have received a "Seal of Approval" from the Melanoma International Foundation, and were voted "Best Clothing Accessory 2015" at the Australian Fishing Trade Association Awards.
We are also pleased to contribute 5% of Sales to Cystic Fibrosis Research.
Keep a look out for some new models, coming soon!
I'd love to see pictures or hear stories of where CapHat takes you, we're on Facebook, Instagram and Twitter #caphat4hat
Have fun !!
CapHat™ wins prestigious Bronze Edison Award


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|Hardie Siding Austin Texas
Ja-Mar Exteriors offers a quality line Glass Doors, Metal Siding, Replacement Windows and more to increase the beauty and value in your home or business. - Read morehttp://www.austinsidingplus.com
|Minneapolis Garage Door
All American Door is the Minnesota's Choice for Garage Door Repair & Installation. We provide Expert, Friendly, Same-Day garage door repair, sales and installation services at Competitive Prices to Minneapolis, Minnesota (MN) and surrounding Twin Cities Metro area. - Read morehttp://www.allamericandoor-mn.com/
|Roll Up Door Metro West, MA
Collins Overhead Door Inc. has been providing garage door installation services for residential and commercial clients for over 28 years. Serving to the area of Boston, Newton, Metro West and Woburn Massachusetts, MA. Call us at 617-387-0759 for more details. - Read morehttp://www.collinsdoor.com/
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A Better Door & Window Co. is a family owned and operated company offering garage door and window installation services throughout Orland Park, Tinley Park, Frankfort, New Lenox & Homewood areas. Call us at 708-479-5559! - Read morehttp://abetterdoorandwindow.com/
|Garage Doors in Huberheights
Get an insulated garage doors installed by experienced staff of Wayne Overhead Door Sales & Home Improvements serving in Centerville, Huberheights and Beavercreek. - Read morehttp://www.waynedoors.com/centerville-oh-garage-doors.html


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As the bridegroom, might you like to arrive at the wedding ceremony in a different car — a sports car — a convertible Jaguar XK8 4.2 Special Edition?
A manly dark blue with matching blue power hood – goes up and down in seconds – and stunning ivory hide interior. Powerful, graceful, stylish and with huge sex appeal. You may wish to use the car for other trips too or just to take you to the ceremony. Your choice.
This car provides fantastic photo opportunities both before and after the ceremony. Jaguar has been voted the coolest car in England. Make his day by hiring this car to take your Groom on the most important day of his life. He certainly will not forget it and neither will you!


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All stickers app for iMessager on Apple Store
Welcome to nice collection stickers pack apps Our team have designed and submited on the iMessage app store for iPhone and iPad to chat with friends, all Collections stickers pack we created many topic about lovely cats & dogs, animals, baby cute, Halloween and Mery christmas and more somthing love! keep your conversations going funny with these new stickers pack collection this year. These stickers will help you and your loved ones laughter and fun through your time. iPhone and iPad users running iOS 10 can receive stickers for iMessage, you can receive stickers on earlier versions of iOS.
Get it now on Apple store: to chat for fun with friends on iMessage available Iphone and iPad:
*Limited time : FREE install, You have all you need, No additional pay, No in-app purchasel!
*Esy to use! Tap any stickers you want! Drag or drop the sticker into your message.
Tips – How to get and installing stickers
* To access iMessage apps, compose a new iMessage to a friend and tap the iMessage App Store icon alongside the compose field.
* Tap the four oval icon on the lower left conner to open the app drawer. From there, tap the plus icon labelled Store to access the iMessage App store.
* In the App Store, tap the Manage tab in the top right to add your purchased apps to you app drawer.
How to use sticker on iMessage:
- download stickers you love so much
- open iMessage in your iPhone
- Tap a sticker to add your message thread
- Drag a sticker into the message thread to place it on another sticker
- Scale or rotate sticker by using a second finger before you place them in the text buble
DOWNLOAD Cats Stickers | DOWNLOAD Halloween Stickers | DOWNLOAD Mery Christmas stickers | DOWNLOAD baby stickers


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The 583 acre Broad Run Park is the newest addition to the Parklands of Floyds Fork system.
725 S. Floyd Street
Louisville, KY 40203
(502) 585-2201
(502) 561-4140EEO Report Closed Captioning
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